{"title":"Nomura Ko || SCREAMING LOTS OF DIFFERENT SONGS","description":"\u003cp\u003eThis exhibition traces the creative trajectory of Nomura Kō (1927–1991), an artist who forged a distinctive practice by moving between what was inherited and what was newly born within postwar Japanese art.\u003c\/p\u003e\n\u003cp\u003ePresents approximately 60 works, centered on Nomura Kō and including works by fellow members of the Panreal Art Association, with important loans from collectors and the artist’s family. Featuring collages, frottage, watercolors, and mixed-media works produced from the 1950s through the 1980s, the exhibition invites visitors to experience the transformations of twentieth-century Japanese art and discover their enduring richness and appeal.\u003c\/p\u003e","products":[{"product_id":"museum-exhibited-newspaper-printing-flong-collage-ー野村-耕-作品-将棋盤","title":"Museum Exhibited Newspaper Printing Flong Collage ー野村 耕 “作品（将棋盤）”","description":"\u003cp\u003eA collage of printing “Flongs” from the Kyoto Shinbun Newspaper by Nomura Ko exhibited at the Osaka Prefectural Modern Art Center in 1999. The work depicts Shogi (Japanese Chess) board moves. These were printed in the newspaper for fans of the game. A flong is a type of paper mold impressed with imagery or newsprint used in the pre-digital printing process which would have been discarded after production. Nomura made use of these as his signature collage base. This work consists of 98 flong paper cards mounted on a wooden panel. It is 60 x 45 x 3.8 cm (24 x 18 x 1-1\/4 inches) and is in excellent condition. On back is an original seal dated 1985, signed and stamped by the artist.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eNomura Ko (1927–1991) was born in Kyoto and graduated from the Nihonga Department of Kyoto Municipal College of Art in 1948. In 1950 he joined the Pan Real Art Association (until 1965), establishing himself as a significant figure in the postwar avant-garde movement in Japanese-style painting. Initially influenced by Surrealism, he shifted in the later 1950s toward abstraction and collage, employing unconventional materials such as newspaper printing molds, industrial waste, slate, and cement. From the mid 60”s he was driven beyond the framework to be a pioneer in installation exhibition, creating one-time works which allowed the room to be the frame. Through materially driven works and these later three-dimensional and spatial constructions, Nomura fundamentally redefined the physical and conceptual boundaries of Nihonga. His major exhibition history includes the aforementioned Pan Real (1950-1965), the Asahi New Artist Exhibition, the Asahi Selected Exhibition and the Contemporary Japanese Art Exhibition. Trends in Contemporary Painting (1963), and Today’s Artists ’64 (1964). From 1978 onward, he participated almost annually in the Ge Exhibition. In 1986, he was featured in A Section of Postwar Nihonga at Yamaguchi Prefectural Art Museum. A major retrospective, Kyoto Art: Yesterday, Today, Tomorrow III – Nomura Ko, was held at Kyoto City Museum of Art in 1989. His work was posthumously included in The Turning Point of Postwar Nihonga at Tochigi Prefectural Museum of Fine Arts in 1993, confirming his pivotal role in transforming postwar Nihonga. Work by him is held in the collections of The Kyoto National Museum of Modern Art, Fukui Fine Arts Museum, Kariya City Art Museum, Kyoto City Kyocera Museum of Art, Meguro Museum of Art in Tokyo, Nara Prefectural Museum of Art, Osaka Nakanoshima Museum of Art, Osaka Prefectural 20th Century Art Collection, Tochigi Prefectural Museum of Art, Toyohashi City Museum of Art, Wakayama Museum of Modern Art, Yamaguchi Prefectural Art Museum, Sakuragaoka Museum, The, Kyoto University Art Museum and Kyoto City University of Arts among others.\u003cbr\u003e\u003c\/p\u003e","brand":"Nomura Ko","offers":[{"title":"Default Title","offer_id":50516459913463,"sku":"NK25","price":9800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2025-08-3101.55.34.jpg?v=1771993507"},{"product_id":"untitled-cashew-series-1960-ー野村-耕","title":"Untitled, Cashew Series, 1960 ー野村 耕","description":"\u003cp\u003eA wood tablet covered in colored cashew lacquer by Nomura Ko in the original artist frame signed and dated 1960 both on front and back. The frame is 52.9 x 37.7 x 4.5 (21 x 15-1\/4 x 2 inches) while the art contained is 10.4 x 8.9 x 0.3 (4 x 3-1\/2 x 1\/8 of an inch) and it is in excellent condition. There is some minor dirtiness and age staining to the surrounding white mat board. Nomura Ko was highly experimental and fascinated by new materials. The cashew series was a noe off series performed in 1960, and we are fortunate to have two of these rare works in this show. It is accompanied by a authentication label stamped by Nomura from Sima Gallery where the original exhibition was held in 1960.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eNomura Ko (1927–1991) was born in Kyoto and graduated from the Nihonga Department of Kyoto Municipal College of Art in 1948. In 1950 he joined the Pan Real Art Association (until 1965), establishing himself as a significant figure in the postwar avant-garde movement in Japanese-style painting. Initially influenced by Surrealism, he shifted in the later 1950s toward abstraction and collage, employing unconventional materials such as newspaper printing molds, industrial waste, slate, and cement. From the mid 60”s he was driven beyond the framework to be a pioneer in installation exhibition, creating one-time works which allowed the room to be the frame. Through materially driven works and these later three-dimensional and spatial constructions, Nomura fundamentally redefined the physical and conceptual boundaries of Nihonga. His major exhibition history includes the aforementioned Pan Real (1950-1965), the Asahi New Artist Exhibition, the Asahi Selected Exhibition and the Contemporary Japanese Art Exhibition. Trends in Contemporary Painting (1963), and Today’s Artists ’64 (1964). From 1978 onward, he participated almost annually in the Ge Exhibition. In 1986, he was featured in A Section of Postwar Nihonga at Yamaguchi Prefectural Art Museum. A major retrospective, Kyoto Art: Yesterday, Today, Tomorrow III – Nomura Ko, was held at Kyoto City Museum of Art in 1989. His work was posthumously included in The Turning Point of Postwar Nihonga at Tochigi Prefectural Museum of Fine Arts in 1993, confirming his pivotal role in transforming postwar Nihonga. Work by him is held in the collections of The Kyoto National Museum of Modern Art, Fukui Fine Arts Museum, Kariya City Art Museum, Kyoto City Kyocera Museum of Art, Meguro Museum of Art in Tokyo, Nara Prefectural Museum of Art, Osaka Nakanoshima Museum of Art, Osaka Prefectural 20th Century Art Collection, Tochigi Prefectural Museum of Art, Toyohashi City Museum of Art, Wakayama Museum of Modern Art, Yamaguchi Prefectural Art Museum, Sakuragaoka Museum, The, Kyoto University Art Museum and Kyoto City University of Arts among others.\u003cbr\u003e\u003c\/p\u003e","brand":"Nomura Ko","offers":[{"title":"Default Title","offer_id":50516462141687,"sku":"NK26","price":2300.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2025-08-2708.13.03.jpg?v=1771993722"},{"product_id":"newspaper-printing-flong-collage-bongo-ー野村-耕","title":"Newspaper Printing Flong Collage, Bongo ー野村 耕","description":"\u003cp\u003eA collage by important post war avant garde artist Nomura Ko made up of his signature Newspaper Printing Flongs from the Kyoto Newspaper column “Bongo”. A flong is a type of paper mold impressed with the newsprint used in the pre-digital printing process which would have been discarded after production. This particular work incorporates about 100 flongs from the Bongo column, truly capturing the time in which it was made which is at the core of the post war surrealist ethos. The Kyoto Shimbun Newspaper’s front-page column “Bongo” is a well-known feature regarded as the “face of the newspaper,” offering commentary on current social events from an original perspective. Because it helps develop vocabulary and refined expression, it is also popular for copy-writing practice as a learning exercise. It is fondly appreciated as an “ordinary” yet reflective voice that mirrors the times. The collage is mounted on a wooden panel, 45.5 x 60.1 x 3.8 (18 x 24 x 1-1\/2 inches) and is in excellent condition. It comes with a certificate of authentication by his son Nomura Yukihiro.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eNomura Ko (1927–1991) was born in Kyoto and graduated from the Nihonga Department of Kyoto Municipal College of Art in 1948. In 1950 he joined the Pan Real Art Association (until 1965), establishing himself as a significant figure in the postwar avant-garde movement in Japanese-style painting. Initially influenced by Surrealism, he shifted in the later 1950s toward abstraction and collage, employing unconventional materials such as newspaper printing molds, industrial waste, slate, and cement. From the mid 60”s he was driven beyond the framework to be a pioneer in installation exhibition, creating one-time works which allowed the room to be the frame. Through materially driven works and these later three-dimensional and spatial constructions, Nomura fundamentally redefined the physical and conceptual boundaries of Nihonga. His major exhibition history includes the aforementioned Pan Real (1950-1965), the Asahi New Artist Exhibition, the Asahi Selected Exhibition and the Contemporary Japanese Art Exhibition. Trends in Contemporary Painting (1963), and Today’s Artists ’64 (1964). From 1978 onward, he participated almost annually in the Ge Exhibition. In 1986, he was featured in A Section of Postwar Nihonga at Yamaguchi Prefectural Art Museum. A major retrospective, Kyoto Art: Yesterday, Today, Tomorrow III – Nomura Ko, was held at Kyoto City Museum of Art in 1989. His work was posthumously included in The Turning Point of Postwar Nihonga at Tochigi Prefectural Museum of Fine Arts in 1993, confirming his pivotal role in transforming postwar Nihonga. Work by him is held in the collections of The Kyoto National Museum of Modern Art, Fukui Fine Arts Museum, Kariya City Art Museum, Kyoto City Kyocera Museum of Art, Meguro Museum of Art in Tokyo, Nara Prefectural Museum of Art, Osaka Nakanoshima Museum of Art, Osaka Prefectural 20th Century Art Collection, Tochigi Prefectural Museum of Art, Toyohashi City Museum of Art, Wakayama Museum of Modern Art, Yamaguchi Prefectural Art Museum, Sakuragaoka Museum, The, Kyoto University Art Museum and Kyoto City University of Arts among others.\u003cbr\u003e\u003c\/p\u003e","brand":"Nomura Ko","offers":[{"title":"Default Title","offer_id":50516463747319,"sku":"NK27","price":7800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2025-08-3102.02.07.jpg?v=1771994015"},{"product_id":"important-large-flong-printing-collage-1958-ー野村-耕","title":"Important Large Flong Printing Collage, 1958 ー野村 耕","description":"\u003cp\u003eA large collage of torn print-work flongs on wood panel in an artist made frame, the work is inscribed on the reverse with the date August 1958 and the artist’s name, Nomura Kō, written in kanji. It was Exhibited in a 1981 retrospective at galerie 16 in Kyoto. The frame is 62.5 x 125 x 4 cm (25 x 73 x 1 inches) and is in overall excellent condition. A flong is a type of paper mold impressed with imagery or newsprint used in the pre-digital printing process which would have been discarded after production. Nomura made use of these as his signature collage base.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eNomura Ko (1927–1991) was born in Kyoto and graduated from the Nihonga Department of Kyoto Municipal College of Art in 1948. In 1950 he joined the Pan Real Art Association (until 1965), establishing himself as a significant figure in the postwar avant-garde movement in Japanese-style painting. Initially influenced by Surrealism, he shifted in the later 1950s toward abstraction and collage, employing unconventional materials such as newspaper printing molds, industrial waste, slate, and cement. From the mid 60”s he was driven beyond the framework to be a pioneer in installation exhibition, creating one-time works which allowed the room to be the frame. Through materially driven works and these later three-dimensional and spatial constructions, Nomura fundamentally redefined the physical and conceptual boundaries of Nihonga. His major exhibition history includes the aforementioned Pan Real (1950-1965), the Asahi New Artist Exhibition, the Asahi Selected Exhibition and the Contemporary Japanese Art Exhibition. Trends in Contemporary Painting (1963), and Today’s Artists ’64 (1964). From 1978 onward, he participated almost annually in the Ge Exhibition. In 1986, he was featured in A Section of Postwar Nihonga at Yamaguchi Prefectural Art Museum. A major retrospective, Kyoto Art: Yesterday, Today, Tomorrow III – Nomura Ko, was held at Kyoto City Museum of Art in 1989. His work was posthumously included in The Turning Point of Postwar Nihonga at Tochigi Prefectural Museum of Fine Arts in 1993, confirming his pivotal role in transforming postwar Nihonga. Work by him is held in the collections of The Kyoto National Museum of Modern Art, Fukui Fine Arts Museum, Kariya City Art Museum, Kyoto City Kyocera Museum of Art, Meguro Museum of Art in Tokyo, Nara Prefectural Museum of Art, Osaka Nakanoshima Museum of Art, Osaka Prefectural 20th Century Art Collection, Tochigi Prefectural Museum of Art, Toyohashi City Museum of Art, Wakayama Museum of Modern Art, Yamaguchi Prefectural Art Museum, Sakuragaoka Museum, The, Kyoto University Art Museum and Kyoto City University of Arts among others.\u003cbr\u003e\u003c\/p\u003e","brand":"Nomura Ko","offers":[{"title":"Default Title","offer_id":50516464533751,"sku":"NK13","price":9600.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2025-08-2706.28.56.jpg?v=1771994359"},{"product_id":"nude-study-1940s-ー野村-耕-裸婦","title":"Nude Study, 1940s ー野村 耕 “裸婦”","description":"\u003cp\u003eAn original early sketch on paper of a nude by important post war avant garde artist Nomura Ko enclosed in a frame dating from the 1940s. The work is framed and enclosed by a card storage box. It is accompanied by an authentication label affixed to the reverse by the artist’s wife, Nomura Koyuki. The frame is 57.5 x 45.5 x 2 cm (23 x 18 x 3\/4 inches), the work itself is 25 x 36 cm (10 x 14-1\/4 inches). Originally a thick sketching paper from the poor, war to post war era, it has mellowed with age.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eIf shipped without the frame the price will be slightly reduced to compensate.\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eNomura Ko (1927–1991) was born in Kyoto and graduated from the Nihonga Department of Kyoto Municipal College of Art in 1948. In 1950 he joined the Pan Real Art Association (until 1965), establishing himself as a significant figure in the postwar avant-garde movement in Japanese-style painting. Initially influenced by Surrealism, he shifted in the later 1950s toward abstraction and collage, employing unconventional materials such as newspaper printing molds, industrial waste, slate, and cement. From the mid 60”s he was driven beyond the framework to be a pioneer in installation exhibition, creating one-time works which allowed the room to be the frame. Through materially driven works and these later three-dimensional and spatial constructions, Nomura fundamentally redefined the physical and conceptual boundaries of Nihonga. His major exhibition history includes the aforementioned Pan Real (1950-1965), the Asahi New Artist Exhibition, the Asahi Selected Exhibition and the Contemporary Japanese Art Exhibition. Trends in Contemporary Painting (1963), and Today’s Artists ’64 (1964). From 1978 onward, he participated almost annually in the Ge Exhibition. In 1986, he was featured in A Section of Postwar Nihonga at Yamaguchi Prefectural Art Museum. A major retrospective, Kyoto Art: Yesterday, Today, Tomorrow III – Nomura Ko, was held at Kyoto City Museum of Art in 1989. His work was posthumously included in The Turning Point of Postwar Nihonga at Tochigi Prefectural Museum of Fine Arts in 1993, confirming his pivotal role in transforming postwar Nihonga. Work by him is held in the collections of The Kyoto National Museum of Modern Art, Fukui Fine Arts Museum, Kariya City Art Museum, Kyoto City Kyocera Museum of Art, Meguro Museum of Art in Tokyo, Nara Prefectural Museum of Art, Osaka Nakanoshima Museum of Art, Osaka Prefectural 20th Century Art Collection, Tochigi Prefectural Museum of Art, Toyohashi City Museum of Art, Wakayama Museum of Modern Art, Yamaguchi Prefectural Art Museum, Sakuragaoka Museum, The, Kyoto University Art Museum and Kyoto City University of Arts among others.\u003cbr\u003e\u003c\/p\u003e","brand":"Nomura Ko","offers":[{"title":"Default Title","offer_id":50516466041079,"sku":"NK2","price":650.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2025-08-2704.06.52.jpg?v=1771994496"},{"product_id":"museum-exhibited-and-published-work-ー野村-耕","title":"Museum Exhibited and Published Work ー野村 耕","description":"\u003cp\u003eA unique work of reverse painted glass framed in a milk white wooden frame by Nomura Ko exhibited at the Kyoto National Museum of Modern Art in 2008 and published in the book Botsugo Ju-Nen Shimomura Ryonosuke Ten. Paint on glass scratched through using sgraffito techniques to reveal patterns through the layers of variously colored paints. 1950s, it is in overall excellent condition. The frame is 58.5 x 50 x 3 cm (23 x 20 x 1-inches). A copy of the museum catalog is included. This is an early experimentation with the surrealist techniques of frottage, grattage and sgraffito (among others) which would later give voice to his and a generation of abstract expressionists Mushin (no mind) works. This is in fact, an idea that has long standing relevancy in Japanese traditional art and culture, and Nomura would spend a good part of a decade exploring and combining these various techniques.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eNomura Ko (1927–1991) was born in Kyoto and graduated from the Nihonga Department of Kyoto Municipal College of Art in 1948. In 1950 he joined the Pan Real Art Association (until 1965), establishing himself as a significant figure in the postwar avant-garde movement in Japanese-style painting. Initially influenced by Surrealism, he shifted in the later 1950s toward abstraction and collage, employing unconventional materials such as newspaper printing molds, industrial waste, slate, and cement. From the mid 60”s he was driven beyond the framework to be a pioneer in installation exhibition, creating one-time works which allowed the room to be the frame. Through materially driven works and these later three-dimensional and spatial constructions, Nomura fundamentally redefined the physical and conceptual boundaries of Nihonga. His major exhibition history includes the aforementioned Pan Real (1950-1965), the Asahi New Artist Exhibition, the Asahi Selected Exhibition and the Contemporary Japanese Art Exhibition. Trends in Contemporary Painting (1963), and Today’s Artists ’64 (1964). From 1978 onward, he participated almost annually in the Ge Exhibition. In 1986, he was featured in A Section of Postwar Nihonga at Yamaguchi Prefectural Art Museum. A major retrospective, Kyoto Art: Yesterday, Today, Tomorrow III – Nomura Ko, was held at Kyoto City Museum of Art in 1989. His work was posthumously included in The Turning Point of Postwar Nihonga at Tochigi Prefectural Museum of Fine Arts in 1993, confirming his pivotal role in transforming postwar Nihonga. Work by him is held in the collections of The Kyoto National Museum of Modern Art, Fukui Fine Arts Museum, Kariya City Art Museum, Kyoto City Kyocera Museum of Art, Meguro Museum of Art in Tokyo, Nara Prefectural Museum of Art, Osaka Nakanoshima Museum of Art, Osaka Prefectural 20th Century Art Collection, Tochigi Prefectural Museum of Art, Toyohashi City Museum of Art, Wakayama Museum of Modern Art, Yamaguchi Prefectural Art Museum, Sakuragaoka Museum, The, Kyoto University Art Museum and Kyoto City University of Arts among others.