Kubo SHUNMAN (1757-1820)

 Click here to view image full size. An original painting showing a sparrow taunting a horned owl. Shunman, a man of great sophistication, produced few prints (indeed, as Jack Hillier pointed out [The Japanese Print: A New Approach, pp. 102-104]: “Probably no artist except Choki has achieved so high a reputation on such a small number of prints.”); but is known for his fine surimono. Also excelled at writing, light verse, book illustration and painting of mainly bijin, making the subject matter here rare for him. However, the subject was also used for a surimono by him showing an owl on a flowering magnolia branch. Sumi and the characteristically light and subtle use of colour on silk, 36 x 11.5 in; 91.5 x 29.2 cms. Inscription above by Rosanjin. In very good condition having been remounted. Signed and sealed Shunman. Status: Sold  Click here to view image full size. <!–  Click here to view image full size. –>  Click here to view image full size.

Shibata ZESHIN (1807-1891)

 Click here to view image full size. An original painting of a somewhat benign Raijin, the god of thunder and lightening. His geta are on a shelf and a cat watches him. There appears to be a cloth-covered mirror at the extreme left. This could almost be some sort of green room view. Zeshin was the greatest lacquerer of the 19th century. Also a highly skilled painter, often using lacquer on his paintings. Sumi on creped silk, 32.25 x 6 in; 81.9 x 15.2 cms. A diagonal joining of two pieces of the silk make up the length. In good condition. Signed Zeshin with largeTairyukyo seal. Painted c. 1885.   Status: Sold   <!–  Click here to view image full size. –> <!–  Click here to view image full size. –>  Click here to view image full size.

Kishi GANTAI (1782-1865)

 Click here to view image full size. A superb large gajo (11 x 8 in; 28 x 20.4 cms) of tour de force paintings folding out to comprise: 30 two-sheet designs; 14 four-sheet designs; 2 six-sheet designs; 1 eight-sheet design, making a total of 136 sheets in sumi and light colour on paper. Gantai was the son and pupil of Ganku, and together with his brother, Renzan, carried on the Kishi school tradition. With his father, worked on the paintings for the new Kanazawa Castle in 1809. A highly accomplished painter, especially of kachoga. A variety of subjects are covered in this album, many of them the standard repertoire required of such artists to show their skill. In extremely good condition with high quality boards and gold end papers. Signed Chikuzennosuke Gantai with seals Gantai and Kunchin. See also the large deer painting on this update.   Status: Sold    Click here to view image full size.  Click here to view image full size.  Click here to view image full size.  Click here to view image full size.  Click here to view image full size.  Click here to view image full size.  Click here to view image full size.  Click here to view image full size.  Click here to view image full size.

Numata GESSAI (UTAMASA) (1787-1864)

 Click here to view image full size. An original painting showing a geisha looking back over her shoulder as though surprised. The kimono is beautifully painted with waves and cherry blossom in gofun. Full colour on paper, 50 x 20.25 in; 127 x 51.4 cms. He first studied under Maki Bokusen, then Hokusai during his stay in Nagoya. In the 1840s he was a pupil of Cho Gessho finishing by studying the nanga manner under Yamamoto Baiitsu. Another example is in the MFA, acc no. 11.7340, ex William Sturgis Bigelow collection. In very good condition and newly mounted. Signed Gessai with seal Utamasa.   Status: Sold   <!–  Click here to view image full size. –> <!–  Click here to view image full size. –>  Click here to view image full size.

Nishiyama HOEN (1804-1867)

Click here to view image full size. An original painting showing the oiran Eguchi on a white elephant. The origins of this story seem to go back to a recorded conversation the poet-monk Saigyo (1118-1190) had with a prostitute named Eguchi giving rise to numerous legends. Eguchi is shown as a manifestation of the Budhisattva Fugen whose usual vehicle is a large white elephant. Hoen, one of the best shijo painters of his time, lived in Osaka and was a pupil of Keibun. Full colour on silk, 36.5 x 13 in; 92.7 x 33 cms. Mount showing signs of wear but image in good condition. Signed Hoen with seal (?) – Seisho.     Status: Sold     Click here to view image full size. <!–  Click here to view image full size. –> Click here to view image full size.

