Tiger by Ganku (岸駒, Japanese, 1749–1839), dated 1792, ink on silk, depicting a tiger crouching at the water's edge. The animal' s forward-facing gaze, combined with the rippling water disturbed at its feet, generates a palpable, almost chilling presence. The inscription reads: "In the summer 1792, Kishi Ganku".

A leading painter of Kyoto and founder of the Kishi school, Ganku is renowned for his powerful renderings of animals, particularly tigers. Born in Kanazawa as Kishi Saeki, he initially trained in the Kanō tradition before studying the style of Shen Quan (1682-?) and engaging with the Maruyama–Shijō school, which emphasized shasei (direct observation from nature).  

First, the treatment of the tiger closely parallels an example in the Metropolitan Museum of Art (Object no. 36.100.11; https://www.metmuseum.org/art/collection/search/49063), with the correspondence most clearly evident in two key aspects: the rendering of the eyes and the treatment of the fur. The eyes in both works are constructed through firm, vertical brushstrokes set within distinctly angular, oval-shaped sockets, with sharply defined contours that give the gaze a focused, penetrating intensity. This method of articulation produces a heightened sense of alertness and latent ferocity, anchoring the psychological presence of the animal.

Equally significant is the treatment of the fur, which in both examples is built up through layered applications of ink using the pomo (broken ink) technique. Broad washes of diluted ink establish the underlying volume, while darker, wet strokes are superimposed to create depth and density; once dried, finer lines are added to articulate individual strands of hair. This vivid and structurally coherent rendering reflects the artist's engagement with shasei, translating empirical observation into expressive form. The result is a richly textured surface that conveys both the softness and weight of the animal's coat, while simultaneously reinforcing the structural modeling of the body.

Taken together, these shared characteristics demonstrate not only a consistent technical approach but also a comparable visual logic in the construction of form, thereby reinforcing the close stylistic relationship between the present work and the Metropolitan Museum example, and situating it securely within the artist's mature mode of representation.

Second, the brushwork of the pine needles and the handling of ink on silk show strong affinities with Ganku's Eagle in the collection of the Smithsonian National Museum of Asian Art (Accession no. F1995.15a-g; https://asia.si.edu/explore-art-culture/collections/search/edanmdm:fsg_F1995.15a-g/). The trunk is rendered with bold, rapid brushstrokes, first outlined in pale ink and then articulated with darker ink moss dots, creating a spontaneous, calligraphic quality associated with literati painting.

Notably, among comparable works, the present painting is of particularly large scale, exceeding related examples in institutional collections. The expansive format enhances its visual impact and allows for a commanding presentation of the subject. Works of this size and quality from the late 18th century are uncommon on the market; the present example, preserved in strong condition, represents a significant and museum-level work by the artist.

A large and visually commanding work, with strong brushwork and tonal richness throughout.

An accompanying scholarly video prepared specifically for the present lot is available at:
https://www.youtube.com/watch?v=-gWtM217bw4&t=5s

{Image size: 57 1/8 x 36 3/8 inches}.

岸駒（1749–1839）筆《虎図》　一幅　1792年（寛政4年）作　絹本墨画

Overall condition is very good, with the work well preserved. Consistent with age, there are minor creases visible along the lower section of the image, likely resulting from uneven adhesion during the mounting process. There is also a small area of loss to the silk ground. The decorative silk brocade borders surrounding the painting show expected wear. For condition report, please contact the Asian Art Department.