\u003cbr\u003e\u003c\/p\u003e","brand":"Nomura Ko","offers":[{"title":"Default Title","offer_id":50516466335991,"sku":"NK36","price":2000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2026-01-1317.13.53-2.jpg?v=1771994765"},{"product_id":"untitled-collage-october-1964-ー野村-耕","title":"Untitled, collage, October 1964 ー野村 耕","description":"\u003cp\u003eA signature collage of richly colored, deeply textured and heavily layered printing flongs depicting machinery, abstract forms and bold type by Nomura Ko signed and dated on the reverse October 1964. A flong is a type of paper mold impressed with the newsprint used in the pre-digital printing process which would have been discarded after production. Torn Flongs and hand coloring mounted on a wooden panel. It is 45 x 32.3 x 3 cm (18 x 13 x 1-1\/8 inches) and is in excellent condition.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eNomura Ko (1927–1991) was born in Kyoto and graduated from the Nihonga Department of Kyoto Municipal College of Art in 1948. In 1950 he joined the Pan Real Art Association (until 1965), establishing himself as a significant figure in the postwar avant-garde movement in Japanese-style painting. Initially influenced by Surrealism, he shifted in the later 1950s toward abstraction and collage, employing unconventional materials such as newspaper printing molds, industrial waste, slate, and cement. From the mid 60”s he was driven beyond the framework to be a pioneer in installation exhibition, creating one-time works which allowed the room to be the frame. Through materially driven works and these later three-dimensional and spatial constructions, Nomura fundamentally redefined the physical and conceptual boundaries of Nihonga. His major exhibition history includes the aforementioned Pan Real (1950-1965), the Asahi New Artist Exhibition, the Asahi Selected Exhibition and the Contemporary Japanese Art Exhibition. Trends in Contemporary Painting (1963), and Today’s Artists ’64 (1964). From 1978 onward, he participated almost annually in the Ge Exhibition. In 1986, he was featured in A Section of Postwar Nihonga at Yamaguchi Prefectural Art Museum. A major retrospective, Kyoto Art: Yesterday, Today, Tomorrow III – Nomura Ko, was held at Kyoto City Museum of Art in 1989. His work was posthumously included in The Turning Point of Postwar Nihonga at Tochigi Prefectural Museum of Fine Arts in 1993, confirming his pivotal role in transforming postwar Nihonga. Work by him is held in the collections of The Kyoto National Museum of Modern Art, Fukui Fine Arts Museum, Kariya City Art Museum, Kyoto City Kyocera Museum of Art, Meguro Museum of Art in Tokyo, Nara Prefectural Museum of Art, Osaka Nakanoshima Museum of Art, Osaka Prefectural 20th Century Art Collection, Tochigi Prefectural Museum of Art, Toyohashi City Museum of Art, Wakayama Museum of Modern Art, Yamaguchi Prefectural Art Museum, Sakuragaoka Museum, The, Kyoto University Art Museum and Kyoto City University of Arts among others.\u003cbr\u003e\u003c\/p\u003e","brand":"Nomura Ko","offers":[{"title":"Default Title","offer_id":50516473643255,"sku":"NK46","price":5400.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2026-01-1415.49.37.jpg?v=1771995013"},{"product_id":"untitled-monotype-circa-1965-butterflies-ー野村-耕","title":"Untitled, monotype, circa 1965, Butterflies ー野村 耕","description":"\u003cp\u003eA singular print of butterflies in dark ink on paper by Nomura Ko mounted in a period wooden frame with glass. Print or frottage on paper in a wooden frame with glass dating circa 1965.. While Nomura Kō’s work is often discussed in relation to the idealistic postwar Japanese avant-garde circles movements, his experimentation was not merely ideological. It was deeply technical. Among the most significant aspects of his practice was the incorporation of Surrealist procedures—methods derived from European modernism but adapted with distinctly Japanese sensitivity. Techniques such as frottage (rubbing textured surfaces to produce accidental forms), grattage (scraping through layers of pigment to reveal underlying structure), and other forms of transfer, abrasion, and material interruption appear throughout his most radical works. These methods introduced chance into the act of painting, disrupting the authority of the brush and destabilizing compositional control. The frame is 37 x 44.7 x 3 cm (14-1\/2 x 18 x 1 inches) the work itself is 12 x 19.2 (5 x 7-3\/4 inches). It is in overall excellent condition, with some minor toning typical of age. There is some minor dirtiness and age staining to the paper mat border. The frame is enclosed in a period card box.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eShipped without the frame an appropriate discount will be offered.\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eNomura Ko (1927–1991) was born in Kyoto and graduated from the Nihonga Department of Kyoto Municipal College of Art in 1948. In 1950 he joined the Pan Real Art Association (until 1965), establishing himself as a significant figure in the postwar avant-garde movement in Japanese-style painting. Initially influenced by Surrealism, he shifted in the later 1950s toward abstraction and collage, employing unconventional materials such as newspaper printing molds, industrial waste, slate, and cement. From the mid 60”s he was driven beyond the framework to be a pioneer in installation exhibition, creating one-time works which allowed the room to be the frame. Through materially driven works and these later three-dimensional and spatial constructions, Nomura fundamentally redefined the physical and conceptual boundaries of Nihonga. His major exhibition history includes the aforementioned Pan Real (1950-1965), the Asahi New Artist Exhibition, the Asahi Selected Exhibition and the Contemporary Japanese Art Exhibition. Trends in Contemporary Painting (1963), and Today’s Artists ’64 (1964). From 1978 onward, he participated almost annually in the Ge Exhibition. In 1986, he was featured in A Section of Postwar Nihonga at Yamaguchi Prefectural Art Museum. A major retrospective, Kyoto Art: Yesterday, Today, Tomorrow III – Nomura Ko, was held at Kyoto City Museum of Art in 1989. His work was posthumously included in The Turning Point of Postwar Nihonga at Tochigi Prefectural Museum of Fine Arts in 1993, confirming his pivotal role in transforming postwar Nihonga. Work by him is held in the collections of The Kyoto National Museum of Modern Art, Fukui Fine Arts Museum, Kariya City Art Museum, Kyoto City Kyocera Museum of Art, Meguro Museum of Art in Tokyo, Nara Prefectural Museum of Art, Osaka Nakanoshima Museum of Art, Osaka Prefectural 20th Century Art Collection, Tochigi Prefectural Museum of Art, Toyohashi City Museum of Art, Wakayama Museum of Modern Art, Yamaguchi Prefectural Art Museum, Sakuragaoka Museum, The, Kyoto University Art Museum and Kyoto City University of Arts among others.\u003cbr\u003e\u003c\/p\u003e","brand":"Nomura Ko","offers":[{"title":"Default Title","offer_id":50516481245431,"sku":"NK44","price":600.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2026-01-1316.56.05.jpg?v=1771995398"},{"product_id":"quintessential-1959-mixed-media-panel-ー大野-淑嵩","title":"Quintessential 1959 Mixed Media Panel ー大野 淑嵩","description":"\u003cp\u003eA signature work on paper which intimates plaster and earth on paper by Ono Hidetaka dated 1959 and framed in silvered wood. The frame is 56 x 47 x 4.7 (22-1\/4 x 18-3\/4 x 2 inches), the work itself is 37.5 x 28.5 (15 x 1-1\/4 inches). There is minor foxing visible about the edges, otherwise is in excellent condition. The work is accompanied by its original card box.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eOno Hidetaka (1922- 2002) was born in Kyoto and graduated from the Kyoto City School of Fine Arts and Crafts in 1941, receiving the Kokusaikai Prize at the 2nd Kokusaikai Exhibition, and completed the Kyoto City School of Painting in 1943. He first gained recognition in 1947 with Spring in Jonan, which won the Mayor’s Prize at the 3rd Kyoto Exhibition, and with Sea, which was accepted by the Nitten Exhibition. In 1949, he joined the newly formed avant garde Pan Real Art Association participating in numerous exhibitions thereafter. Inspired by Coptic textiles at the 1957 Asia-Africa Art Exhibition, he began creating his signature abstract works using jute canvas. He exhibited both domestically and internationally at events such as the 1958 and 1961 Pittsburgh International Contemporary Painting and Sculpture Exhibitions. During the 1960s, his work appeared in New Generation of Nihonga (The National Museum of Modern Art, Tokyo) and the Japanese Contemporary Painting Exhibition (Corcoran Gallery, USA). He became an associate professor at Kyoto City University of Arts in 1970, full professor in 1974, and professor emeritus in 1987, and from 1971 began producing realistic flower paintings influenced by Song and Yuan dynasty styles. He was honored as a Kyoto Cultural Merit Award recipient in 1983 and received the Kyoto Prefecture Cultural Merit Award in 1989. His works were included in major exhibitions such as A Facet of Postwar Nihonga: Search and Conflict (1986, Yamaguchi Prefectural Museum of Art), Four Artists in Nihonga (1987, Wakayama Prefectural Museum of Modern Art), Japanese Art – Reviving 1964 (1996, Museum of Contemporary Art Tokyo), and The Birth of Panreal: Postwar Nihonga Innovation (1998, Otani Memorial Art Museum, Nishinomiya), as well as solo exhibitions at O Museum, earning him acclaim both in Japan and abroad. His works are held in the collections of Fukui Fine Arts Museum, Hokkaido Museum of Modern Art, Kariya City Art Museum, Kyoto City Kyocera Museum of Art, The Kyoto National Museum of Modern Art, the Tokyo Museum of Contemporary Art, Nagoya City Art Museum, Nakanoshima Museum of Art in Osaka, Nara Prefectural Museum of Art, Niigata City Art Museum, Toyota Municipal Museum of Art, and Toyohashi City Museum of Art among others.\u003cbr\u003e\u003c\/p\u003e","brand":"Ono Hidetaka","offers":[{"title":"Default Title","offer_id":50516491370743,"sku":"NK17","price":2300.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2025-08-2706.36.17.jpg?v=1771995874"},{"product_id":"red-poppies-framed-work-ー野村-耕","title":"Red Poppies, Framed Work ー野村 耕","description":"\u003cp\u003eA framed work depicting a nearly traditional floral image of red poppies in pastel by important post war avant garde artist Nomura Ko unusual in that it is a return to the artists roots in the Nihonga Pictorial tradition of Shasei (Sketching from life) which would have been drilled into him during his time at the Kyoto Municipal College of Art during the second world war. This tradition, outside of his sketch books, was abandoned by the artist for three decades, but he revisited it in his mature years. Dating from the 1980s, the frame is 46 x 61 x 2.5 (18-1\/4 x 24 x 1 inches). The work itself is 34.3 x 41.8 cm (14 x 16-1\/2 inches) and is in excellent condition. It comes in a card storage box.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eIf shipped without the frame the price will be slightly reduced to compensate.\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eNomura Ko (1927–1991) was born in Kyoto and graduated from the Nihonga Department of Kyoto Municipal College of Art in 1948. In 1950 he joined the Pan Real Art Association (until 1965), establishing himself as a significant figure in the postwar avant-garde movement in Japanese-style painting. Initially influenced by Surrealism, he shifted in the later 1950s toward abstraction and collage, employing unconventional materials such as newspaper printing molds, industrial waste, slate, and cement. From the mid 60”s he was driven beyond the framework to be a pioneer in installation exhibition, creating one-time works which allowed the room to be the frame. Through materially driven works and these later three-dimensional and spatial constructions, Nomura fundamentally redefined the physical and conceptual boundaries of Nihonga. His major exhibition history includes the aforementioned Pan Real (1950-1965), the Asahi New Artist Exhibition, the Asahi Selected Exhibition and the Contemporary Japanese Art Exhibition. Trends in Contemporary Painting (1963), and Today’s Artists ’64 (1964). From 1978 onward, he participated almost annually in the Ge Exhibition. In 1986, he was featured in A Section of Postwar Nihonga at Yamaguchi Prefectural Art Museum. A major retrospective, Kyoto Art: Yesterday, Today, Tomorrow III – Nomura Ko, was held at Kyoto City Museum of Art in 1989. His work was posthumously included in The Turning Point of Postwar Nihonga at Tochigi Prefectural Museum of Fine Arts in 1993, confirming his pivotal role in transforming postwar Nihonga. Work by him is held in the collections of The Kyoto National Museum of Modern Art, Fukui Fine Arts Museum, Kariya City Art Museum, Kyoto City Kyocera Museum of Art, Meguro Museum of Art in Tokyo, Nara Prefectural Museum of Art, Osaka Nakanoshima Museum of Art, Osaka Prefectural 20th Century Art Collection, Tochigi Prefectural Museum of Art, Toyohashi City Museum of Art, Wakayama Museum of Modern Art, Yamaguchi Prefectural Art Museum, Sakuragaoka Museum, The, Kyoto University Art Museum and Kyoto City University of Arts among others.\u003cbr\u003e\u003c\/p\u003e","brand":"Nomura Ko","offers":[{"title":"Default Title","offer_id":50528547635447,"sku":"NK39","price":1100.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2026-01-1415.45.53.jpg?v=1772417669"},{"product_id":"untitled-flong-collage-1962-ー野村-耕","title":"Untitled Flong Collage, 1962 ー野村 耕","description":"\u003cp\u003eA collage of layered paper flongs covered in red paint scraped and rubbed away to reveal the surface. A flong is a type of paper mold impressed with imagery or newsprint used in the pre-digital printing process which would have been discarded after production. Nomura made use of these as his signature collage base from the late 1950s until his death. This piece is unusually signed and dated on the front, Ko, 1962. Flong and paint on wooden panel, it is 29.5 x 29.8 x 4 cm (roughly 12 inches square, 1-1\/2 inches thick) and is in overall excellent condition with wear to the raw edges typical of age.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eNomura Ko (1927–1991) was born in Kyoto and graduated from the Nihonga Department of Kyoto Municipal College of Art in 1948. In 1950 he joined the Pan Real Art Association (until 1965), establishing himself as a significant figure in the postwar avant-garde movement in Japanese-style painting. Initially influenced by Surrealism, he shifted in the later 1950s toward abstraction and collage, employing unconventional materials such as newspaper printing molds, industrial waste, slate, and cement. From the mid 60”s he was driven beyond the framework to be a pioneer in installation exhibition, creating one-time works which allowed the room to be the frame. Through materially driven works and these later three-dimensional and spatial constructions, Nomura fundamentally redefined the physical and conceptual boundaries of Nihonga. His major exhibition history includes the aforementioned Pan Real (1950-1965), the Asahi New Artist Exhibition, the Asahi Selected Exhibition and the Contemporary Japanese Art Exhibition. Trends in Contemporary Painting (1963), and Today’s Artists ’64 (1964). From 1978 onward, he participated almost annually in the Ge Exhibition. In 1986, he was featured in A Section of Postwar Nihonga at Yamaguchi Prefectural Art Museum. A major retrospective, Kyoto Art: Yesterday, Today, Tomorrow III – Nomura Ko, was held at Kyoto City Museum of Art in 1989. His work was posthumously included in The Turning Point of Postwar Nihonga at Tochigi Prefectural Museum of Fine Arts in 1993, confirming his pivotal role in transforming postwar Nihonga. Work by him is held in the collections of The Kyoto National Museum of Modern Art, Fukui Fine Arts Museum, Kariya City Art Museum, Kyoto City Kyocera Museum of Art, Meguro Museum of Art in Tokyo, Nara Prefectural Museum of Art, Osaka Nakanoshima Museum of Art, Osaka Prefectural 20th Century Art Collection, Tochigi Prefectural Museum of Art, Toyohashi City Museum of Art, Wakayama Museum of Modern Art, Yamaguchi Prefectural Art Museum, Sakuragaoka Museum, The, Kyoto University Art Museum and Kyoto City University of Arts among others.\u003cbr\u003e\u003c\/p\u003e","brand":"Nomura Ko","offers":[{"title":"Default Title","offer_id":50528549798135,"sku":"NK42","price":2850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2026-01-1316.50.06.jpg?v=1772417967"},{"product_id":"newspaper-printing-flong-collage-weather-charts-ー野村-耕","title":"Newspaper Printing Flong Collage, Weather Charts ー野村 耕","description":"\u003cp\u003eA large collage made up of printing “Flongs” depicting the paths of typhoons and weather charts by Nomura Ko. A flong is a type of paper mold impressed with the newsprint used in the pre-digital printing process which would have been discarded after production. Did the artist see some disaster coming? Surface weather charts printed in Japanese newspapers track the formation and movement of typhoons across the archipelago. Long relied upon as an everyday guide to approaching storms, they diagram pressure systems, projected paths, and changing intensity—translating atmospheric motion into a familiar visual language of daily life. Paper flogns mounted on wood panel, the work is 60.6 x 91 x 3.5 (24 x 36 x 1-1\/2 inches) and is in excellent condition. It comes with a certificate of authenticity from his son, Nomura Yukihiro.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eNomura Ko (1927–1991) was born in Kyoto and graduated from the Nihonga Department of Kyoto Municipal College of Art in 1948. In 1950 he joined the Pan Real Art Association (until 1965), establishing himself as a significant figure in the postwar avant-garde movement in Japanese-style painting. Initially influenced by Surrealism, he shifted in the later 1950s toward abstraction and collage, employing unconventional materials such as newspaper printing molds, industrial waste, slate, and cement. From the mid 60”s he was driven beyond the framework to be a pioneer in installation exhibition, creating one-time works which allowed the room to be the frame. Through materially driven works and these later three-dimensional and spatial constructions, Nomura fundamentally redefined the physical and conceptual boundaries of Nihonga. His major exhibition history includes the aforementioned Pan Real (1950-1965), the Asahi New Artist Exhibition, the Asahi Selected Exhibition and the Contemporary Japanese Art Exhibition. Trends in Contemporary Painting (1963), and Today’s Artists ’64 (1964). From 1978 onward, he participated almost annually in the Ge Exhibition. In 1986, he was featured in A Section of Postwar Nihonga at Yamaguchi Prefectural Art Museum. A major retrospective, Kyoto Art: Yesterday, Today, Tomorrow III – Nomura Ko, was held at Kyoto City Museum of Art in 1989. His work was posthumously included in The Turning Point of Postwar Nihonga at Tochigi Prefectural Museum of Fine Arts in 1993, confirming his pivotal role in transforming postwar Nihonga. Work by him is held in the collections of The Kyoto National Museum of Modern Art, Fukui Fine Arts Museum, Kariya City Art Museum, Kyoto City Kyocera Museum of Art, Meguro Museum of Art in Tokyo, Nara Prefectural Museum of Art, Osaka Nakanoshima Museum of Art, Osaka Prefectural 20th Century Art Collection, Tochigi Prefectural Museum of Art, Toyohashi City Museum of Art, Wakayama Museum of Modern Art, Yamaguchi Prefectural Art Museum, Sakuragaoka Museum, The, Kyoto University Art Museum and Kyoto City University of Arts among others.