Yamaguchi SOKEN (1759-1818)

Click here to view image full size. A fine pair of paintings: One showing women of Ohara; a mountain village north of Kyoto. These Oharame collected brushwood and firewood in the fall to sell in Kyoto. They are often depicted and obviously caused a stir when they entered Kyoto to ply their trade. Evidently the custom has been going on since the 12th century. The other painting shows spring tea-leaf picking at Uji. An area located at the southern edge of Kyoto prefecture. Shincha, the new tea of the year, was prized and collected at the beginning of May. Soken was one of Okyo’s ten best pupils, lived in Kyoto, and is known for his fine illustrated books, such as: Yamato jimbutsu gafu, 1800; Yamato jimbutsu gafu kohen, 1804; Soken sansui gafu 1818 and others. Sumi and full colour on paper, each 39 x 13.5 in; 99 x 34.3 cms.    Fine, fresh condition and newly mounted. Each signed Mizunoto i Soken, Soken painted in the Boar Year, 1803 with seal Soken.    Status: Sold Click here to view image full size. <!–  Click here to view image full size. –> Click here to view image full size. Click here to view image full size. Click here to view image full size. <!–  Click here to view image full size. –> Click here to view image full size.

Nagasawa ROSETSU (1754-1799)

Click here to view image full size. An original painting, 47.25 x 16 in; 120 x 40.5 cms. Sumi and touches of very light colour on paper. Shows cranes flying in a mountainous landscape. Rosetsu is considered one of the most important artists of the late Edo period but little is known of his short life – he died at forty-five – apart from the fact that he studied and was one of the top disciples of Maruyama Okyo. He is labelled an “eccentric” painter as he defies easy classification. His brushwork is a tour de force and he is known for his expressive depictions of animals. Signed Rosetsu sha with large Gyo seal with the top right corner broken indicating being painted after May 1792-94. In good condition.   Status: Sold   Click here to view image full size.

Imao KEINEN (1845-1924)

 Click here to view image full size. Probably the best known artist of his time and famous for his realistic depictions of birds and flowers. Two koi or carp swim beneath a rock with an overhanging white mountain rose. Ink, colour, gofun and gold on silk. Original mount with ivory rollers. A double kiri-wood box inscribed by Keinen’s son Keisho with date Showa 13, 1938 and a guarantee of authenticity. He entitles the painting Nobara yuri, “Koi playing under a wild rose.” Image size: 44.5 x 14.5 in; 113 x 36.5 cms. Slight crease, otherwise good condition. Signed Keinen. Status: Sold  Click here to view image full size.  Click here to view image full size.

Watanabe NANGAKU (1767-1813)

Click here to view image full size. A large original painting, full colour on silk, image size 46 x 21.75 in; 116.8 x 55.2 cms. This impressive painting shows two courtesans of the Shimbara (red-light) district of Kyoto and their attendants. Nangaku was one of Maruyama Okyo’s best pupils showing great dexterity in impromptu sketches (sekijo) as well as producing paintings of bijin which show ukiyo-e influences. He was responsible for the introduction of the Maruyama style to Edo where he lived for approximately three years late in his career before moving back to Kyoto where he died. He was included in the first exhibition in Edo of contemporary calligraphies and paintings organised by Sawara Kikuu in 1804. A comparable painting is in the Art Gallery of New South Wales, Australia, acc. no. 121.1980. (See Jack Hillier, The uninhibited brush, Hugh M. Moss, 1974, pp. 93-99.) In very good condition with double box. Signed Nangaku with seals Genzan and Iseki.   Status: Sold   Click here to view image full size.

Teisai HOKUBA (1771-1844)

Click here to view image full size. An original painting, full colour on silk, image size 37.5 x 12.75in; 95.2 x 32.3 cms. One of Hokusai’s earliest and best pupils. Produced a few surimono, also illustrated books, but is best known for his paintings of bijin, often shown promenading along the Sumida River, as here. Above is flowering cherry blossom setting the scene in late March or early April. The background is in Kano ink-wash showing boats on the river and below a ferry landing stage which she is presumably making her way towards. A similar painting is in the BM, illustrated in Ukiyo-e Paintings in the British Museum, Timothy Clark, 1992, p. 120, p. 169. Painted c 1830-44. In good condition. Signed Teisai with seal Hokuba gain.   Status: Sold   Click here to view image full size.

