MOCHIZUKI GYOKKEI (1874-1938) AND MOCHIZUKI GYOKUSEI (1900-1951) Crane over Pine Taisho (1912-1926) or Showa (1926-1989) era, early 20th century (5)MOCHIZUKI GYOKKEI (1874-1938) AND MOCHIZUKI GYOKUSEI (1900-1951)Crane over Pine Taisho (1912-1926) or Showa (1926-1989) era, early 20th centuryKakejiku (hanging scroll), in ink and colour on silk in silk mounts, depicting a striking tanchozuru (red-crested crane) in flight with spread wings, signed Bo Gyokkei with two seals, the chumawashi (surrounding mount) decorated entirely with a pine tree, signed in gold Gyokusei with two seals, with two en-suite kake futai; with an inscribed wood storage box titled Maizuru no zu (Picture of a crane in flight), inside the lid inscribed Koki 2600nen haruzuki kisshin Gyokkei-o kako kinen ga, Mochizuki dai-kan (Painted by my father Gyokkei to mark his 60th year, examined and titled in spring 1940 by Mochizuki Gyokusei) with two seals; with an outer lacquer storage box. Overall: 226cm x 63cm (89in x 24¾in); image: 167cm x 57cm (65¾in x 22 3/8in). (5).This is an unusual collaboration between Gyokkei and his son Gyokusei. Gyokkei first studied the Shijo tradition of landscape and bird-and-flower painting under his father Gyokusen then, during the Meiji era, built a considerable reputation as an important artist in the Nihonga (neo-nativist) manner, exhibiting his work at the 1900 Paris Exposition Universelle. Gyokusei followed in his father's footsteps and was selected to exhibit at the Teiten national salon in 1928 and 1930.