\u003cbr\u003e\u003c\/p\u003e","brand":"Nomura Ko","offers":[{"title":"Default Title","offer_id":50528551895287,"sku":"NK11","price":13500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2025-08-2706.19.04.jpg?v=1772418567"},{"product_id":"important-work-radiance-ー下村-良之介-散暉","title":"Important Work, Radiance ー下村 良之介 “散暉”","description":"\u003cp\u003eA large mixed media panel titled Sanki (Scattered Radiance) by Shimomura Ryonosuke mounted on a panel and artist framed signed on the reverse and dated October 1974. This is a quintessential work by the artist, one which would easily define his work in a museum collection. It is in his signature mulched paper format covered in earth toned pigments with raised textures. Framed, the panel is 102.8 x 75.5 x 4 (40-1\/2 x 29-3\/4 x 1-1\/2 inches) it is in overall excellent condition.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDue to size shipping charges will be accrued separately.\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eShimomura Ryonosuke (1923–1998) was a painter born in Osaka who graduated the Nihonga (Japanese-style) painting course at the Kyoto Municipal College of Painting in 1943, but was immediately conscripted for military service as a student soldier and demobilized in 1946. In 1947, along with Yamazaki Takashi and Mikami Makoto, he co-founded the Pan-real Art Association. Through this group, he played a central role in the postwar avant-garde movement, pursuing a liberated and experimental practice that rejected established conventions of Japanese-style painting. Although initially influenced by Cubism, his wartime experiences led him to question the traditional expectations in Nihonga. He instead turned his attention toward socially engaged themes. Widely exhibited domestically and abroad, Shimomura became particularly known for his distinctive bird motifs. His 1965 work Tori Fudo, created with built-up layers of paper mulch, attracted attention for incorporating sculptural elements into painting. From the inaugural exhibition of the Pan-real Art Association onward, he remained active in the group throughout his life, eventually assuming a leadership role. Often described as a “rebel painter,” he maintained a pioneering spirit within the traditional genre of Nihonga and is highly regarded for his sustained contribution to postwar innovation. His works are held in the collections of The Tokyo National Museum of Modern Art, The Kyoto National Museum of Modern Art, The Osaka National Museum of Art, Tokyo Museum of Contemporary Art, Hyogo Prefectural Museum of Art; Osaka Nakanoshima Museum of Art, Aichi Prefectural Museum of Art. Yamaguchi Prefectural Art Museum, Musée Cernuschi, Paris; The Wakayama Museum of Modern Art, among others.\u003cbr\u003e\u003c\/p\u003e","brand":"Shimomoura Ryonosuke","offers":[{"title":"Default Title","offer_id":50528556056823,"sku":"NK29","price":6000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2025-08-3102.14.50.jpg?v=1772418838"},{"product_id":"1979-variation-series-artwork-lapparition-ー野村-耕-モローによるサロメ幻想","title":"1979 Variation Series Artwork, L'Apparition ー野村 耕 “モローによるサロメ幻想“","description":"\u003cp\u003eA collage work based on L'Apparition by Gustave Moreau signed and dated on the reverse: \"K. Nomura, 1979\" mounted in a wooden frame. The work accompanied by its original card storage box. The frame is 39.5 x 31 x 4 cm (16 x 12-1\/4 x 1-1\/2 inches), the work is 20.5 x 14.5 cm (Roughly 8 x 6 inches) and is in overall excellent condition.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eNomura Ko (1927–1991) was born in Kyoto and graduated from the Nihonga Department of Kyoto Municipal College of Art in 1948. In 1950 he joined the Pan Real Art Association (until 1965), establishing himself as a significant figure in the postwar avant-garde movement in Japanese-style painting. Initially influenced by Surrealism, he shifted in the later 1950s toward abstraction and collage, employing unconventional materials such as newspaper printing molds, industrial waste, slate, and cement. From the mid 60”s he was driven beyond the framework to be a pioneer in installation exhibition, creating one-time works which allowed the room to be the frame. Through materially driven works and these later three-dimensional and spatial constructions, Nomura fundamentally redefined the physical and conceptual boundaries of Nihonga. His major exhibition history includes the aforementioned Pan Real (1950-1965), the Asahi New Artist Exhibition, the Asahi Selected Exhibition and the Contemporary Japanese Art Exhibition. Trends in Contemporary Painting (1963), and Today’s Artists ’64 (1964). From 1978 onward, he participated almost annually in the Ge Exhibition. In 1986, he was featured in A Section of Postwar Nihonga at Yamaguchi Prefectural Art Museum. A major retrospective, Kyoto Art: Yesterday, Today, Tomorrow III – Nomura Ko, was held at Kyoto City Museum of Art in 1989. His work was posthumously included in The Turning Point of Postwar Nihonga at Tochigi Prefectural Museum of Fine Arts in 1993, confirming his pivotal role in transforming postwar Nihonga. Work by him is held in the collections of The Kyoto National Museum of Modern Art, Fukui Fine Arts Museum, Kariya City Art Museum, Kyoto City Kyocera Museum of Art, Meguro Museum of Art in Tokyo, Nara Prefectural Museum of Art, Osaka Nakanoshima Museum of Art, Osaka Prefectural 20th Century Art Collection, Tochigi Prefectural Museum of Art, Toyohashi City Museum of Art, Wakayama Museum of Modern Art, Yamaguchi Prefectural Art Museum, Sakuragaoka Museum, The, Kyoto University Art Museum and Kyoto City University of Arts among others.\u003cbr\u003e\u003c\/p\u003e","brand":"Nomura Ko","offers":[{"title":"Default Title","offer_id":50559059722487,"sku":"NK4","price":790.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2025-08-2703.31.29.jpg?v=1773026685"},{"product_id":"early-nomura-ko-study-nude-1940s-ー野村-耕-裸婦","title":"Early Nomura Ko Study, Nude, 1940s ー野村 耕 “裸婦”","description":"\u003cp\u003eAn original early sketch on paper of a nude by important post war avant garde artist Nomura Ko enclosed in a frame dating from the 1940s. The work is framed and enclosed by a card storage box. It is accompanied by an authentication label affixed to the reverse by the painting gallery which carried his works, Art Kageshibai, The frame is 54.5 x 43.3 x 2 cm (22 x 17 x 3\/4 inches), the work itself is 25 x 36 cm (10 x 14-1\/4 inches). Originally a thick sketching paper from the poor, war to post war era, it has mellowed with age.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eIf shipped without the frame the price will be slightly reduced to compensate.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eNomura Ko (1927–1991) was born in Kyoto and graduated from the Nihonga Department of Kyoto Municipal College of Art in 1948. In 1950 he joined the Pan Real Art Association (until 1965), establishing himself as a significant figure in the postwar avant-garde movement in Japanese-style painting. Initially influenced by Surrealism, he shifted in the later 1950s toward abstraction and collage, employing unconventional materials such as newspaper printing molds, industrial waste, slate, and cement. From the mid 60”s he was driven beyond the framework to be a pioneer in installation exhibition, creating one-time works which allowed the room to be the frame. Through materially driven works and these later three-dimensional and spatial constructions, Nomura fundamentally redefined the physical and conceptual boundaries of Nihonga. His major exhibition history includes the aforementioned Pan Real (1950-1965), the Asahi New Artist Exhibition, the Asahi Selected Exhibition and the Contemporary Japanese Art Exhibition. Trends in Contemporary Painting (1963), and Today’s Artists ’64 (1964). From 1978 onward, he participated almost annually in the Ge Exhibition. In 1986, he was featured in A Section of Postwar Nihonga at Yamaguchi Prefectural Art Museum. A major retrospective, Kyoto Art: Yesterday, Today, Tomorrow III – Nomura Ko, was held at Kyoto City Museum of Art in 1989. His work was posthumously included in The Turning Point of Postwar Nihonga at Tochigi Prefectural Museum of Fine Arts in 1993, confirming his pivotal role in transforming postwar Nihonga. Work by him is held in the collections of The Kyoto National Museum of Modern Art, Fukui Fine Arts Museum, Kariya City Art Museum, Kyoto City Kyocera Museum of Art, Meguro Museum of Art in Tokyo, Nara Prefectural Museum of Art, Osaka Nakanoshima Museum of Art, Osaka Prefectural 20th Century Art Collection, Tochigi Prefectural Museum of Art, Toyohashi City Museum of Art, Wakayama Museum of Modern Art, Yamaguchi Prefectural Art Museum, Sakuragaoka Museum, The, Kyoto University Art Museum and Kyoto City University of Arts among others.\u003cbr\u003e\u003c\/p\u003e","brand":"Nomura Ko","offers":[{"title":"Default Title","offer_id":50559065194743,"sku":"NK8","price":700.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2025-08-2705.42.41.jpg?v=1773026958"},{"product_id":"early-nomura-ko-mid-century-print-mold-collage-ー野村-耕","title":"Early Nomura Ko, Mid-century Print Mold Collage ー野村 耕","description":"\u003cp\u003eAn early Mixed media collage made up of Shikei paper printing molds covered in thick dark color dating from the 1950s. Certainly speaking for its time, Micky Mouse directs the scene, along with automobiles, architecture, what appears to be rows of vending machines and other future fossils of our world as it was at that time. A most intriguing work mounted on wood panel. It is 30.3 x 45.5 x 4 cm (12 x 18 x 1-1\/2 inches).  There is wear to some of the high edges, typical of age, and a scratch in the right center of the panel.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eNomura Ko (1927–1991) was born in Kyoto and graduated from the Nihonga Department of Kyoto Municipal College of Art in 1948. In 1950 he joined the Pan Real Art Association (until 1965), establishing himself as a significant figure in the postwar avant-garde movement in Japanese-style painting. Initially influenced by Surrealism, he shifted in the later 1950s toward abstraction and collage, employing unconventional materials such as newspaper printing molds, industrial waste, slate, and cement. From the mid 60”s he was driven beyond the framework to be a pioneer in installation exhibition, creating one-time works which allowed the room to be the frame. Through materially driven works and these later three-dimensional and spatial constructions, Nomura fundamentally redefined the physical and conceptual boundaries of Nihonga. His major exhibition history includes the aforementioned Pan Real (1950-1965), the Asahi New Artist Exhibition, the Asahi Selected Exhibition and the Contemporary Japanese Art Exhibition. Trends in Contemporary Painting (1963), and Today’s Artists ’64 (1964). From 1978 onward, he participated almost annually in the Ge Exhibition. In 1986, he was featured in A Section of Postwar Nihonga at Yamaguchi Prefectural Art Museum. A major retrospective, Kyoto Art: Yesterday, Today, Tomorrow III – Nomura Ko, was held at Kyoto City Museum of Art in 1989. His work was posthumously included in The Turning Point of Postwar Nihonga at Tochigi Prefectural Museum of Fine Arts in 1993, confirming his pivotal role in transforming postwar Nihonga. Work by him is held in the collections of The Kyoto National Museum of Modern Art, Fukui Fine Arts Museum, Kariya City Art Museum, Kyoto City Kyocera Museum of Art, Meguro Museum of Art in Tokyo, Nara Prefectural Museum of Art, Osaka Nakanoshima Museum of Art, Osaka Prefectural 20th Century Art Collection, Tochigi Prefectural Museum of Art, Toyohashi City Museum of Art, Wakayama Museum of Modern Art, Yamaguchi Prefectural Art Museum, Sakuragaoka Museum, The, Kyoto University Art Museum and Kyoto City University of Arts among others.\u003cbr\u003e\u003c\/p\u003e","brand":"Nomura Ko","offers":[{"title":"Default Title","offer_id":50559078564087,"sku":"NK41","price":2800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2026-02-2517.49.4633.jpg?v=1773027188"},{"product_id":"mid-century-print-mold-collage-ー野村-耕","title":"Mid-century Print Mold Collage ー野村 耕","description":"\u003cp\u003eDark ocher colors this abstract collage by Nomura Ko dating from quite early in his career, later 1950s to early 1960s. It is made up of printing Flongs, a paper mold used in the printing process for Newspapers and the like in the days before digital printing. These depict various machinations, centered it would seem on the fulcrum. The edges are silver covered in Ocher, with black around the sides. It is 33.5 x 26 x 3.6 cm (13-1\/2 x 10-1\/4 x 1-1\/2 inches) and is in overall fine condition.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eNomura Ko (1927–1991) was born in Kyoto and graduated from the Nihonga Department of Kyoto Municipal College of Art in 1948. In 1950 he joined the Pan Real Art Association (until 1965), establishing himself as a significant figure in the postwar avant-garde movement in Japanese-style painting. Initially influenced by Surrealism, he shifted in the later 1950s toward abstraction and collage, employing unconventional materials such as newspaper printing molds, industrial waste, slate, and cement. From the mid 60”s he was driven beyond the framework to be a pioneer in installation exhibition, creating one-time works which allowed the room to be the frame. Through materially driven works and these later three-dimensional and spatial constructions, Nomura fundamentally redefined the physical and conceptual boundaries of Nihonga. His major exhibition history includes the aforementioned Pan Real (1950-1965), the Asahi New Artist Exhibition, the Asahi Selected Exhibition and the Contemporary Japanese Art Exhibition. Trends in Contemporary Painting (1963), and Today’s Artists ’64 (1964). From 1978 onward, he participated almost annually in the Ge Exhibition. In 1986, he was featured in A Section of Postwar Nihonga at Yamaguchi Prefectural Art Museum. A major retrospective, Kyoto Art: Yesterday, Today, Tomorrow III – Nomura Ko, was held at Kyoto City Museum of Art in 1989. His work was posthumously included in The Turning Point of Postwar Nihonga at Tochigi Prefectural Museum of Fine Arts in 1993, confirming his pivotal role in transforming postwar Nihonga. Work by him is held in the collections of The Kyoto National Museum of Modern Art, Fukui Fine Arts Museum, Kariya City Art Museum, Kyoto City Kyocera Museum of Art, Meguro Museum of Art in Tokyo, Nara Prefectural Museum of Art, Osaka Nakanoshima Museum of Art, Osaka Prefectural 20th Century Art Collection, Tochigi Prefectural Museum of Art, Toyohashi City Museum of Art, Wakayama Museum of Modern Art, Yamaguchi Prefectural Art Museum, Sakuragaoka Museum, The, Kyoto University Art Museum and Kyoto City University of Arts among others.\u003cbr\u003e\u003c\/p\u003e","brand":"Nomura Ko","offers":[{"title":"Default Title","offer_id":50559098585335,"sku":"NK43","price":2800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2026-01-1416.01.17.jpg?v=1773027491"},{"product_id":"nude-study-1940s-ー野村-耕-素描-裸婦","title":"Nude Study, 1940s ー野村 耕 素描 “裸婦”","description":"\u003cp\u003eAn original early sketch on paper of a recumbent nude by important post war avant garde artist Nomura Ko enclosed in a frame dating from the 1940s. The work is framed and enclosed by a card storage box. It is accompanied by an authentication label affixed to the reverse by the artist’s son, Nomura Yukihiro. The frame is 45.7 x 30.7 x 1.8 cm (18 x 12 x 3\/4 inches), the work itself is 36 x 12 cm (14-1\/4 x 5 inches). Originally a thick sketching paper from the poor, war to post war era, it has toned significantly with age.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eIf shipped without the frame the price will be slightly reduced to compensate.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eNomura Ko (1927–1991) was born in Kyoto and graduated from the Nihonga Department of Kyoto Municipal College of Art in 1948. In 1950 he joined the Pan Real Art Association (until 1965), establishing himself as a significant figure in the postwar avant-garde movement in Japanese-style painting. Initially influenced by Surrealism, he shifted in the later 1950s toward abstraction and collage, employing unconventional materials such as newspaper printing molds, industrial waste, slate, and cement. From the mid 60”s he was driven beyond the framework to be a pioneer in installation exhibition, creating one-time works which allowed the room to be the frame. Through materially driven works and these later three-dimensional and spatial constructions, Nomura fundamentally redefined the physical and conceptual boundaries of Nihonga. His major exhibition history includes the aforementioned Pan Real (1950-1965), the Asahi New Artist Exhibition, the Asahi Selected Exhibition and the Contemporary Japanese Art Exhibition. Trends in Contemporary Painting (1963), and Today’s Artists ’64 (1964). From 1978 onward, he participated almost annually in the Ge Exhibition. In 1986, he was featured in A Section of Postwar Nihonga at Yamaguchi Prefectural Art Museum. A major retrospective, Kyoto Art: Yesterday, Today, Tomorrow III – Nomura Ko, was held at Kyoto City Museum of Art in 1989. His work was posthumously included in The Turning Point of Postwar Nihonga at Tochigi Prefectural Museum of Fine Arts in 1993, confirming his pivotal role in transforming postwar Nihonga. Work by him is held in the collections of The Kyoto National Museum of Modern Art, Fukui Fine Arts Museum, Kariya City Art Museum, Kyoto City Kyocera Museum of Art, Meguro Museum of Art in Tokyo, Nara Prefectural Museum of Art, Osaka Nakanoshima Museum of Art, Osaka Prefectural 20th Century Art Collection, Tochigi Prefectural Museum of Art, Toyohashi City Museum of Art, Wakayama Museum of Modern Art, Yamaguchi Prefectural Art Museum, Sakuragaoka Museum, The, Kyoto University Art Museum and Kyoto City University of Arts among others.\u003cbr\u003e\u003c\/p\u003e","brand":"Nomura Ko","offers":[{"title":"Default Title","offer_id":50602409656567,"sku":"NK3","price":600.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2025-08-2703.29.38.jpg?v=1773630032"},{"product_id":"frottage-composition-1984-ー野村-耕-線","title":"Frottage Composition, 1984 ー野村 耕 “線”","description":"\u003cp\u003eA frottage work by Nomura Ko mounted in a frame inscribed S59.1.2, (Jan. 2 1984) and signed K. Nomura. This work emerges from Nomura Kō’s sustained exploration of the frottage technique in which surfaces are rubbed to transfer their textures onto paper. Rather than depicting objects directly, the artist allows fragments of the physical world—textiles, carved patterns, architectural reliefs, printed matter, and organic textures—to imprint themselves through graphite and pigment. The resulting composition is not constructed in the traditional sense; it is revealed through accumulation. Color—primarily shifting bands of green, yellow, and muted violet—washes across the layered rubbings, binding disparate textures into a unified atmospheric field. Within this dense terrain, figurative elements gradually emerge: a robed standing figure near the center, a reclining nude along the lower edge, and ghostlike repetitions of bodies moving across the upper register. These figures do not dominate the composition but seem to surface momentarily from the surrounding textures, as if discovered within the material itself. Through frottage, Nomura relinquishes full authorial control, allowing the material world to participate directly in the act of image-making. The work becomes a site where chance, texture, and memory intersect, echoing the Surrealist pursuit of automatism while resonating with long-standing Japanese sensibilities that value the accidental trace and the revelation of hidden forms. Mixed media on paper, it is 44.5 x 59.5 cm (16 x 24 inches) and is in excellent condtion. The frame is 58.7 x 76.7 x 2.4 cm (23 x 30-1\/2 x 1 inches). If shipped without the frame an appropriate discount will be offered.