Mori SOSEN (1747-1821)

Click here to view image full size. An original painting, sumi and light colour on silk, image size 32 x 11.5 in; 81.3 x 29.2 cms. His life is not well documented but he is known to have studied under the Kano artist Yamamoto Joshunsai (? -1781) before being drawn into Mauyama Okyo’s (1735-1795) artistic circle and his style is more Shijo than anything else. His animal paintings were evidently highly valued by Okyo. He was an immediate favourite with eastern collectors because of his monkey paintings at which he excelled, although he was more versatile than literature implies and highly accomplished at drawing other animals. But his images of monkeys take precedence and he is considered the pre-eminent painter, east or west, on this subject. It is alleged that he lived in the woods for three years eating fruit and nuts to study the monkeys and other animals and is also supposed to have had a cage of monkeys at the back of his house to better observe them. Shows two Japanese macaque monkeys, known as the snow monkeys, eating chestnuts. Signed Sosen hitsu with seal Shusho. Minor cracks, otherwise very good condition.   Status: Sold   Click here to view image full size.

Ichiryusai HIROSHIGE (1797-1858)

 Click here to view image full size. An important original Hiroshige painting. Sumi and colour on grey silk, 22.5 x 13.75 inches, 57 x 35 cms. An atmospheric scene showing an evening view at Tamegawa. Villagers hurrying home across a bridge to avoid an approaching thunderstorm. Lightning flashing above. This is a well known painting and has been illustrated in a number of books, including Ukiyo-e Art, Number 18, Memorial Exhibition of Hiroshige, The Japan Ukiyo-e Society, 1968, pl.20. Very good condition; fully mounted with double box and ivory ends. Signed Hiroshige fude with Ichiryusai seal. Hiroshige signature c. 1848- 52.   Status: Sold    Click here to view image full size.  Click here to view image full size.  Click here to view image full size. here to view image full size.

Kawanabe KYOSAI (1831-1889)

 Click here to view image full size. A fine painting, sumi on paper, showing three crows on the boughs of a willow tree. Crows were one of Kyosai’s favourite subjects and, apart from paintings, he used them in various formats: fan prints, oban and dai-oban prints. There are also numerous copies of his crow paintings. Signed Kyosai ga. 51 x 18.5 inches, 129.5 x 47 cms. Very good condition with original mount and rollers. Status: Sold  Click here to view image full size.  Click here to view image full size.

Utagawa HIROSHIGE (1797-1858)

Click here to view image full size. An original painting, sumi and light colour on paper, 34.25 x 11.5 in; 87 x 29 cm. Shows a seated courtesan, her summer robe with a water wheel and wave motif. A beautiful poem above which has been translated by Joel Earle:   TITLE The title of the painting is 蓴 (jun, nunawa), the aquatic plant Brasenia schreberi, commonly known as watershield. TRANSCRIPTION 中々尓夢路耳河者ゝ袖飛きてい者まほし幾尓あ那ら聲尓天 Naka naka ni / yumeji ni kawamono wa / sode hikite / iwama hoshiki ni / anara koe nite TRANSLATION Ah, how vexing! In the path of dreams where I travel towards you, you draw near like a flowing river and tug at my sleeve. I long to speak—but your alluring voice leaves me breathless. COMMENTARY Title The painting’s title, nunawa, is a metaphor for a courtesan, kawaramono who inhabits in the Floating World of Water, referring to the lively, impermanent realm of riverside quarters, performers, and night-time entertainment. Text 中々に naka naka ni. Conveys a sense of frustration, of “things not going as one wishes”, especially in love. 夢路に yumeji ni. “On the path of dreams”. Not just “in a dream” but on the classical path in which one travels to meet a beloved in dreams, and by extension, the road to the pleasure quarters. 河者ゝ kawamono ya. This term is tricky and layered. It literally evokes a river’s flow, something that comes toward you, but in Edo usage, 河者 kawamono or 河原者 kawaramono could be a derogatory term for performers, kabuki actors, entertainers, etc.—people who “flow in and out” of the pleasure world. 袖ひきて sode hikite. A classic gesture: pulling the sleeve to invite or entice. 言はまほしきに iwama hoshiki ni. A clear wish or desire: “I want to speak (to you)”. あなら聲にて anara koe nite. A seductive,…

Kawanabe KYOSAI (1831-1889)

Click here to view image full size. An original painting, full colour on silk, image size 41.25 x 16.2 in; 114.8 x 41 cms. A draughtsman of great dexterity with a wild, often bizarre, imagination. Loved sake, sometimes painting under its influence. At an early stage studied under Kuniyoshi, then Maemura Towa and later Kano Chinshin before becoming an independent painter at 27. Adept at highly finished paintings but also produced a large corpus of spontaneous paintings. This is one of Kyosai’s favourite themes: to juxtapose a beauty with an unlovely character; in this case a seated skeleton smoking. Signed Seisai Kyosai ga with seal Kyosai in. In very good condition apart from some minor creases. Status: Sold Click here to view image full size.