\u003c\/p\u003e\n\u003cp\u003eNomura Ko (1927–1991) was born in Kyoto and graduated from the Nihonga Department of Kyoto Municipal College of Art in 1948. In 1950 he joined the Pan Real Art Association (until 1965), establishing himself as a significant figure in the postwar avant-garde movement in Japanese-style painting. Initially influenced by Surrealism, he shifted in the later 1950s toward abstraction and collage, employing unconventional materials such as newspaper printing molds, industrial waste, slate, and cement. From the mid 60”s he was driven beyond the framework to be a pioneer in installation exhibition, creating one-time works which allowed the room to be the frame. Through materially driven works and these later three-dimensional and spatial constructions, Nomura fundamentally redefined the physical and conceptual boundaries of Nihonga. His major exhibition history includes the aforementioned Pan Real (1950-1965), the Asahi New Artist Exhibition, the Asahi Selected Exhibition and the Contemporary Japanese Art Exhibition. Trends in Contemporary Painting (1963), and Today’s Artists ’64 (1964). From 1978 onward, he participated almost annually in the Ge Exhibition. In 1986, he was featured in A Section of Postwar Nihonga at Yamaguchi Prefectural Art Museum. A major retrospective, Kyoto Art: Yesterday, Today, Tomorrow III – Nomura Ko, was held at Kyoto City Museum of Art in 1989. His work was posthumously included in The Turning Point of Postwar Nihonga at Tochigi Prefectural Museum of Fine Arts in 1993, confirming his pivotal role in transforming postwar Nihonga. Work by him is held in the collections of The Kyoto National Museum of Modern Art, Fukui Fine Arts Museum, Kariya City Art Museum, Kyoto City Kyocera Museum of Art, Meguro Museum of Art in Tokyo, Nara Prefectural Museum of Art, Osaka Nakanoshima Museum of Art, Osaka Prefectural 20th Century Art Collection, Tochigi Prefectural Museum of Art, Toyohashi City Museum of Art, Wakayama Museum of Modern Art, Yamaguchi Prefectural Art Museum, Sakuragaoka Museum, The, Kyoto University Art Museum and Kyoto City University of Arts among others.\u003cbr\u003e\u003c\/p\u003e","brand":"Nomura Ko","offers":[{"title":"Default Title","offer_id":50602418143479,"sku":"NK23","price":3200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2025-08-2708.23.10.jpg?v=1773630282"},{"product_id":"mid-century-avant-garde-mixed-media-collage-ー三上-誠","title":"Mid-century Avant Garde Mixed Media Collage ー三上 誠","description":"\u003cp\u003eA Collage on a wooden panel of mechanical design by Mikami Makoto of the radical Pan Real Art Association dating circa 1960 mounted in the original frame. The work is 21.6 x 45.7 (8-1\/2 x18 inches). The frame is 40.5 x 65.7 x 5 cm (16 x 26 x 2 inches). As is visible in the photographs, there are minor cracks in the surface typical of the era.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eMikami Makoto (1919-1972) Born in Osaka and raised in Fukui, he failed the entrance exam for the Oil Painting Department of Tokyo School of Fine Arts in 1940 and entered the preparatory course of the Nihonga Department at Kyoto City School of Painting. He graduated from the main course in 1944 and became an assistant at the same school. He co-founded the Panreal Art Association, together with Hoshino Shingo and Yamazaki Takashi. He played a central role in the association, drafting its declaration and became its president in 1951.  After contracting tuberculosis, he created many works depicting deformed or fragmented human bodies, often recalling his surgical and medical experiences, in addition to works incorporating unconventional materials such as straw rope, cardboard, and wood fragments. His art evolved from surrealist-inspired works to abstract collage pieces, culminating in a unique style influenced by Eastern medicine used in his treatment. From 1952, he returned to Fukui for convalescence, and from 1958 to 1970, he taught as a part-time lecturer at the Faculty of Liberal Arts, Fukui University. He suffered a recurrence of pulmonary tuberculosis in 1971 and passed away the following year. Except for periods of treatment and surgery for pulmonary tuberculosis, he continued to exhibit in Panreal exhibitions until his death. His works are held in the collections of Museum of Contemporary Art Tokyo, Niigata Prefectural Museum of Modern Art, Fukui Fine Arts Museum, Toyohashi City Museum of Art \u0026amp; History, The National Museum of Modern Art, Kyoto.\u003cbr\u003e\u003c\/p\u003e","brand":"Mikami Makoto","offers":[{"title":"Default Title","offer_id":50602427056375,"sku":"NK35","price":950.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/R11MikamiMakoto.jpg?v=1773630533"},{"product_id":"mid-century-print-mold-collage-ー野村-耕-それら","title":"Mid-century Print Mold Collage ー野村 耕 “それら”","description":"\u003cp\u003eA collage in dark earth tones fractured with black edges by Nomura Ko dating from the late 1950s to early 1960s. Text is deeply impressed into the soft sponge like surface of the printing Flongs which have been torn and layered to form the panel mounted on wood. It is 41.5 x 32 x 2.5 cm (16-1\/2 x 12-3\/4 x 1 inches) and is in overall excellent condition.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eNomura Ko (1927–1991) was born in Kyoto and graduated from the Nihonga Department of Kyoto Municipal College of Art in 1948. In 1950 he joined the Pan Real Art Association (until 1965), establishing himself as a significant figure in the postwar avant-garde movement in Japanese-style painting. Initially influenced by Surrealism, he shifted in the later 1950s toward abstraction and collage, employing unconventional materials such as newspaper printing molds, industrial waste, slate, and cement. From the mid 60”s he was driven beyond the framework to be a pioneer in installation exhibition, creating one-time works which allowed the room to be the frame. Through materially driven works and these later three-dimensional and spatial constructions, Nomura fundamentally redefined the physical and conceptual boundaries of Nihonga. His major exhibition history includes the aforementioned Pan Real (1950-1965), the Asahi New Artist Exhibition, the Asahi Selected Exhibition and the Contemporary Japanese Art Exhibition. Trends in Contemporary Painting (1963), and Today’s Artists ’64 (1964). From 1978 onward, he participated almost annually in the Ge Exhibition. In 1986, he was featured in A Section of Postwar Nihonga at Yamaguchi Prefectural Art Museum. A major retrospective, Kyoto Art: Yesterday, Today, Tomorrow III – Nomura Ko, was held at Kyoto City Museum of Art in 1989. His work was posthumously included in The Turning Point of Postwar Nihonga at Tochigi Prefectural Museum of Fine Arts in 1993, confirming his pivotal role in transforming postwar Nihonga. Work by him is held in the collections of The Kyoto National Museum of Modern Art, Fukui Fine Arts Museum, Kariya City Art Museum, Kyoto City Kyocera Museum of Art, Meguro Museum of Art in Tokyo, Nara Prefectural Museum of Art, Osaka Nakanoshima Museum of Art, Osaka Prefectural 20th Century Art Collection, Tochigi Prefectural Museum of Art, Toyohashi City Museum of Art, Wakayama Museum of Modern Art, Yamaguchi Prefectural Art Museum, Sakuragaoka Museum, The, Kyoto University Art Museum and Kyoto City University of Arts among others.\u003cbr\u003e\u003c\/p\u003e","brand":"Nomura Ko","offers":[{"title":"Default Title","offer_id":50602427580663,"sku":"NK24","price":4800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2025-08-3101.44.38.jpg?v=1773630906"},{"product_id":"large-avant-garde-print-ink-work-circa-1960-ー野村-耕","title":"Large Avant-garde Print Ink-work, circa 1960 ー野村 耕","description":"\u003cp\u003eA large Museum quality framed work by Nomura Ko of printing ink likely from the dacalocomanie technique in the surrealist oeuvre. Colored ink on papermounted no black paper on a wooden panel in an artist made frame dating circa 1960. It is 91.7 x 61.4 x 3.8 cm (36 x 24 x 1-1\/2 inches) and is in overall excellent condition.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eNomura Ko (1927–1991) was born in Kyoto and graduated from the Nihonga Department of Kyoto Municipal College of Art in 1948. In 1950 he joined the Pan Real Art Association (until 1965), establishing himself as a significant figure in the postwar avant-garde movement in Japanese-style painting. Initially influenced by Surrealism, he shifted in the later 1950s toward abstraction and collage, employing unconventional materials such as newspaper printing molds, industrial waste, slate, and cement. From the mid 60”s he was driven beyond the framework to be a pioneer in installation exhibition, creating one-time works which allowed the room to be the frame. Through materially driven works and these later three-dimensional and spatial constructions, Nomura fundamentally redefined the physical and conceptual boundaries of Nihonga. His major exhibition history includes the aforementioned Pan Real (1950-1965), the Asahi New Artist Exhibition, the Asahi Selected Exhibition and the Contemporary Japanese Art Exhibition. Trends in Contemporary Painting (1963), and Today’s Artists ’64 (1964). From 1978 onward, he participated almost annually in the Ge Exhibition. In 1986, he was featured in A Section of Postwar Nihonga at Yamaguchi Prefectural Art Museum. A major retrospective, Kyoto Art: Yesterday, Today, Tomorrow III – Nomura Ko, was held at Kyoto City Museum of Art in 1989. His work was posthumously included in The Turning Point of Postwar Nihonga at Tochigi Prefectural Museum of Fine Arts in 1993, confirming his pivotal role in transforming postwar Nihonga. Work by him is held in the collections of The Kyoto National Museum of Modern Art, Fukui Fine Arts Museum, Kariya City Art Museum, Kyoto City Kyocera Museum of Art, Meguro Museum of Art in Tokyo, Nara Prefectural Museum of Art, Osaka Nakanoshima Museum of Art, Osaka Prefectural 20th Century Art Collection, Tochigi Prefectural Museum of Art, Toyohashi City Museum of Art, Wakayama Museum of Modern Art, Yamaguchi Prefectural Art Museum, Sakuragaoka Museum, The, Kyoto University Art Museum and Kyoto City University of Arts among others.\u003cbr\u003e\u003c\/p\u003e","brand":"Nomura Ko","offers":[{"title":"Default Title","offer_id":50618091897079,"sku":"NK12","price":8800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2025-08-2707.35.20.jpg?v=1774250796"},{"product_id":"early-study-of-a-nude-1940s-ー野村-耕-素描-裸婦","title":"Early Study of a Nude, 1940s ー野村 耕 素描 “裸婦”","description":"\u003cp\u003eThe work is framed and accompanied by its original storage box. An original early sketch on paper of a nude by important post war avant garde artist Nomura Ko enclosed in a frame dating from the 1940s. The work is framed and enclosed by a card storage box. It is accompanied by an authentication label affixed to the reverse by the artist’s son, Nomura Yukihiro. The frame is 55.5 x 43.3 x 2 cm (22 x 17 x 1 inches), the work itself is 25 x 35.5 cm (10 x 14-1\/8 inches). Originally a thick sketching paper from the poor, war to post war era, it has mellowed with age.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eIf shipped without the frame the price will be slightly reduced to compensate.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eNomura Ko (1927–1991) was born in Kyoto and graduated from the Nihonga Department of Kyoto Municipal College of Art in 1948. In 1950 he joined the Pan Real Art Association (until 1965), establishing himself as a significant figure in the postwar avant-garde movement in Japanese-style painting. Initially influenced by Surrealism, he shifted in the later 1950s toward abstraction and collage, employing unconventional materials such as newspaper printing molds, industrial waste, slate, and cement. From the mid 60”s he was driven beyond the framework to be a pioneer in installation exhibition, creating one-time works which allowed the room to be the frame. Through materially driven works and these later three-dimensional and spatial constructions, Nomura fundamentally redefined the physical and conceptual boundaries of Nihonga. His major exhibition history includes the aforementioned Pan Real (1950-1965), the Asahi New Artist Exhibition, the Asahi Selected Exhibition and the Contemporary Japanese Art Exhibition. Trends in Contemporary Painting (1963), and Today’s Artists ’64 (1964). From 1978 onward, he participated almost annually in the Ge Exhibition. In 1986, he was featured in A Section of Postwar Nihonga at Yamaguchi Prefectural Art Museum. A major retrospective, Kyoto Art: Yesterday, Today, Tomorrow III – Nomura Ko, was held at Kyoto City Museum of Art in 1989. His work was posthumously included in The Turning Point of Postwar Nihonga at Tochigi Prefectural Museum of Fine Arts in 1993, confirming his pivotal role in transforming postwar Nihonga. Work by him is held in the collections of The Kyoto National Museum of Modern Art, Fukui Fine Arts Museum, Kariya City Art Museum, Kyoto City Kyocera Museum of Art, Meguro Museum of Art in Tokyo, Nara Prefectural Museum of Art, Osaka Nakanoshima Museum of Art, Osaka Prefectural 20th Century Art Collection, Tochigi Prefectural Museum of Art, Toyohashi City Museum of Art, Wakayama Museum of Modern Art, Yamaguchi Prefectural Art Museum, Sakuragaoka Museum, The, Kyoto University Art Museum and Kyoto City University of Arts among others.\u003cbr\u003e\u003c\/p\u003e","brand":"Nomura Ko","offers":[{"title":"Default Title","offer_id":50618092847351,"sku":"NK22","price":700.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2025-08-27_08.17.44.jpg?v=1774251169"},{"product_id":"hanging-scroll-3-persimmons-ink-painting-ー野村-耕","title":"Hanging Scroll, 3 Persimmons (Ink Painting) ー野村 耕","description":"\u003cp\u003eAn image of three persimmons in ghostly washes of semi-transparent black by Nomura Ko mounted as a hanging scroll. Nomura Ko had a lifelong interest in Japanese Zen Buddhist practice and its iconography. Persimmons are a profound symbol in Zen Buddhism and Japanese aesthetics, representing transformation, imperfection, and the beauty of the mundane. The most iconic example of this imagery is the 13th-century ink painting \"Six Persimmons\" by Chinese Chan (Zen) Monk Muqi which is often considered the \"poster child\" of Zen art. The painting illustrates the Zen ideal of finding the sacred in the ordinary. Its simplistic, spontaneous style (calligraphic brushwork) is meant to be experienced directly, like meditation, rather than analyzed intellectually. The focus on the empty space between the fruits evokes the Zen concept of Mu (nothingness or void). Persimmons are a spiritual metaphor for transformation. The fruit is bitter when unripe (representing ignorance) but becomes sweet and soft as it matures and fully ripens (representing wisdom and enlightenment). The fruits are depicted in autumn, a season of decay, representing transience, yet they are dried and eaten throughout the winter, providing sustenance for the time of rebirth. Ink on paper in a dark border with lacquered wooden rollers, the artists seal is affixed to the back of the scroll. The scroll is 59 x 119 cm (23-1\/2 x 47 inches) and is in perfect condition, directly from the family collection.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eNomura Ko (1927–1991) was born in Kyoto and graduated from the Nihonga Department of Kyoto Municipal College of Art in 1948. In 1950 he joined the Pan Real Art Association (until 1965), establishing himself as a significant figure in the postwar avant-garde movement in Japanese-style painting. Initially influenced by Surrealism, he shifted in the later 1950s toward abstraction and collage, employing unconventional materials such as newspaper printing molds, industrial waste, slate, and cement. From the mid 60”s he was driven beyond the framework to be a pioneer in installation exhibition, creating one-time works which allowed the room to be the frame. Through materially driven works and these later three-dimensional and spatial constructions, Nomura fundamentally redefined the physical and conceptual boundaries of Nihonga. His major exhibition history includes the aforementioned Pan Real (1950-1965), the Asahi New Artist Exhibition, the Asahi Selected Exhibition and the Contemporary Japanese Art Exhibition. Trends in Contemporary Painting (1963), and Today’s Artists ’64 (1964). From 1978 onward, he participated almost annually in the Ge Exhibition. In 1986, he was featured in A Section of Postwar Nihonga at Yamaguchi Prefectural Art Museum. A major retrospective, Kyoto Art: Yesterday, Today, Tomorrow III – Nomura Ko, was held at Kyoto City Museum of Art in 1989. His work was posthumously included in The Turning Point of Postwar Nihonga at Tochigi Prefectural Museum of Fine Arts in 1993, confirming his pivotal role in transforming postwar Nihonga. Work by him is held in the collections of The Kyoto National Museum of Modern Art, Fukui Fine Arts Museum, Kariya City Art Museum, Kyoto City Kyocera Museum of Art, Meguro Museum of Art in Tokyo, Nara Prefectural Museum of Art, Osaka Nakanoshima Museum of Art, Osaka Prefectural 20th Century Art Collection, Tochigi Prefectural Museum of Art, Toyohashi City Museum of Art, Wakayama Museum of Modern Art, Yamaguchi Prefectural Art Museum, Sakuragaoka Museum, The, Kyoto University Art Museum and Kyoto City University of Arts among others.\u003cbr\u003e\u003c\/p\u003e","brand":"Nomura Ko","offers":[{"title":"Default Title","offer_id":50618098090231,"sku":"NK52","price":1200.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/NK52.jpg?v=1774251913"},{"product_id":"mid-century-surrealist-eye-series-painting-ー三上-誠","title":"Mid-century Surrealist Eye Series Painting ー三上 誠","description":"\u003cp\u003eA raw mid-century acrylic on paper, mounted on a wooden panel depicting an eye filled with various abstract shapes by Mikami Makoto of the Avant-garde Pan Real Art Organization. It measures 33.3 x 24.5 x 2.5 cm (13 x 10 x 1 inches). There is wear to the edges typical of an unframed paper artwork of the era.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eMikami Makoto (1919-1972) Born in Osaka and raised in Fukui, he failed the entrance exam for the Oil Painting Department of Tokyo School of Fine Arts in 1940 and entered the preparatory course of the Nihonga Department at Kyoto City School of Painting. He graduated from the main course in 1944 and became an assistant at the same school. He co-founded the Panreal Art Association, together with Hoshino Shingo and Yamazaki Takashi. He played a central role in the association, drafting its declaration and became its president in 1951.  After contracting tuberculosis, he created many works depicting deformed or fragmented human bodies, often recalling his surgical and medical experiences, in addition to works incorporating unconventional materials such as straw rope, cardboard, and wood fragments. His art evolved from surrealist-inspired works to abstract collage pieces, culminating in a unique style influenced by Eastern medicine used in his treatment. From 1952, he returned to Fukui for convalescence, and from 1958 to 1970, he taught as a part-time lecturer at the Faculty of Liberal Arts, Fukui University. He suffered a recurrence of pulmonary tuberculosis in 1971 and passed away the following year. Except for periods of treatment and surgery for pulmonary tuberculosis, he continued to exhibit in Panreal exhibitions until his death. His works are held in the collections of Museum of Contemporary Art Tokyo, Niigata Prefectural Museum of Modern Art, Fukui Fine Arts Museum, Toyohashi City Museum of Art \u0026amp; History, The National Museum of Modern Art, Kyoto.\u003cbr\u003e\u003c\/p\u003e","brand":"Mikami Makoto","offers":[{"title":"Default Title","offer_id":50618151305463,"sku":"NK33","price":450.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2025-12-1506.00.45.jpg?v=1774252115"},{"product_id":"mounted-hanging-scroll-seasonal-vegetables-ー野村-耕","title":"Mounted Hanging Scroll, Seasonal Vegetables ー野村 耕","description":"\u003cp\u003eAn image of colorful onions and eggplants by Nomura Ko mounted as a hanging scroll. Nomura Ko had a lifelong affininty for sketching, and seasonal foods were a significant part of his body of sketches, very different from the avant garde works for which he is remembered, but they show a man deeply rooted in a traditional lifestyle distinctly aware of the transience of time. In Japanese culture, both eggplants and onions hold significant places in the culinary calendar, representing the concept of shun or eating ingredients at their absolute peak of flavor and freshness. Pigment on paper in a dark border with lacquered wooden rollers, the artists seal is affixed to the back of the scroll. The scroll is 59 x 119 cm (23-1\/2 x 47 inches) and is in perfect condition, directly freom the family collection.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eNomura Ko (1927–1991) was born in Kyoto and graduated from the Nihonga Department of Kyoto Municipal College of Art in 1948. In 1950 he joined the Pan Real Art Association (until 1965), establishing himself as a significant figure in the postwar avant-garde movement in Japanese-style painting. Initially influenced by Surrealism, he shifted in the later 1950s toward abstraction and collage, employing unconventional materials such as newspaper printing molds, industrial waste, slate, and cement. From the mid 60”s he was driven beyond the framework to be a pioneer in installation exhibition, creating one-time works which allowed the room to be the frame. Through materially driven works and these later three-dimensional and spatial constructions, Nomura fundamentally redefined the physical and conceptual boundaries of Nihonga. His major exhibition history includes the aforementioned Pan Real (1950-1965), the Asahi New Artist Exhibition, the Asahi Selected Exhibition and the Contemporary Japanese Art Exhibition. Trends in Contemporary Painting (1963), and Today’s Artists ’64 (1964). From 1978 onward, he participated almost annually in the Ge Exhibition. In 1986, he was featured in A Section of Postwar Nihonga at Yamaguchi Prefectural Art Museum. A major retrospective, Kyoto Art: Yesterday, Today, Tomorrow III – Nomura Ko, was held at Kyoto City Museum of Art in 1989. His work was posthumously included in The Turning Point of Postwar Nihonga at Tochigi Prefectural Museum of Fine Arts in 1993, confirming his pivotal role in transforming postwar Nihonga. Work by him is held in the collections of The Kyoto National Museum of Modern Art, Fukui Fine Arts Museum, Kariya City Art Museum, Kyoto City Kyocera Museum of Art, Meguro Museum of Art in Tokyo, Nara Prefectural Museum of Art, Osaka Nakanoshima Museum of Art, Osaka Prefectural 20th Century Art Collection, Tochigi Prefectural Museum of Art, Toyohashi City Museum of Art, Wakayama Museum of Modern Art, Yamaguchi Prefectural Art Museum, Sakuragaoka Museum, The, Kyoto University Art Museum and Kyoto City University of Arts among others.\u003cbr\u003e\u003c\/p\u003e","brand":"Nomura Ko","offers":[{"title":"Default Title","offer_id":50652020343031,"sku":"NK53","price":1200.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/NK53.jpg?v=1775011466"},{"product_id":"newspaper-printing-flong-collage-red-ー野村-耕","title":"Newspaper Printing Flong Collage (Red) ー野村 耕","description":"\u003cp\u003eThis work belongs to Nomura Kō’s striking series of collages constructed from discarded newspaper printing flongs—papier-mâché molds used in rotary newspaper presses to cast printing plates. Removed from their original industrial function, these fragile matrices become both image and artifact: a fossilization of a moment in time. The deep vermilion pigment saturating the surface unifies the disparate elements while simultaneously revealing their relief. Perforated industrial textures punctuate the composition, introducing a mechanical rhythm that contrasts with the torn and irregular edges of the paper forms. Materials associated with mass communication and rapid consumption are slowed and recontextualized, what once served the fleeting circulation of daily news becomes a fixed object of memory. Like many works in this series, the piece occupies a threshold between image, object, and imprint. It is at once collage, relief, and record—a material trace of the systems that produce information, reassembled by the artist into a new visual language.The work is 27 x 22 cm (11 x 9 inches) the frame 44.8 x 35.4 x 4.6 (roughly 18 x 14 x 2 inches) and both are in excellent condition. An authentication label is affixed to the reverse by the artist’s wife, Nomura Koyuki.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eNomura Ko (1927–1991) was born in Kyoto and graduated from the Nihonga Department of Kyoto Municipal College of Art in 1948. In 1950 he joined the Pan Real Art Association (until 1965), establishing himself as a significant figure in the postwar avant-garde movement in Japanese-style painting. Initially influenced by Surrealism, he shifted in the later 1950s toward abstraction and collage, employing unconventional materials such as newspaper printing molds, industrial waste, slate, and cement. From the mid 60”s he was driven beyond the framework to be a pioneer in installation exhibition, creating one-time works which allowed the room to be the frame. Through materially driven works and these later three-dimensional and spatial constructions, Nomura fundamentally redefined the physical and conceptual boundaries of Nihonga. His major exhibition history includes the aforementioned Pan Real (1950-1965), the Asahi New Artist Exhibition, the Asahi Selected Exhibition and the Contemporary Japanese Art Exhibition. Trends in Contemporary Painting (1963), and Today’s Artists ’64 (1964). From 1978 onward, he participated almost annually in the Ge Exhibition. In 1986, he was featured in A Section of Postwar Nihonga at Yamaguchi Prefectural Art Museum. A major retrospective, Kyoto Art: Yesterday, Today, Tomorrow III – Nomura Ko, was held at Kyoto City Museum of Art in 1989. His work was posthumously included in The Turning Point of Postwar Nihonga at Tochigi Prefectural Museum of Fine Arts in 1993, confirming his pivotal role in transforming postwar Nihonga. Work by him is held in the collections of The Kyoto National Museum of Modern Art, Fukui Fine Arts Museum, Kariya City Art Museum, Kyoto City Kyocera Museum of Art, Meguro Museum of Art in Tokyo, Nara Prefectural Museum of Art, Osaka Nakanoshima Museum of Art, Osaka Prefectural 20th Century Art Collection, Tochigi Prefectural Museum of Art, Toyohashi City Museum of Art, Wakayama Museum of Modern Art, Yamaguchi Prefectural Art Museum, Sakuragaoka Museum, The, Kyoto University Art Museum and Kyoto City University of Arts among others.\u003cbr\u003e\u003c\/p\u003e","brand":"Nomura Ko","offers":[{"title":"Default Title","offer_id":50652021162231,"sku":"NK7","price":3300.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2025-08-2705.35.26.jpg?v=1775011736"},{"product_id":"untitled-newspaper-flong-collage-september-1958-ー野村-耕","title":"Untitled Newspaper Flong Collage, September 1958 ー野村 耕","description":"\u003cp\u003eThis large early collage belongs to Nomura Kō’s pioneering experiments with discarded newspaper printing flongs—papier-mâché matrices used in rotary press production to create metal printing plates. Removed from the industrial cycle of rapid reproduction, these fragile molds become the structural substance of the work itself. Their raised typographic surfaces, fragments of headlines, tables, advertisements, and diagrams preserving the physical memory of mass communication. Across the surface Nomura arranges the torn fragments in horizontal bands whose jagged edges form a continuous rhythm of serrated peaks. The repeated zig-zag contour evokes a mountainous landscape, transforming the remnants of printed information into a topography of forgotten days. Beneath these layered silhouettes, the relief textures of Japanese characters, numerical grids, and graphic blocks emerge intermittently, like archaeological strata exposed through erosion. The palette remains deliberately restrained—subtle tones of aged paper, pale paste, and darkened ink residue—allowing the physical qualities of the material to dominate. The torn edges reveal the fibrous structure of the flongs themselves, while traces of adhesive and press marks record the process of assembly. Created in 1958, the work reflects the broader experimental climate of the Japanese avant-garde in the postwar period, when artists sought new materials and processes capable of breaking from conventional painting. Nomura’s use of printing debris parallels the era’s interest in automatism, chance, and material immediacy. Rather than representing the modern city, he incorporates its discarded communicative structures directly into the artwork. In doing so, Nomura transforms the ephemeral matter of daily news—information intended to circulate briefly and then vanish—into a quiet and enduring record of the systems that produced it. The result is both materially austere and conceptually rich: a landscape composed not of earth and stone, but of language, information, and the fragile surfaces through which modern society speaks. The work is framed and inscribed on the reverse with the date September 1958 and the artist’s name. Mounted on a wood panel with a simple wood frame, it is 56.7 x 77.5 x 3.3 (22-1\/2 x 31-1\/2 x 1-1\/2 inches) and is in overall excellent condition. It was exhibited at Kyoto’s galerie 16 in a retrospective held in 1981.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eNomura Ko (1927–1991) was born in Kyoto and graduated from the Nihonga Department of Kyoto Municipal College of Art in 1948. In 1950 he joined the Pan Real Art Association (until 1965), establishing himself as a significant figure in the postwar avant-garde movement in Japanese-style painting. Initially influenced by Surrealism, he shifted in the later 1950s toward abstraction and collage, employing unconventional materials such as newspaper printing molds, industrial waste, slate, and cement. From the mid 60”s he was driven beyond the framework to be a pioneer in installation exhibition, creating one-time works which allowed the room to be the frame. Through materially driven works and these later three-dimensional and spatial constructions, Nomura fundamentally redefined the physical and conceptual boundaries of Nihonga. His major exhibition history includes the aforementioned Pan Real (1950-1965), the Asahi New Artist Exhibition, the Asahi Selected Exhibition and the Contemporary Japanese Art Exhibition. Trends in Contemporary Painting (1963), and Today’s Artists ’64 (1964). From 1978 onward, he participated almost annually in the Ge Exhibition. In 1986, he was featured in A Section of Postwar Nihonga at Yamaguchi Prefectural Art Museum. A major retrospective, Kyoto Art: Yesterday, Today, Tomorrow III – Nomura Ko, was held at Kyoto City Museum of Art in 1989. His work was posthumously included in The Turning Point of Postwar Nihonga at Tochigi Prefectural Museum of Fine Arts in 1993, confirming his pivotal role in transforming postwar Nihonga. Work by him is held in the collections of The Kyoto National Museum of Modern Art, Fukui Fine Arts Museum, Kariya City Art Museum, Kyoto City Kyocera Museum of Art, Meguro Museum of Art in Tokyo, Nara Prefectural Museum of Art, Osaka Nakanoshima Museum of Art, Osaka Prefectural 20th Century Art Collection, Tochigi Prefectural Museum of Art, Toyohashi City Museum of Art, Wakayama Museum of Modern Art, Yamaguchi Prefectural Art Museum, Sakuragaoka Museum, The, Kyoto University Art Museum and Kyoto City University of Arts among others.\u003cbr\u003e\u003c\/p\u003e","brand":"Nomura Ko","offers":[{"title":"Default Title","offer_id":50652022276343,"sku":"NK10","price":8500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2025-08-2706.12.18.jpg?v=1775012341"},{"product_id":"paper-print-collage-circa-1965-ー野村-耕","title":"Paper Print Collage, circa 1965 ー野村 耕","description":"\u003cp\u003eAn unusual collage in stark black and white contrast made up of paper printing flongs depicting circular motifs over deeply impressed kanji charactersby Nomura Ko. A flong is a type of paper mold impressed with the newsprint used in the pre-digital printing process which would have been discarded after production. Mounted on a wooden panel, it is 33.3 x 26 x 3.5 cm (13-1\/2 x 10-1\/2 x 1-1\/4 inches). There are chips to the brittle edges of the black, and wear about the unprotected edges of the work.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eNomura Ko (1927–1991) was born in Kyoto and graduated from the Nihonga Department of Kyoto Municipal College of Art in 1948. In 1950 he joined the Pan Real Art Association (until 1965), establishing himself as a significant figure in the postwar avant-garde movement in Japanese-style painting. Initially influenced by Surrealism, he shifted in the later 1950s toward abstraction and collage, employing unconventional materials such as newspaper printing molds, industrial waste, slate, and cement. From the mid 60”s he was driven beyond the framework to be a pioneer in installation exhibition, creating one-time works which allowed the room to be the frame. Through materially driven works and these later three-dimensional and spatial constructions, Nomura fundamentally redefined the physical and conceptual boundaries of Nihonga. His major exhibition history includes the aforementioned Pan Real (1950-1965), the Asahi New Artist Exhibition, the Asahi Selected Exhibition and the Contemporary Japanese Art Exhibition. Trends in Contemporary Painting (1963), and Today’s Artists ’64 (1964). From 1978 onward, he participated almost annually in the Ge Exhibition. In 1986, he was featured in A Section of Postwar Nihonga at Yamaguchi Prefectural Art Museum. A major retrospective, Kyoto Art: Yesterday, Today, Tomorrow III – Nomura Ko, was held at Kyoto City Museum of Art in 1989. His work was posthumously included in The Turning Point of Postwar Nihonga at Tochigi Prefectural Museum of Fine Arts in 1993, confirming his pivotal role in transforming postwar Nihonga. Work by him is held in the collections of The Kyoto National Museum of Modern Art, Fukui Fine Arts Museum, Kariya City Art Museum, Kyoto City Kyocera Museum of Art, Meguro Museum of Art in Tokyo, Nara Prefectural Museum of Art, Osaka Nakanoshima Museum of Art, Osaka Prefectural 20th Century Art Collection, Tochigi Prefectural Museum of Art, Toyohashi City Museum of Art, Wakayama Museum of Modern Art, Yamaguchi Prefectural Art Museum, Sakuragaoka Museum, The, Kyoto University Art Museum and Kyoto City University of Arts among others.\u003cbr\u003e\u003c\/p\u003e","brand":"Nomura Ko","offers":[{"title":"Default Title","offer_id":50662124519671,"sku":"NK47","price":2000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2026-01-1416.05.36.jpg?v=1775355917"},{"product_id":"untitled-cashew-series-work-1960-ー野村-耕","title":"Untitled Cashew Series Work, 1960 ー野村 耕","description":"\u003cp\u003eA wood tablet covered in colored cashew lacquer by Nomura Ko in the original artist frame signed and dated 1960 both on front and back. The frame is 53 x 38 x 4.1 (21 x 15-1\/4 x 1-3\/4 inches) while the art contained is 15 x 9 x 0.4 (6 x 3-1\/2 x 1\/8 of an inch) and it is in excellent condition. There is some minor dirtiness and age staining to the surrounding white mat board. Nomura Ko was highly experimental and fascinated by new materials. The cashew series was a one-off series performed in 1960, and we are fortunate to have two of these rare works in this show. It is accompanied by an authentication label stamped by Nomura from Sima Gallery where the original exhibition was held in 1960.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eNomura Ko (1927–1991) was born in Kyoto and graduated from the Nihonga Department of Kyoto Municipal College of Art in 1948. In 1950 he joined the Pan Real Art Association (until 1965), establishing himself as a significant figure in the postwar avant-garde movement in Japanese-style painting. Initially influenced by Surrealism, he shifted in the later 1950s toward abstraction and collage, employing unconventional materials such as newspaper printing molds, industrial waste, slate, and cement. From the mid 60”s he was driven beyond the framework to be a pioneer in installation exhibition, creating one-time works which allowed the room to be the frame. Through materially driven works and these later three-dimensional and spatial constructions, Nomura fundamentally redefined the physical and conceptual boundaries of Nihonga. His major exhibition history includes the aforementioned Pan Real (1950-1965), the Asahi New Artist Exhibition, the Asahi Selected Exhibition and the Contemporary Japanese Art Exhibition. Trends in Contemporary Painting (1963), and Today’s Artists ’64 (1964). From 1978 onward, he participated almost annually in the Ge Exhibition. In 1986, he was featured in A Section of Postwar Nihonga at Yamaguchi Prefectural Art Museum. A major retrospective, Kyoto Art: Yesterday, Today, Tomorrow III – Nomura Ko, was held at Kyoto City Museum of Art in 1989. His work was posthumously included in The Turning Point of Postwar Nihonga at Tochigi Prefectural Museum of Fine Arts in 1993, confirming his pivotal role in transforming postwar Nihonga. Work by him is held in the collections of The Kyoto National Museum of Modern Art, Fukui Fine Arts Museum, Kariya City Art Museum, Kyoto City Kyocera Museum of Art, Meguro Museum of Art in Tokyo, Nara Prefectural Museum of Art, Osaka Nakanoshima Museum of Art, Osaka Prefectural 20th Century Art Collection, Tochigi Prefectural Museum of Art, Toyohashi City Museum of Art, Wakayama Museum of Modern Art, Yamaguchi Prefectural Art Museum, Sakuragaoka Museum, The, Kyoto University Art Museum and Kyoto City University of Arts among others.\u003cbr\u003e\u003c\/p\u003e","brand":"Nomura Ko","offers":[{"title":"Default Title","offer_id":50662983041271,"sku":"NK6","price":2400.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2025-08-2702.57.29.jpg?v=1775440921"},{"product_id":"hanging-scroll-wild-chrysanthemum-sketch-ー野村-耕-野菊","title":"Hanging Scroll, Wild Chrysanthemum Sketch ー野村 耕 \"野菊\"","description":"\u003cp\u003eA delicately rendered image of wild chrysanthemum by Nomura Ko mounted as a hanging scroll enclosed in a wooden box signed by the artist’s son, Nomura Yukihiro titled Nogiku. Ink and light pigment on paper mounted in pale cloth extended with beige featuring hard-wood rollers. It is 43 x 131.5 cm (17 x 51-3\/4 inches) and has been freshly mounted by the famous Gihodo mounting studio of Kyoto.