Maki BOKUSEN (1736-1814)

 Click here to view image full size. A fine original painting, full colour on silk, 40.5 x 12.5 in; 102.9 x 31.7 cms showing a beauty reading a long (love ?) letter. Her maid on the floor beside her. Bokusen was a pupil of both Utamaro and Hokusai although he had an independent style with Hokusai elements in his painting. He was not only a painter but printmaker and book illustrator with such books as: Bokusen gafu (1809), Hitoyo banashi (1810) etc. Painted c1810s.   Very good condition. Signed and sealed Bokusen. See my Blog on this update.   Status: Sold    Click here to view image full size.  Click here to view image full size. here to view image full size.  Click here to view image full size.

Matsui KEICHU (Active 1785-1819)

Click here to view image full size. A wonderful original painting, full colour on silk, image size 35 x 12.75 in; 89 x 32.5 cms. Shows three of the leading actors around 1800: Segawa Kikunojo III (above); Iwai Kumesaburo I (below left); Ichikawa Hakuen I (below right). The first two onnagata dressed in female attire. Kikunojo is the subject of the famous bust portrait by Sharaku showing him as Oshizu, the wife of Tanabe Bunzo. Hakuen (Ichikawa Danjuro V) was one of the most famous and popular actors of his time. He is having tea served to him from a teapot by Kumesaburo watched by Kikunojo. Keichu, a Nagasaki painter, is known for his famous painting of a tiger cleaning its paw in the Minneapolis Institute of Art. A highly accomplished painting in very good condition. Sealed Matsui Keichu. Status: Sold     Click here to view image full size.

Katsushika TAITO II (Active c. 1810-1853)

Click here to view image full size. An original fan painting, sumi and light colour on prepared paper, 7.5 x 21.5 in; 19 x 54.5 cms. Shows a badger disguised as a priest. This is the same story as is illustrated in Yoshitoshi’s Shingata sanjurokkaisen, “Thirty-six Supernatural Beings in New Forms” showing the badger at Morinji Temple that could turn itself into a teakettle. Taito II was given the go of Taito by Hokusai, whose pupil he was, in 1820. The fan has the original rib marks and has minor wear, but is in generally good condition. The paper treated with mica. Signed Taito hitsu with Hyaku seal.   Status: Sold  

Katsushika HOKUSAI (1760-1849)

Click here to view image full size. An original painting, full colour on paper, 48.75 x 13.75 in; 124 x 35 cms. Shows Kintaro (aka Sakata no Kintoki) riding a large Chinese shishi lion. Kintaro was a child of prodigious strength who had a vermillion-coloured body. He is often depicted with the mountain creatures from Mount Ashigara where he was raised and in particular wrestling with giant mountain bears. He carries his huge battle-axe. Riding lions/tigers is illustrated elsewhere: specifically Kato Kiyomasa (Watonai) hunting and eventually subduing tigers in Korea. There are also images of Kintoki riding a bear. Signed Hachijuhachi rojin Manji hitsu, “Brush of Manji, old man of eighty-eight.” Seal Hyaku, “Hundred.” Twenty-six paintings are known from his eighty-eighth year, although given the attrition rate for paintings, he probably produced many more.   The painting is a wonderful example of Hokusai’s free handling of the brush style on a full kakemono. Some slight creasing, otherwise good condition.   Status: Sold   Click here to view image full size.