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eNomura Ko (1927–1991) was born in Kyoto and graduated from the Nihonga Department of Kyoto Municipal College of Art in 1948. In 1950 he joined the Pan Real Art Association (until 1965), establishing himself as a significant figure in the postwar avant-garde movement in Japanese-style painting. Initially influenced by Surrealism, he shifted in the later 1950s toward abstraction and collage, employing unconventional materials such as newspaper printing molds, industrial waste, slate, and cement. From the mid 60”s he was driven beyond the framework to be a pioneer in installation exhibition, creating one-time works which allowed the room to be the frame. Through materially driven works and these later three-dimensional and spatial constructions, Nomura fundamentally redefined the physical and conceptual boundaries of Nihonga. His major exhibition history includes the aforementioned Pan Real (1950-1965), the Asahi New Artist Exhibition, the Asahi Selected Exhibition and the Contemporary Japanese Art Exhibition. Trends in Contemporary Painting (1963), and Today’s Artists ’64 (1964). From 1978 onward, he participated almost annually in the Ge Exhibition. In 1986, he was featured in A Section of Postwar Nihonga at Yamaguchi Prefectural Art Museum. A major retrospective, Kyoto Art: Yesterday, Today, Tomorrow III – Nomura Ko, was held at Kyoto City Museum of Art in 1989. His work was posthumously included in The Turning Point of Postwar Nihonga at Tochigi Prefectural Museum of Fine Arts in 1993, confirming his pivotal role in transforming postwar Nihonga. Work by him is held in the collections of The Kyoto National Museum of Modern Art, Fukui Fine Arts Museum, Kariya City Art Museum, Kyoto City Kyocera Museum of Art, Meguro Museum of Art in Tokyo, Nara Prefectural Museum of Art, Osaka Nakanoshima Museum of Art, Osaka Prefectural 20th Century Art Collection, Tochigi Prefectural Museum of Art, Toyohashi City Museum of Art, Wakayama Museum of Modern Art, Yamaguchi Prefectural Art Museum, Sakuragaoka Museum, The, Kyoto University Art Museum and Kyoto City University of Arts among others.\u003cbr\u003e\u003c\/p\u003e","brand":"Nomura Ko","offers":[{"title":"Default Title","offer_id":50676264206583,"sku":"NK50","price":1200.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/NK50.jpg?v=1775876665"},{"product_id":"untitled-monotype-art-print-ー野村-耕","title":"Untitled Monotype Art Print ー野村 耕","description":"\u003cp\u003eThis monotype, signed by the artist on the reverse “K. Nomura” reflects Nomura Kō’s engagement with automatistic mark-making during the height of Japan’s postwar avant-garde experimentation. Produced through the transfer of ink, the monotype allowed Nomura to pursue an image that arises through process rather than premeditated composition. Across the dark ground, networks of sharp white lines crisscross in rapid succession—scratched, dragged, and incised into the ink before printing. These marks create a complex lattice of trajectories that alternately suggest mechanical diagrams, calligraphic gestures, or the erratic pathways of thought itself. The monotype process is central to the work’s vitality. Because the image can be printed only once, each impression preserves a singular moment of action—an irreversible record of the artist’s gestures and the behavior of ink under pressure. The splatters, abrasions, and uneven transfers visible across the surface testify to this immediacy. Rather than presenting a controlled composition, the image unfolds as a record of movement and resistance between tool, pigment, and plate. In this sense, the work resonates with the broader interest among postwar artists in forms of automatism that bypass deliberate design. For Nomura, such methods offered a way to release the image from the conventions of representation and from the hierarchies of traditional painting. Contained within a square format, the dense web of lines appears almost explosive, as if the forces that generated it press outward against the boundaries of the paper. The work thus captures a moment of dynamic equilibrium: an image suspended between control and accident. Ink and pigment on paper in a modern frame, the work itself is 28.5 x 25.5 cm (11-1\/2 x 10 inches), the frame 56.5 x 56.5 x 3 cm (roughly 22-1\/2 x 22-1\/2 x 1 inches) and is in excellent condition.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eNomura Ko (1927–1991) was born in Kyoto and graduated from the Nihonga Department of Kyoto Municipal College of Art in 1948. In 1950 he joined the Pan Real Art Association (until 1965), establishing himself as a significant figure in the postwar avant-garde movement in Japanese-style painting. Initially influenced by Surrealism, he shifted in the later 1950s toward abstraction and collage, employing unconventional materials such as newspaper printing molds, industrial waste, slate, and cement. From the mid 60”s he was driven beyond the framework to be a pioneer in installation exhibition, creating one-time works which allowed the room to be the frame. Through materially driven works and these later three-dimensional and spatial constructions, Nomura fundamentally redefined the physical and conceptual boundaries of Nihonga. His major exhibition history includes the aforementioned Pan Real (1950-1965), the Asahi New Artist Exhibition, the Asahi Selected Exhibition and the Contemporary Japanese Art Exhibition. Trends in Contemporary Painting (1963), and Today’s Artists ’64 (1964). From 1978 onward, he participated almost annually in the Ge Exhibition. In 1986, he was featured in A Section of Postwar Nihonga at Yamaguchi Prefectural Art Museum. A major retrospective, Kyoto Art: Yesterday, Today, Tomorrow III – Nomura Ko, was held at Kyoto City Museum of Art in 1989. His work was posthumously included in The Turning Point of Postwar Nihonga at Tochigi Prefectural Museum of Fine Arts in 1993, confirming his pivotal role in transforming postwar Nihonga. Work by him is held in the collections of The Kyoto National Museum of Modern Art, Fukui Fine Arts Museum, Kariya City Art Museum, Kyoto City Kyocera Museum of Art, Meguro Museum of Art in Tokyo, Nara Prefectural Museum of Art, Osaka Nakanoshima Museum of Art, Osaka Prefectural 20th Century Art Collection, Tochigi Prefectural Museum of Art, Toyohashi City Museum of Art, Wakayama Museum of Modern Art, Yamaguchi Prefectural Art Museum, Sakuragaoka Museum, The, Kyoto University Art Museum and Kyoto City University of Arts among others.\u003cbr\u003e\u003c\/p\u003e","brand":"Nomura Ko","offers":[{"title":"Default Title","offer_id":50679565517047,"sku":"NK9","price":1500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2025-08-2705.50.29.jpg?v=1776046247"},{"product_id":"untitled-printing-ink-monotype-c-1960-ー野村-耕","title":"Untitled, Printing Ink Monotype c. 1960 ー野村 耕","description":"\u003cp\u003eThis small but intensely dynamic monotype exemplifies Nomura Kō’s experimental use of printing materials during the early postwar decades. Produced with printing ink, the image bears the unmistakable traces of mechanical contact, pressure, and dragging motion. Rather than treating ink as a conventional drawing medium, Nomura allows it to behave physically, spreading and resisting across the paper. The composition is dominated by a dramatic diagonal division: on one side, dense bands of vertical striations sweep upward; on the other, a darker mass cuts across the field with jagged, serrated edges. Beneath these black structures, vivid layers of magenta, violet, blue, and red erupt in mottled bursts. Although abstract, the image evokes sensations of speed, vibration, and collision—an atmosphere that resonates with the experimental spirit of Japan’s postwar avant-garde. Nomura’s approach reflects a fascination with the latent expressive potential of printing technologies: tools designed for the reproduction of images become instruments for generating singular, unrepeatable ones. In this way, the monotype transforms the language of mechanical production into a vivid record of physical action and chance. Printing ink on paper, the work is framed and in excellent condition. The image is 21.5 × 14.5 cm (8-1\/2 x 6 inches), the frame: 49.6 × 32.6 × 7.5 cm (20 x 13 x 3 inches).\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eNomura Ko (1927–1991) was born in Kyoto and graduated from the Nihonga Department of Kyoto Municipal College of Art in 1948. In 1950 he joined the Pan Real Art Association (until 1965), establishing himself as a significant figure in the postwar avant-garde movement in Japanese-style painting. Initially influenced by Surrealism, he shifted in the later 1950s toward abstraction and collage, employing unconventional materials such as newspaper printing molds, industrial waste, slate, and cement. From the mid 60”s he was driven beyond the framework to be a pioneer in installation exhibition, creating one-time works which allowed the room to be the frame. Through materially driven works and these later three-dimensional and spatial constructions, Nomura fundamentally redefined the physical and conceptual boundaries of Nihonga. His major exhibition history includes the aforementioned Pan Real (1950-1965), the Asahi New Artist Exhibition, the Asahi Selected Exhibition and the Contemporary Japanese Art Exhibition. Trends in Contemporary Painting (1963), and Today’s Artists ’64 (1964). From 1978 onward, he participated almost annually in the Ge Exhibition. In 1986, he was featured in A Section of Postwar Nihonga at Yamaguchi Prefectural Art Museum. A major retrospective, Kyoto Art: Yesterday, Today, Tomorrow III – Nomura Ko, was held at Kyoto City Museum of Art in 1989. His work was posthumously included in The Turning Point of Postwar Nihonga at Tochigi Prefectural Museum of Fine Arts in 1993, confirming his pivotal role in transforming postwar Nihonga. Work by him is held in the collections of The Kyoto National Museum of Modern Art, Fukui Fine Arts Museum, Kariya City Art Museum, Kyoto City Kyocera Museum of Art, Meguro Museum of Art in Tokyo, Nara Prefectural Museum of Art, Osaka Nakanoshima Museum of Art, Osaka Prefectural 20th Century Art Collection, Tochigi Prefectural Museum of Art, Toyohashi City Museum of Art, Wakayama Museum of Modern Art, Yamaguchi Prefectural Art Museum, Sakuragaoka Museum, The, Kyoto University Art Museum and Kyoto City University of Arts among others.\u003cbr\u003e\u003c\/p\u003e","brand":"Nomura Ko","offers":[{"title":"Default Title","offer_id":50679569055991,"sku":"NK20","price":1500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2025-08-2708.00.12.jpg?v=1776046869"},{"product_id":"untitled-ink-monotype-c-1960-ー野村-耕","title":"Untitled Ink Monotype c. 1960 ー野村 耕","description":"\u003cp\u003eThis monotype print exemplifies the intensely physical and exploratory approach that characterizes Nomura Ko’s work of the late 1950s and early 1960s. Working with printing ink and pigment applied directly to an intermediary surface, the artist built the composition through scraping, dragging, and pressing motions that leave a vivid record of contact between tool, ink, and paper. At the center of the composition, a roughly oval form begins to coalesce from the surrounding field of marks. Within this shape, layers of white produce a network of luminous streaks that read simultaneously as light and abrasion. Around it, the surrounding surface thickens into a dark, almost geological crust of black ink, cut through by sharp diagonal incisions and splintered linear structures. Subtle accents of red and ochre pigment punctuate the predominantly monochromatic field, introducing flashes of color that animate the otherwise austere palette. Entirely abstract, the composition evokes an atmosphere of turbulent formation the dense lattice of marks suggests both construction and erosion. Nomura’s monotypes occupy a particularly compelling position, drawing on the technologies of printing, traditionally associated with reproduction, employed to generate singular and irreproducible images. Each work becomes a record of a moment of action where the mechanical and the improvisational are inseparably intertwined. Printing ink on paper, the image is 36.8 x 24.7 cm (14-1\/2 x 10 inches) the frame 53.5 x 39.6 x 2.8 cm and all in excellent condition.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eNomura Ko (1927–1991) was born in Kyoto and graduated from the Nihonga Department of Kyoto Municipal College of Art in 1948. In 1950 he joined the Pan Real Art Association (until 1965), establishing himself as a significant figure in the postwar avant-garde movement in Japanese-style painting. Initially influenced by Surrealism, he shifted in the later 1950s toward abstraction and collage, employing unconventional materials such as newspaper printing molds, industrial waste, slate, and cement. From the mid 60”s he was driven beyond the framework to be a pioneer in installation exhibition, creating one-time works which allowed the room to be the frame. Through materially driven works and these later three-dimensional and spatial constructions, Nomura fundamentally redefined the physical and conceptual boundaries of Nihonga. His major exhibition history includes the aforementioned Pan Real (1950-1965), the Asahi New Artist Exhibition, the Asahi Selected Exhibition and the Contemporary Japanese Art Exhibition. Trends in Contemporary Painting (1963), and Today’s Artists ’64 (1964). From 1978 onward, he participated almost annually in the Ge Exhibition. In 1986, he was featured in A Section of Postwar Nihonga at Yamaguchi Prefectural Art Museum. A major retrospective, Kyoto Art: Yesterday, Today, Tomorrow III – Nomura Ko, was held at Kyoto City Museum of Art in 1989. His work was posthumously included in The Turning Point of Postwar Nihonga at Tochigi Prefectural Museum of Fine Arts in 1993, confirming his pivotal role in transforming postwar Nihonga. Work by him is held in the collections of The Kyoto National Museum of Modern Art, Fukui Fine Arts Museum, Kariya City Art Museum, Kyoto City Kyocera Museum of Art, Meguro Museum of Art in Tokyo, Nara Prefectural Museum of Art, Osaka Nakanoshima Museum of Art, Osaka Prefectural 20th Century Art Collection, Tochigi Prefectural Museum of Art, Toyohashi City Museum of Art, Wakayama Museum of Modern Art, Yamaguchi Prefectural Art Museum, Sakuragaoka Museum, The, Kyoto University Art Museum and Kyoto City University of Arts among others.\u003cbr\u003e\u003c\/p\u003e","brand":"Nomura Ko","offers":[{"title":"Default Title","offer_id":50679576822007,"sku":"NK37","price":950.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2026-01-1317.04.59.jpg?v=1776047251"},{"product_id":"untitled-monotype-54-ー野村-耕","title":"Untitled Monotype 54 ー野村 耕","description":"\u003cp\u003eEthnic designs in vivid color overlap like cave drawings on this one-off image by Nomura Ko freshly mounted in pale matting and ready for framing. The image itself is 24.9 x 36.3 cm (10 x 14-1\/2 inches) and is in excellent condition. It is signed on the reverse with an accompanying seal from the SIMA Art Gallery, dating circa 1960.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eNomura Ko (1927–1991) was born in Kyoto and graduated from the Nihonga Department of Kyoto Municipal College of Art in 1948. In 1950 he joined the Pan Real Art Association (until 1965), establishing himself as a significant figure in the postwar avant-garde movement in Japanese-style painting. Initially influenced by Surrealism, he shifted in the later 1950s toward abstraction and collage, employing unconventional materials such as newspaper printing molds, industrial waste, slate, and cement. From the mid 60”s he was driven beyond the framework to be a pioneer in installation exhibition, creating one-time works which allowed the room to be the frame. Through materially driven works and these later three-dimensional and spatial constructions, Nomura fundamentally redefined the physical and conceptual boundaries of Nihonga. His major exhibition history includes the aforementioned Pan Real (1950-1965), the Asahi New Artist Exhibition, the Asahi Selected Exhibition and the Contemporary Japanese Art Exhibition. Trends in Contemporary Painting (1963), and Today’s Artists ’64 (1964). From 1978 onward, he participated almost annually in the Ge Exhibition. In 1986, he was featured in A Section of Postwar Nihonga at Yamaguchi Prefectural Art Museum. A major retrospective, Kyoto Art: Yesterday, Today, Tomorrow III – Nomura Ko, was held at Kyoto City Museum of Art in 1989. His work was posthumously included in The Turning Point of Postwar Nihonga at Tochigi Prefectural Museum of Fine Arts in 1993, confirming his pivotal role in transforming postwar Nihonga. Work by him is held in the collections of The Kyoto National Museum of Modern Art, Fukui Fine Arts Museum, Kariya City Art Museum, Kyoto City Kyocera Museum of Art, Meguro Museum of Art in Tokyo, Nara Prefectural Museum of Art, Osaka Nakanoshima Museum of Art, Osaka Prefectural 20th Century Art Collection, Tochigi Prefectural Museum of Art, Toyohashi City Museum of Art, Wakayama Museum of Modern Art, Yamaguchi Prefectural Art Museum, Sakuragaoka Museum, The, Kyoto University Art Museum and Kyoto City University of Arts among others.\u003cbr\u003e\u003c\/p\u003e","brand":"Nomura Ko","offers":[{"title":"Default Title","offer_id":50679580426487,"sku":"NK54","price":1500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2026-04-1117.08.40.jpg?v=1776047487"},{"product_id":"untitled-monotype-55-ー野村-耕","title":"Untitled Monotype 55 ー野村 耕","description":"\u003cp\u003eAn unusually colorful paper transfer work by Nomura Ko freshly mounted in pale matting and ready for framing. It is signed on the mounting with an accompanying seal from the SIMA Art Gallery on the reverse, dating circa 1960. The image itself is 30.5 x 41.3 cm (12 x 16-1\/2 inches) and is in excellent condition.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eNomura Ko (1927–1991) was born in Kyoto and graduated from the Nihonga Department of Kyoto Municipal College of Art in 1948. In 1950 he joined the Pan Real Art Association (until 1965), establishing himself as a significant figure in the postwar avant-garde movement in Japanese-style painting. Initially influenced by Surrealism, he shifted in the later 1950s toward abstraction and collage, employing unconventional materials such as newspaper printing molds, industrial waste, slate, and cement. From the mid 60”s he was driven beyond the framework to be a pioneer in installation exhibition, creating one-time works which allowed the room to be the frame. Through materially driven works and these later three-dimensional and spatial constructions, Nomura fundamentally redefined the physical and conceptual boundaries of Nihonga. His major exhibition history includes the aforementioned Pan Real (1950-1965), the Asahi New Artist Exhibition, the Asahi Selected Exhibition and the Contemporary Japanese Art Exhibition. Trends in Contemporary Painting (1963), and Today’s Artists ’64 (1964). From 1978 onward, he participated almost annually in the Ge Exhibition. In 1986, he was featured in A Section of Postwar Nihonga at Yamaguchi Prefectural Art Museum. A major retrospective, Kyoto Art: Yesterday, Today, Tomorrow III – Nomura Ko, was held at Kyoto City Museum of Art in 1989. His work was posthumously included in The Turning Point of Postwar Nihonga at Tochigi Prefectural Museum of Fine Arts in 1993, confirming his pivotal role in transforming postwar Nihonga. Work by him is held in the collections of The Kyoto National Museum of Modern Art, Fukui Fine Arts Museum, Kariya City Art Museum, Kyoto City Kyocera Museum of Art, Meguro Museum of Art in Tokyo, Nara Prefectural Museum of Art, Osaka Nakanoshima Museum of Art, Osaka Prefectural 20th Century Art Collection, Tochigi Prefectural Museum of Art, Toyohashi City Museum of Art, Wakayama Museum of Modern Art, Yamaguchi Prefectural Art Museum, Sakuragaoka Museum, The, Kyoto University Art Museum and Kyoto City University of Arts among others.\u003cbr\u003e\u003c\/p\u003e","brand":"Nomura Ko","offers":[{"title":"Default Title","offer_id":50679585833207,"sku":"NK55","price":1500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2026-04-1117.11.04.jpg?v=1776047722"},{"product_id":"untitled-monotype-56-ー野村-耕","title":"Untitled monotype 56 ー野村 耕","description":"\u003cp\u003eA singular image in oceanic blues marked by waves of squeegeed blue ink under splashes of green and white by Nomura Ko freshly mounted in pale matting and ready for framing. It is signed on the mounting with an accompanying seal from the SIMA Art Gallery on the reverse, dating circa 1960. The image itself is 25.4 x 37 cm (10-1\/2 x 15 inches) and is in excellent condition.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eNomura Ko (1927–1991) was born in Kyoto and graduated from the Nihonga Department of Kyoto Municipal College of Art in 1948. In 1950 he joined the Pan Real Art Association (until 1965), establishing himself as a significant figure in the postwar avant-garde movement in Japanese-style painting. Initially influenced by Surrealism, he shifted in the later 1950s toward abstraction and collage, employing unconventional materials such as newspaper printing molds, industrial waste, slate, and cement. From the mid 60”s he was driven beyond the framework to be a pioneer in installation exhibition, creating one-time works which allowed the room to be the frame. Through materially driven works and these later three-dimensional and spatial constructions, Nomura fundamentally redefined the physical and conceptual boundaries of Nihonga. His major exhibition history includes the aforementioned Pan Real (1950-1965), the Asahi New Artist Exhibition, the Asahi Selected Exhibition and the Contemporary Japanese Art Exhibition. Trends in Contemporary Painting (1963), and Today’s Artists ’64 (1964). From 1978 onward, he participated almost annually in the Ge Exhibition. In 1986, he was featured in A Section of Postwar Nihonga at Yamaguchi Prefectural Art Museum. A major retrospective, Kyoto Art: Yesterday, Today, Tomorrow III – Nomura Ko, was held at Kyoto City Museum of Art in 1989. His work was posthumously included in The Turning Point of Postwar Nihonga at Tochigi Prefectural Museum of Fine Arts in 1993, confirming his pivotal role in transforming postwar Nihonga. Work by him is held in the collections of The Kyoto National Museum of Modern Art, Fukui Fine Arts Museum, Kariya City Art Museum, Kyoto City Kyocera Museum of Art, Meguro Museum of Art in Tokyo, Nara Prefectural Museum of Art, Osaka Nakanoshima Museum of Art, Osaka Prefectural 20th Century Art Collection, Tochigi Prefectural Museum of Art, Toyohashi City Museum of Art, Wakayama Museum of Modern Art, Yamaguchi Prefectural Art Museum, Sakuragaoka Museum, The, Kyoto University Art Museum and Kyoto City University of Arts among others.\u003cbr\u003e\u003c\/p\u003e","brand":"Nomura Ko","offers":[{"title":"Default Title","offer_id":50679588094199,"sku":"NK56","price":1500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2026-04-0116.07.07-2.jpg?v=1776048077"},{"product_id":"untitled-monotype-78-ー野村-耕","title":"Untitled Monotype, 78 ー野村 耕","description":"\u003cp\u003eAn underwater world appears to open up on this unusual small transfer print by Nomura Ko directlyu from the artist’s family dating circa 1960. It is 13 x 21.5 cm and in excellent condition, freshly mounted in pale white accompanied by a seal from the artist’s sone Yukihiro using his father’s stamp.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eNomura Ko (1927–1991) was born in Kyoto and graduated from the Nihonga Department of Kyoto Municipal College of Art in 1948. In 1950 he joined the Pan Real Art Association (until 1965), establishing himself as a significant figure in the postwar avant-garde movement in Japanese-style painting. Initially influenced by Surrealism, he shifted in the later 1950s toward abstraction and collage, employing unconventional materials such as newspaper printing molds, industrial waste, slate, and cement. From the mid 60”s he was driven beyond the framework to be a pioneer in installation exhibition, creating one-time works which allowed the room to be the frame. Through materially driven works and these later three-dimensional and spatial constructions, Nomura fundamentally redefined the physical and conceptual boundaries of Nihonga. His major exhibition history includes the aforementioned Pan Real (1950-1965), the Asahi New Artist Exhibition, the Asahi Selected Exhibition and the Contemporary Japanese Art Exhibition. Trends in Contemporary Painting (1963), and Today’s Artists ’64 (1964). From 1978 onward, he participated almost annually in the Ge Exhibition. In 1986, he was featured in A Section of Postwar Nihonga at Yamaguchi Prefectural Art Museum. A major retrospective, Kyoto Art: Yesterday, Today, Tomorrow III – Nomura Ko, was held at Kyoto City Museum of Art in 1989. His work was posthumously included in The Turning Point of Postwar Nihonga at Tochigi Prefectural Museum of Fine Arts in 1993, confirming his pivotal role in transforming postwar Nihonga. Work by him is held in the collections of The Kyoto National Museum of Modern Art, Fukui Fine Arts Museum, Kariya City Art Museum, Kyoto City Kyocera Museum of Art, Meguro Museum of Art in Tokyo, Nara Prefectural Museum of Art, Osaka Nakanoshima Museum of Art, Osaka Prefectural 20th Century Art Collection, Tochigi Prefectural Museum of Art, Toyohashi City Museum of Art, Wakayama Museum of Modern Art, Yamaguchi Prefectural Art Museum, Sakuragaoka Museum, The, Kyoto University Art Museum and Kyoto City University of Arts among others.\u003cbr\u003e\u003c\/p\u003e","brand":"Nomura Ko","offers":[{"title":"Default Title","offer_id":50680961925367,"sku":"NK78","price":1200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2026-04-0116.31.19.jpg?v=1776130771"},{"product_id":"untitled-monotype-79-ー野村-耕","title":"Untitled Monotype, 79 ー野村 耕","description":"\u003cp\u003eA vibrant pillar of color by Nomura Ko freshly mounted in pale white matte. Directly from the artist’s family, it is pencil signed on the mounting K Nomura and accompanied by a seal from the SIMA Art Gallery affixed to the back. The work is 15.5 x 38.9 cm (6 x 15-1\/2 inches) and is in excellent condition.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eNomura Ko (1927–1991) was born in Kyoto and graduated from the Nihonga Department of Kyoto Municipal College of Art in 1948. In 1950 he joined the Pan Real Art Association (until 1965), establishing himself as a significant figure in the postwar avant-garde movement in Japanese-style painting. Initially influenced by Surrealism, he shifted in the later 1950s toward abstraction and collage, employing unconventional materials such as newspaper printing molds, industrial waste, slate, and cement. From the mid 60”s he was driven beyond the framework to be a pioneer in installation exhibition, creating one-time works which allowed the room to be the frame. Through materially driven works and these later three-dimensional and spatial constructions, Nomura fundamentally redefined the physical and conceptual boundaries of Nihonga. His major exhibition history includes the aforementioned Pan Real (1950-1965), the Asahi New Artist Exhibition, the Asahi Selected Exhibition and the Contemporary Japanese Art Exhibition. Trends in Contemporary Painting (1963), and Today’s Artists ’64 (1964). From 1978 onward, he participated almost annually in the Ge Exhibition. In 1986, he was featured in A Section of Postwar Nihonga at Yamaguchi Prefectural Art Museum. A major retrospective, Kyoto Art: Yesterday, Today, Tomorrow III – Nomura Ko, was held at Kyoto City Museum of Art in 1989. His work was posthumously included in The Turning Point of Postwar Nihonga at Tochigi Prefectural Museum of Fine Arts in 1993, confirming his pivotal role in transforming postwar Nihonga. Work by him is held in the collections of The Kyoto National Museum of Modern Art, Fukui Fine Arts Museum, Kariya City Art Museum, Kyoto City Kyocera Museum of Art, Meguro Museum of Art in Tokyo, Nara Prefectural Museum of Art, Osaka Nakanoshima Museum of Art, Osaka Prefectural 20th Century Art Collection, Tochigi Prefectural Museum of Art, Toyohashi City Museum of Art, Wakayama Museum of Modern Art, Yamaguchi Prefectural Art Museum, Sakuragaoka Museum, The, Kyoto University Art Museum and Kyoto City University of Arts among others.\u003cbr\u003e\u003c\/p\u003e","brand":"Nomura Ko","offers":[{"title":"Default Title","offer_id":50680968577271,"sku":"NK79","price":1500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2026-04-0116.54.29.jpg?v=1776130983"},{"product_id":"untitled-monotype-84-ー野村-耕","title":"Untitled Monotype, 84 ー野村 耕","description":"\u003cp\u003eA vividly colored monotype work by Avant-garde pioneer Nomura Ko freshly matted in pale white. It is accompanied by a seal from the artist son Nomura Yukihiro affixed to the back, dating circa 1960. The work is 13.7 x 29 cm (5-1\/2 x 11-1\/2 inches) and is in excellent condition.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eNomura Ko (1927–1991) was born in Kyoto and graduated from the Nihonga Department of Kyoto Municipal College of Art in 1948. In 1950 he joined the Pan Real Art Association (until 1965), establishing himself as a significant figure in the postwar avant-garde movement in Japanese-style painting. Initially influenced by Surrealism, he shifted in the later 1950s toward abstraction and collage, employing unconventional materials such as newspaper printing molds, industrial waste, slate, and cement. From the mid 60”s he was driven beyond the framework to be a pioneer in installation exhibition, creating one-time works which allowed the room to be the frame. Through materially driven works and these later three-dimensional and spatial constructions, Nomura fundamentally redefined the physical and conceptual boundaries of Nihonga. His major exhibition history includes the aforementioned Pan Real (1950-1965), the Asahi New Artist Exhibition, the Asahi Selected Exhibition and the Contemporary Japanese Art Exhibition. Trends in Contemporary Painting (1963), and Today’s Artists ’64 (1964). From 1978 onward, he participated almost annually in the Ge Exhibition. In 1986, he was featured in A Section of Postwar Nihonga at Yamaguchi Prefectural Art Museum. A major retrospective, Kyoto Art: Yesterday, Today, Tomorrow III – Nomura Ko, was held at Kyoto City Museum of Art in 1989. His work was posthumously included in The Turning Point of Postwar Nihonga at Tochigi Prefectural Museum of Fine Arts in 1993, confirming his pivotal role in transforming postwar Nihonga. Work by him is held in the collections of The Kyoto National Museum of Modern Art, Fukui Fine Arts Museum, Kariya City Art Museum, Kyoto City Kyocera Museum of Art, Meguro Museum of Art in Tokyo, Nara Prefectural Museum of Art, Osaka Nakanoshima Museum of Art, Osaka Prefectural 20th Century Art Collection, Tochigi Prefectural Museum of Art, Toyohashi City Museum of Art, Wakayama Museum of Modern Art, Yamaguchi Prefectural Art Museum, Sakuragaoka Museum, The, Kyoto University Art Museum and Kyoto City University of Arts among others.\u003cbr\u003e\u003c\/p\u003e","brand":"Nomura Ko","offers":[{"title":"Default Title","offer_id":50694417219831,"sku":"NK84","price":1200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2026-04-0116.04.12.jpg?v=1776578479"},{"product_id":"untitled-monotype-85-ー野村-耕","title":"Untitled Monotype, 85 ー野村 耕","description":"\u003cp\u003eA monochromatic image of enigmatic script by pioneering artist Nomura Ko freshly matted in pale white. They appear to be ancient forms of Kanji, and one quickly attempts to read, only to find they cannot be defined, as they do not exist in this modern world. The paper image is accompanied by a seal from the artist’s son Nomura Yukihiro affixed to the back, dating circa 1960. The work is 24.5 x 31 cm (9-3\/4 x 12-1\/4 inches) and is in excellent condition.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eNomura Ko (1927–1991) was born in Kyoto and graduated from the Nihonga Department of Kyoto Municipal College of Art in 1948. In 1950 he joined the Pan Real Art Association (until 1965), establishing himself as a significant figure in the postwar avant-garde movement in Japanese-style painting. Initially influenced by Surrealism, he shifted in the later 1950s toward abstraction and collage, employing unconventional materials such as newspaper printing molds, industrial waste, slate, and cement. From the mid 60”s he was driven beyond the framework to be a pioneer in installation exhibition, creating one-time works which allowed the room to be the frame. Through materially driven works and these later three-dimensional and spatial constructions, Nomura fundamentally redefined the physical and conceptual boundaries of Nihonga. His major exhibition history includes the aforementioned Pan Real (1950-1965), the Asahi New Artist Exhibition, the Asahi Selected Exhibition and the Contemporary Japanese Art Exhibition. Trends in Contemporary Painting (1963), and Today’s Artists ’64 (1964). From 1978 onward, he participated almost annually in the Ge Exhibition. In 1986, he was featured in A Section of Postwar Nihonga at Yamaguchi Prefectural Art Museum. A major retrospective, Kyoto Art: Yesterday, Today, Tomorrow III – Nomura Ko, was held at Kyoto City Museum of Art in 1989. 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Work by him is held in the collections of The Kyoto National Museum of Modern Art, Fukui Fine Arts Museum, Kariya City Art Museum, Kyoto City Kyocera Museum of Art, Meguro Museum of Art in Tokyo, Nara Prefectural Museum of Art, Osaka Nakanoshima Museum of Art, Osaka Prefectural 20th Century Art Collection, Tochigi Prefectural Museum of Art, Toyohashi City Museum of Art, Wakayama Museum of Modern Art, Yamaguchi Prefectural Art Museum, Sakuragaoka Museum, The, Kyoto University Art Museum and Kyoto City University of Arts among others.\u003cbr\u003e\u003c\/p\u003e","brand":"Nomura Ko","offers":[{"title":"Default Title","offer_id":50694418039031,"sku":"NK85","price":1500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2026-04-0116.18.30.jpg?v=1776578720"},{"product_id":"untitled-monotype-86-ー野村-耕","title":"Untitled Monotype, 58 ー野村 耕","description":"\u003cp\u003eA large image of colorful squeegeed printing ink by Nomura Ko freshly mounted in pale matting and ready for framing. It is signed on the mounting with an accompanying seal from the SIMA Art Gallery on the reverse, dating circa 1960. The image itself is 29.3 x 46.5 cm (11-3\/4 x 18-1\/2 inches) and is in excellent condition.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eNomura Ko (1927–1991) was born in Kyoto and graduated from the Nihonga Department of Kyoto Municipal College of Art in 1948. In 1950 he joined the Pan Real Art Association (until 1965), establishing himself as a significant figure in the postwar avant-garde movement in Japanese-style painting. Initially influenced by Surrealism, he shifted in the later 1950s toward abstraction and collage, employing unconventional materials such as newspaper printing molds, industrial waste, slate, and cement. From the mid 60”s he was driven beyond the framework to be a pioneer in installation exhibition, creating one-time works which allowed the room to be the frame. Through materially driven works and these later three-dimensional and spatial constructions, Nomura fundamentally redefined the physical and conceptual boundaries of Nihonga. His major exhibition history includes the aforementioned Pan Real (1950-1965), the Asahi New Artist Exhibition, the Asahi Selected Exhibition and the Contemporary Japanese Art Exhibition. Trends in Contemporary Painting (1963), and Today’s Artists ’64 (1964). From 1978 onward, he participated almost annually in the Ge Exhibition. In 1986, he was featured in A Section of Postwar Nihonga at Yamaguchi Prefectural Art Museum. A major retrospective, Kyoto Art: Yesterday, Today, Tomorrow III – Nomura Ko, was held at Kyoto City Museum of Art in 1989. His work was posthumously included in The Turning Point of Postwar Nihonga at Tochigi Prefectural Museum of Fine Arts in 1993, confirming his pivotal role in transforming postwar Nihonga. Work by him is held in the collections of The Kyoto National Museum of Modern Art, Fukui Fine Arts Museum, Kariya City Art Museum, Kyoto City Kyocera Museum of Art, Meguro Museum of Art in Tokyo, Nara Prefectural Museum of Art, Osaka Nakanoshima Museum of Art, Osaka Prefectural 20th Century Art Collection, Tochigi Prefectural Museum of Art, Toyohashi City Museum of Art, Wakayama Museum of Modern Art, Yamaguchi Prefectural Art Museum, Sakuragaoka Museum, The, Kyoto University Art Museum and Kyoto City University of Arts among others.\u003cbr\u003e\u003c\/p\u003e","brand":"Nomura Ko","offers":[{"title":"Default Title","offer_id":50694419316983,"sku":"NK58","price":1500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2026-04-1117.10.29.jpg?v=1776579255"},{"product_id":"untitled-monotype-90-ー野村-耕","title":"Untitled Monotype, 90 ー野村 耕","description":"\u003cp\u003eA unique and highly textured color transfer print by Avant-garde pioneer Nomura Ko freshly matted in pale white. It is accompanied by a seal from the artist son Nomura Yukihiro affixed to the back, dating circa 1960. The work is 16.5 x 25.3 cm (6-1\/2 x 10 inches) and is in excellent condition.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eNomura Ko (1927–1991) was born in Kyoto and graduated from the Nihonga Department of Kyoto Municipal College of Art in 1948. In 1950 he joined the Pan Real Art Association (until 1965), establishing himself as a significant figure in the postwar avant-garde movement in Japanese-style painting. Initially influenced by Surrealism, he shifted in the later 1950s toward abstraction and collage, employing unconventional materials such as newspaper printing molds, industrial waste, slate, and cement. From the mid 60”s he was driven beyond the framework to be a pioneer in installation exhibition, creating one-time works which allowed the room to be the frame. Through materially driven works and these later three-dimensional and spatial constructions, Nomura fundamentally redefined the physical and conceptual boundaries of Nihonga. His major exhibition history includes the aforementioned Pan Real (1950-1965), the Asahi New Artist Exhibition, the Asahi Selected Exhibition and the Contemporary Japanese Art Exhibition. Trends in Contemporary Painting (1963), and Today’s Artists ’64 (1964). From 1978 onward, he participated almost annually in the Ge Exhibition. In 1986, he was featured in A Section of Postwar Nihonga at Yamaguchi Prefectural Art Museum. A major retrospective, Kyoto Art: Yesterday, Today, Tomorrow III – Nomura Ko, was held at Kyoto City Museum of Art in 1989. His work was posthumously included in The Turning Point of Postwar Nihonga at Tochigi Prefectural Museum of Fine Arts in 1993, confirming his pivotal role in transforming postwar Nihonga. Work by him is held in the collections of The Kyoto National Museum of Modern Art, Fukui Fine Arts Museum, Kariya City Art Museum, Kyoto City Kyocera Museum of Art, Meguro Museum of Art in Tokyo, Nara Prefectural Museum of Art, Osaka Nakanoshima Museum of Art, Osaka Prefectural 20th Century Art Collection, Tochigi Prefectural Museum of Art, Toyohashi City Museum of Art, Wakayama Museum of Modern Art, Yamaguchi Prefectural Art Museum, Sakuragaoka Museum, The, Kyoto University Art Museum and Kyoto City University of Arts among others.