Utagawa HIROSHIGE (1797-1858)

Click here to view image full size. An important pair of original paintings, light colour on silk, 35.5 x 12.75 in; 90 x 32.5 cms. The left painting shows Asukayama in the Eastern Capital (Edo). This was one of the top areas to view the abundant cherry trees, the first of which were planted by the Shogun Tokugawa Yoshimune. A fir tree is seen to the left with cherry trees on the lower slope and a majestic Fuji in the distance. A large foreground object, often only partly shown, is a characteristic of many Hiroshige paintings and prints: They lead the eye into a composition and give perspective. The right-hand painting shows the Sumida River in the Eastern Capital (Edo) with a flowering cherry tree in the foreground. (See the comment above.) The sakura flowers from the end of March to early May and the sakura-zensen, blossom forecast, by the weather forecasters is watched assiduously as the blossom is so transient.   Each painting signed Ryusai with Hiroshige seal. Hiroshige produced a number of paintings in this format with this signature and seal, c. early 1850s. In good condition.   Status: Sold   Click here to view image full size. Click here to view image full size.

Tsukioka YOSHITOSHI (1839-1892)

Click here to view image full size. A fine and large original painting, sumi and light colour on silk. Image size 45.5 x 20.25 in; 115.5 x 51.5 cms. Shows Kato Toranosuke (1562-1611) and Yamaji Shogen (1546-1583) locked in combat having fallen over a cliff into a river. A full moon above. Toranosuke (Kiyomasa), a bodyguard of Toyotomi Hideyoshi, was one of the “Seven Spears of Shizugatake,” Shizugatake no shichi-hon-yan. His adversary is Yamaji Shogen of Katsuie Shibata’s army. (In fact, he defected to Katsuie from Hideyoshi during the battle and was killed there – presumably by Toranosuke .) The battle of Shizugatake was in 1583.     Signed Ikkaisai Yoshitoshi hitsu. Signature of c. mid 1860s. Recently remounted and in fine condition. The detail on the armour and accoutrements is exceptional.     Status: Sold     Click here to view image full size. Click here to view image full size.

Ishikawa TOYONOBU (1711-1785)

Click here to view image full size. A very fine original painting, sumi and colour on paper with extensive laquer and a large emossed gold floral pattern on the bijin’s kimono; other areas in gold. Image size 35.25 x 17.75 in; 89.5 x 45 cms. Shows an elegant beauty holding up an haori to slip it over the shoulders of a seated nobleman. There is a great feeling of tenderness between the couple in this beautiful painting. In fact Toyonobu produced a print of this exact subject but showing the actors Nakamura Kiyosaburo I as Okiku and Ichimura Kamezo I as Kosuke, a pair of lovers, who were in the play Fujito nikki in 7 Toyonobu must have liked the design and produced this painting but of just the protagonists. See this link in google for the published print. Toyonobu was a pupil of Nishimura Shigenaga and his style is also indebted to Okumura Masanobu. Produced some of the most exquisite kakemono-e, hashira-e and large obans of this period which, when they come onto the market, fetch considerable sums of money. (See, for example, Christies auction, N.Y., 18/9/2002, lot 6, ex Vever collection.) For a fine collection of his work, see The Clarence Buckingham Collection of Japanese Prints. The Primitives, 1955, A.I.C., pp. 199 – 229, nos. 1 – 58. Signed Ishikawa Shuha Toyonobu zu with seals Ishikawa uji and Toyonobu. Illustrated in colour in the exhibition catalogue of the Fuchu Art Museum, Artists of the Three Capitals-Learning About Edo Through Kyoto and Osaka, Kaneko, Nobuhisa, Oto, Yumiko, 2012, No. 67, p. 92. The cataloguing gives the play as Hiyoku no kagamon but this is most likely a dance that served as the finale. Hiyoku can mean “wings abreast” and hiyoku no tori, the “hiyoku birds” were a mythical couple…

Utagawa KUNITSUGU (1800-1861)

Click here to view image full size. An original painting, sumi and colour on silk with extensive splashed and applied gofun. Image size 29.25 x 13.25 in; 74.25 x 33.75 cms. A rare pupil of Toyokuni. Another fine painting by him is in the Minneapolis Institute of Art showing Lady Tokiwa fleeing with her children in the snow. Gift of the Clark Center for Japanese Art and Culture, 2013.29.170. Shows an eloping (?) couple standing in heavy snow shielded by his umbrella. Signed Kunitsugu fude. Seal unread. Very good condition.     Status: Sold     Click here to view image full size. Click here to view image full size.