\u003cbr\u003e\u003c\/p\u003e","brand":"Nomura Ko","offers":[{"title":"Default Title","offer_id":50694419480823,"sku":"NK90","price":1000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2026-04-0117.03.46.jpg?v=1776579503"},{"product_id":"untitled-monotype-57-ー野村-耕","title":"Untitled Monotype 57 ー野村 耕","description":"\u003cp\u003eA floral monotype ink print by Nomura Ko freshly mounted in pale matting and ready for framing. It is signed on the mounting with an accompanying seal from the SIMA Art Gallery on the reverse, dating circa 1960. The image itself is 30 x 36.1 cm (12 x 14-1\/2 inches) and is in excellent condition.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eNomura Ko (1927–1991) was born in Kyoto and graduated from the Nihonga Department of Kyoto Municipal College of Art in 1948. In 1950 he joined the Pan Real Art Association (until 1965), establishing himself as a significant figure in the postwar avant-garde movement in Japanese-style painting. Initially influenced by Surrealism, he shifted in the later 1950s toward abstraction and collage, employing unconventional materials such as newspaper printing molds, industrial waste, slate, and cement. From the mid 60”s he was driven beyond the framework to be a pioneer in installation exhibition, creating one-time works which allowed the room to be the frame. Through materially driven works and these later three-dimensional and spatial constructions, Nomura fundamentally redefined the physical and conceptual boundaries of Nihonga. His major exhibition history includes the aforementioned Pan Real (1950-1965), the Asahi New Artist Exhibition, the Asahi Selected Exhibition and the Contemporary Japanese Art Exhibition. Trends in Contemporary Painting (1963), and Today’s Artists ’64 (1964). From 1978 onward, he participated almost annually in the Ge Exhibition. In 1986, he was featured in A Section of Postwar Nihonga at Yamaguchi Prefectural Art Museum. A major retrospective, Kyoto Art: Yesterday, Today, Tomorrow III – Nomura Ko, was held at Kyoto City Museum of Art in 1989. His work was posthumously included in The Turning Point of Postwar Nihonga at Tochigi Prefectural Museum of Fine Arts in 1993, confirming his pivotal role in transforming postwar Nihonga. Work by him is held in the collections of The Kyoto National Museum of Modern Art, Fukui Fine Arts Museum, Kariya City Art Museum, Kyoto City Kyocera Museum of Art, Meguro Museum of Art in Tokyo, Nara Prefectural Museum of Art, Osaka Nakanoshima Museum of Art, Osaka Prefectural 20th Century Art Collection, Tochigi Prefectural Museum of Art, Toyohashi City Museum of Art, Wakayama Museum of Modern Art, Yamaguchi Prefectural Art Museum, Sakuragaoka Museum, The, Kyoto University Art Museum and Kyoto City University of Arts among others.\u003cbr\u003e\u003c\/p\u003e","brand":"Nomura Ko","offers":[{"title":"Default Title","offer_id":50696985280759,"sku":"NK57","price":1500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2026-04-1117.09.47.jpg?v=1776648657"},{"product_id":"untitled-monotype-60-ー野村-耕","title":"Untitled Monotype, 60 ー野村 耕","description":"\u003cp\u003eA unique color transfer print of abstract pale colors by Nomura Ko freshly mounted in pale matting and ready for framing. It is pencil signed on the mounting with an accompanying seal from the SIMA Art Gallery on the reverse, dating circa 1960. The image itself is 25.8 x 37 cm (10-1\/4 x 15 inches) and is in excellent condition.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eNomura Ko (1927–1991) was born in Kyoto and graduated from the Nihonga Department of Kyoto Municipal College of Art in 1948. In 1950 he joined the Pan Real Art Association (until 1965), establishing himself as a significant figure in the postwar avant-garde movement in Japanese-style painting. Initially influenced by Surrealism, he shifted in the later 1950s toward abstraction and collage, employing unconventional materials such as newspaper printing molds, industrial waste, slate, and cement. From the mid 60”s he was driven beyond the framework to be a pioneer in installation exhibition, creating one-time works which allowed the room to be the frame. Through materially driven works and these later three-dimensional and spatial constructions, Nomura fundamentally redefined the physical and conceptual boundaries of Nihonga. His major exhibition history includes the aforementioned Pan Real (1950-1965), the Asahi New Artist Exhibition, the Asahi Selected Exhibition and the Contemporary Japanese Art Exhibition. Trends in Contemporary Painting (1963), and Today’s Artists ’64 (1964). From 1978 onward, he participated almost annually in the Ge Exhibition. In 1986, he was featured in A Section of Postwar Nihonga at Yamaguchi Prefectural Art Museum. A major retrospective, Kyoto Art: Yesterday, Today, Tomorrow III – Nomura Ko, was held at Kyoto City Museum of Art in 1989. His work was posthumously included in The Turning Point of Postwar Nihonga at Tochigi Prefectural Museum of Fine Arts in 1993, confirming his pivotal role in transforming postwar Nihonga. Work by him is held in the collections of The Kyoto National Museum of Modern Art, Fukui Fine Arts Museum, Kariya City Art Museum, Kyoto City Kyocera Museum of Art, Meguro Museum of Art in Tokyo, Nara Prefectural Museum of Art, Osaka Nakanoshima Museum of Art, Osaka Prefectural 20th Century Art Collection, Tochigi Prefectural Museum of Art, Toyohashi City Museum of Art, Wakayama Museum of Modern Art, Yamaguchi Prefectural Art Museum, Sakuragaoka Museum, The, Kyoto University Art Museum and Kyoto City University of Arts among others.\u003cbr\u003e\u003c\/p\u003e","brand":"Nomura Ko","offers":[{"title":"Default Title","offer_id":50696992784631,"sku":"NK60","price":1500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2026-04-0115.41.59.jpg?v=1776649382"},{"product_id":"untitled-monotype-86-ー野村-耕-1","title":"Untitled Monotype, 86 ー野村 耕","description":"\u003cp\u003eA monochromatic transfer print of enigmatic forms like some ancient script, familiar yet undefined, by pioneering artist Nomura Ko freshly matted in pale white. It is accompanied by a seal from the artist’s son Nomura Yukihiro affixed to the back, dating circa 1960. The work is 24.5 x 28 cm (9-3\/4 x 11 inches) and is in excellent condition.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eNomura Ko (1927–1991) was born in Kyoto and graduated from the Nihonga Department of Kyoto Municipal College of Art in 1948. In 1950 he joined the Pan Real Art Association (until 1965), establishing himself as a significant figure in the postwar avant-garde movement in Japanese-style painting. Initially influenced by Surrealism, he shifted in the later 1950s toward abstraction and collage, employing unconventional materials such as newspaper printing molds, industrial waste, slate, and cement. From the mid 60”s he was driven beyond the framework to be a pioneer in installation exhibition, creating one-time works which allowed the room to be the frame. Through materially driven works and these later three-dimensional and spatial constructions, Nomura fundamentally redefined the physical and conceptual boundaries of Nihonga. His major exhibition history includes the aforementioned Pan Real (1950-1965), the Asahi New Artist Exhibition, the Asahi Selected Exhibition and the Contemporary Japanese Art Exhibition. Trends in Contemporary Painting (1963), and Today’s Artists ’64 (1964). From 1978 onward, he participated almost annually in the Ge Exhibition. In 1986, he was featured in A Section of Postwar Nihonga at Yamaguchi Prefectural Art Museum. A major retrospective, Kyoto Art: Yesterday, Today, Tomorrow III – Nomura Ko, was held at Kyoto City Museum of Art in 1989. His work was posthumously included in The Turning Point of Postwar Nihonga at Tochigi Prefectural Museum of Fine Arts in 1993, confirming his pivotal role in transforming postwar Nihonga. Work by him is held in the collections of The Kyoto National Museum of Modern Art, Fukui Fine Arts Museum, Kariya City Art Museum, Kyoto City Kyocera Museum of Art, Meguro Museum of Art in Tokyo, Nara Prefectural Museum of Art, Osaka Nakanoshima Museum of Art, Osaka Prefectural 20th Century Art Collection, Tochigi Prefectural Museum of Art, Toyohashi City Museum of Art, Wakayama Museum of Modern Art, Yamaguchi Prefectural Art Museum, Sakuragaoka Museum, The, Kyoto University Art Museum and Kyoto City University of Arts among others.\u003cbr\u003e\u003c\/p\u003e","brand":"Nomura Ko","offers":[{"title":"Default Title","offer_id":50699870699767,"sku":"NK86","price":1500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2026-04-0116.22.48.jpg?v=1776736327"},{"product_id":"untitled-monotype-64-ー野村-耕","title":"Untitled Monotype 64 ー野村 耕","description":"\u003cp\u003eA monochromatic ink print by Avant-garde pioneer Nomura Ko freshly matted in pale white. It is pencil signed on the mounting K Nomura and accompanied by a seal from the SIMA Art Gallery affixed to the back, dating circa 1960. The work is 33 x 33 cm (13 x 13 inches) and is in excellent condition.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eNomura Ko (1927–1991) was born in Kyoto and graduated from the Nihonga Department of Kyoto Municipal College of Art in 1948. In 1950 he joined the Pan Real Art Association (until 1965), establishing himself as a significant figure in the postwar avant-garde movement in Japanese-style painting. Initially influenced by Surrealism, he shifted in the later 1950s toward abstraction and collage, employing unconventional materials such as newspaper printing molds, industrial waste, slate, and cement. From the mid 60”s he was driven beyond the framework to be a pioneer in installation exhibition, creating one-time works which allowed the room to be the frame. Through materially driven works and these later three-dimensional and spatial constructions, Nomura fundamentally redefined the physical and conceptual boundaries of Nihonga. His major exhibition history includes the aforementioned Pan Real (1950-1965), the Asahi New Artist Exhibition, the Asahi Selected Exhibition and the Contemporary Japanese Art Exhibition. Trends in Contemporary Painting (1963), and Today’s Artists ’64 (1964). From 1978 onward, he participated almost annually in the Ge Exhibition. In 1986, he was featured in A Section of Postwar Nihonga at Yamaguchi Prefectural Art Museum. A major retrospective, Kyoto Art: Yesterday, Today, Tomorrow III – Nomura Ko, was held at Kyoto City Museum of Art in 1989. His work was posthumously included in The Turning Point of Postwar Nihonga at Tochigi Prefectural Museum of Fine Arts in 1993, confirming his pivotal role in transforming postwar Nihonga. Work by him is held in the collections of The Kyoto National Museum of Modern Art, Fukui Fine Arts Museum, Kariya City Art Museum, Kyoto City Kyocera Museum of Art, Meguro Museum of Art in Tokyo, Nara Prefectural Museum of Art, Osaka Nakanoshima Museum of Art, Osaka Prefectural 20th Century Art Collection, Tochigi Prefectural Museum of Art, Toyohashi City Museum of Art, Wakayama Museum of Modern Art, Yamaguchi Prefectural Art Museum, Sakuragaoka Museum, The, Kyoto University Art Museum and Kyoto City University of Arts among others.\u003cbr\u003e\u003c\/p\u003e","brand":"Nomura Ko","offers":[{"title":"Default Title","offer_id":50700003311863,"sku":"NK64","price":1500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/NK64.jpg?v=1776736518"},{"product_id":"untitled-monotype-print-62-ー野村-耕","title":"Untitled Monotype Print 62 ー野村 耕","description":"\u003cp\u003eA vivid print reminiscent of fallen Tsubaki flowers by Avant-garde pioneer Nomura Ko freshly matted in pale white matte. It is pencil signed on the mounting and accompanied by a seal from the SIMA Art Gallery affixed to the back, dating circa 1960. The work is 26.3 x 39.3 cm (10-1\/2 x 15-3\/4 inches) and is in excellent condition.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eNomura Ko (1927–1991) was born in Kyoto and graduated from the Nihonga Department of Kyoto Municipal College of Art in 1948. In 1950 he joined the Pan Real Art Association (until 1965), establishing himself as a significant figure in the postwar avant-garde movement in Japanese-style painting. Initially influenced by Surrealism, he shifted in the later 1950s toward abstraction and collage, employing unconventional materials such as newspaper printing molds, industrial waste, slate, and cement. From the mid 60”s he was driven beyond the framework to be a pioneer in installation exhibition, creating one-time works which allowed the room to be the frame. Through materially driven works and these later three-dimensional and spatial constructions, Nomura fundamentally redefined the physical and conceptual boundaries of Nihonga. His major exhibition history includes the aforementioned Pan Real (1950-1965), the Asahi New Artist Exhibition, the Asahi Selected Exhibition and the Contemporary Japanese Art Exhibition. Trends in Contemporary Painting (1963), and Today’s Artists ’64 (1964). From 1978 onward, he participated almost annually in the Ge Exhibition. In 1986, he was featured in A Section of Postwar Nihonga at Yamaguchi Prefectural Art Museum. A major retrospective, Kyoto Art: Yesterday, Today, Tomorrow III – Nomura Ko, was held at Kyoto City Museum of Art in 1989. His work was posthumously included in The Turning Point of Postwar Nihonga at Tochigi Prefectural Museum of Fine Arts in 1993, confirming his pivotal role in transforming postwar Nihonga. Work by him is held in the collections of The Kyoto National Museum of Modern Art, Fukui Fine Arts Museum, Kariya City Art Museum, Kyoto City Kyocera Museum of Art, Meguro Museum of Art in Tokyo, Nara Prefectural Museum of Art, Osaka Nakanoshima Museum of Art, Osaka Prefectural 20th Century Art Collection, Tochigi Prefectural Museum of Art, Toyohashi City Museum of Art, Wakayama Museum of Modern Art, Yamaguchi Prefectural Art Museum, Sakuragaoka Museum, The, Kyoto University Art Museum and Kyoto City University of Arts among others.\u003cbr\u003e\u003c\/p\u003e","brand":"Nomura Ko","offers":[{"title":"Default Title","offer_id":50725417877751,"sku":"NK62","price":1500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2026-04-0116.11.13.jpg?v=1777600187"},{"product_id":"untitled-monotype-81-ー野村-耕","title":"Untitled Monotype, 81 ー野村 耕","description":"\u003cp\u003eA vivid red and blue transfer work by Nomura Ko freshly mounted in pale white matte. Directly from the artist’s family. It is pencil signed on the mounting K Nomura and accompanied by a seal from the SIMA Art Gallery affixed to the back, dating circa 1960. It is 21.3 x 27.5 cm (8-1\/2 x 11 inches) and in excellent condition.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eNomura Ko (1927–1991) was born in Kyoto and graduated from the Nihonga Department of Kyoto Municipal College of Art in 1948. In 1950 he joined the Pan Real Art Association (until 1965), establishing himself as a significant figure in the postwar avant-garde movement in Japanese-style painting. Initially influenced by Surrealism, he shifted in the later 1950s toward abstraction and collage, employing unconventional materials such as newspaper printing molds, industrial waste, slate, and cement. From the mid 60”s he was driven beyond the framework to be a pioneer in installation exhibition, creating one-time works which allowed the room to be the frame. Through materially driven works and these later three-dimensional and spatial constructions, Nomura fundamentally redefined the physical and conceptual boundaries of Nihonga. His major exhibition history includes the aforementioned Pan Real (1950-1965), the Asahi New Artist Exhibition, the Asahi Selected Exhibition and the Contemporary Japanese Art Exhibition. Trends in Contemporary Painting (1963), and Today’s Artists ’64 (1964). From 1978 onward, he participated almost annually in the Ge Exhibition. In 1986, he was featured in A Section of Postwar Nihonga at Yamaguchi Prefectural Art Museum. A major retrospective, Kyoto Art: Yesterday, Today, Tomorrow III – Nomura Ko, was held at Kyoto City Museum of Art in 1989. His work was posthumously included in The Turning Point of Postwar Nihonga at Tochigi Prefectural Museum of Fine Arts in 1993, confirming his pivotal role in transforming postwar Nihonga. Work by him is held in the collections of The Kyoto National Museum of Modern Art, Fukui Fine Arts Museum, Kariya City Art Museum, Kyoto City Kyocera Museum of Art, Meguro Museum of Art in Tokyo, Nara Prefectural Museum of Art, Osaka Nakanoshima Museum of Art, Osaka Prefectural 20th Century Art Collection, Tochigi Prefectural Museum of Art, Toyohashi City Museum of Art, Wakayama Museum of Modern Art, Yamaguchi Prefectural Art Museum, Sakuragaoka Museum, The, Kyoto University Art Museum and Kyoto City University of Arts among others.\u003cbr\u003e\u003c\/p\u003e","brand":"Nomura Ko","offers":[{"title":"Default Title","offer_id":50725421547767,"sku":"NK81","price":1500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2026-04-0116.48.55.jpg?v=1777600537"},{"product_id":"untitled-monotype-75-ー野村-耕","title":"Untitled Monotype, 75 ー野村 耕","description":"\u003cp\u003eA playfuyl field of flowers performed in transfer with overpainting by Nomura Ko freshly mounted in white matte directly from the family private collection. It comes with a seal from the artist’s son Yukihiro. The work is 33 x 21.3 cm (13 x 8-1\/2 inches) and is in excellent condition.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eNomura Ko (1927–1991) was born in Kyoto and graduated from the Nihonga Department of Kyoto Municipal College of Art in 1948. In 1950 he joined the Pan Real Art Association (until 1965), establishing himself as a significant figure in the postwar avant-garde movement in Japanese-style painting. Initially influenced by Surrealism, he shifted in the later 1950s toward abstraction and collage, employing unconventional materials such as newspaper printing molds, industrial waste, slate, and cement. From the mid 60”s he was driven beyond the framework to be a pioneer in installation exhibition, creating one-time works which allowed the room to be the frame. Through materially driven works and these later three-dimensional and spatial constructions, Nomura fundamentally redefined the physical and conceptual boundaries of Nihonga. His major exhibition history includes the aforementioned Pan Real (1950-1965), the Asahi New Artist Exhibition, the Asahi Selected Exhibition and the Contemporary Japanese Art Exhibition. Trends in Contemporary Painting (1963), and Today’s Artists ’64 (1964). From 1978 onward, he participated almost annually in the Ge Exhibition. In 1986, he was featured in A Section of Postwar Nihonga at Yamaguchi Prefectural Art Museum. A major retrospective, Kyoto Art: Yesterday, Today, Tomorrow III – Nomura Ko, was held at Kyoto City Museum of Art in 1989. His work was posthumously included in The Turning Point of Postwar Nihonga at Tochigi Prefectural Museum of Fine Arts in 1993, confirming his pivotal role in transforming postwar Nihonga. Work by him is held in the collections of The Kyoto National Museum of Modern Art, Fukui Fine Arts Museum, Kariya City Art Museum, Kyoto City Kyocera Museum of Art, Meguro Museum of Art in Tokyo, Nara Prefectural Museum of Art, Osaka Nakanoshima Museum of Art, Osaka Prefectural 20th Century Art Collection, Tochigi Prefectural Museum of Art, Toyohashi City Museum of Art, Wakayama Museum of Modern Art, Yamaguchi Prefectural Art Museum, Sakuragaoka Museum, The, Kyoto University Art Museum and Kyoto City University of Arts among others.\u003cbr\u003e\u003c\/p\u003e","brand":"Nomura Ko","offers":[{"title":"Default Title","offer_id":50725422563575,"sku":"NK75","price":1500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/files\/2026-04-0116.16.07.jpg?v=1777601636"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/7472\/3063\/collections\/WebBanner_ef497fff-a142-48c3-9c6f-f2f379fe7a32.jpg?v=1771987307","url":"https:\/\/kuramonzen.com\/ja\/collections\/nomura-ko-screaming-lots-of-different-songs.oembed","provider":"Kura Monzen Gallery","version":"1.0","type":"link"}