Utagawa HIROSHIGE (1797-1858)

Click here to view image full size. An original painting, sumi and light colour on paper, image size 13.5 x 20 in; 34.3 x 50.8 cms. Shows the Shiraito no Taki waterfall at Hakone. The water, originating from Mount Fuji, flows over the edge of a 20 meter high cliff in thin white streams reminiscent of silk threads (hence the name Shiraito). Sold with the lid of a previous box which has a guarantee by Kazuo Inoue (a well known expert on Ukiyo-e [1889-1946] dated 1943 which gives the painting as having been done 1845-1848). In very good condition. Signed Hiroshige with Ichiryusai seal.   Status: Sold   Click here to view image full size. Click here to view image full size.

Imao KEINEN (1845-1924)

Click here to view image full size. An original painting, sumi on paper, image size 54 x 19.5 in; 137 x 49.5 cms. A pupil of Umegawa Tokyo and Suzuki Hyakunen. Keinen was an important figure in Kyoto art circles and considered the pre-eminent kachoga (bird and flower) artist at the end of the 19th century winning many prizes at home and abroad. Best known for his 4 volume Keinen kacho gafu, “Album of Bird and Flower Pictures by Keinen” published 1891-2. Shows two peacocks standing on a rocky outcrop. Peacocks were a popular subject for artists who could display their prowess at painting, the results often being sumptuously rendered. However, Keinen opts for a freer style in sumi only. Keinen was also known as a keen horticulturist and a bonsai expert. Original kiri wood box inscribed by him on the inside of the lid and guaranteeing the painting as being genuine. Outer lacquer box. In very good condition. Signed Keinen with seal.   Status: Sold   Click here to view image full size. Click here to view image full size.

Kawanabe KYOSAI (1831-1889)

Click here to view image full size. An original painting, sumi on paper, image size 36.75 x 12 in; 93.3 x 31.7 cms. A draughtsman of great dexterity with a wild, often bizzare, imagination. Loved sake, sometimes painting under its influence. At an early stage studied under Kuniyoshi, then Maemura Towa and later Kao Chinshin before becoming an independent painter at 27. Adept at highly finished paintings but also produced a large corpus of spontaneous paintings. Shows a crow perched on a branch with a singing sparrow below. This was the subject he was most famous for and there were many copies.   In very good condition, remounted and with futomaki. Signed Joku Kyosai zu with seal Bankoku tobu, “Flying in, or to, many lands.”   Status: Sold   Click here to view image full size. Click here to view image full size.

Nishiyama KAN’EI (1834-1897)

Click here to view image full size. A gajo (album) of 21 original paintings by Nishiyama Kan’ei, the son and pupil of Nishiyama Hoen. They both worked in Osaka and Kan’ei carried on the Shijo school tradition. Relatively few paintings and drawings by Kan’ei survive but based on these and his fine Kan’ei gafu, published in 1886, it is evident he was an accomplished artist. The postscript to the album is an authentication by Takebe Hakuoh (1871-1927) stating that they are original works by the master. He studied under Kan’ei. Comes with the original box. The album and box in excellent condition. Sumi and light colour on paper mounted on gold-flecked boards. All paintings sealed Kan’ei.     Status: Sold     Click here to view image full size. Click here to view image full size. Click here to view image full size. Click here to view image full size. Click here to view image full size.

Katsukawa SHUNSHO (1726?-1792)

Click here to view image full size. An original painting, sumi and full colour on silk, 32.25 x 10 in; 82 x 25.5 cms. An important print artist and his paintings being considered one of the glories of Ukiyo-e. Produced a considerable number of hosoban actor prints from the late 1760s on as well as collaborating on the Ehon butai ogi illustrated book with Buncho in 1770 and Seiro bijin awase sugata kagami with Kitao Shigemasa in 1776. He had many pupils including Shunko, Shun’ei and Hokusai. Shows a court beauty reclining and reading a book. The painting of the face, hair and the lacquer stand holding the cloth screen are exceptional. Painted c. 1789. In very good condition.     Signed Katsu Shunsho ga with seal Jui.     Status: Sold     Click here to view image full size.

Utagawa HIROSHIGE (1797-1858)

Click here to view image full size. An original painting, sumi and light colour on silk, 13.5 x 20.5 in; 34.5 x 52 cms. Shows the renowned Husband and Wife rocks, Meoto Iwa, “Married Couple Stones,” off Futami, Mie, Japan. At this time – c. late 1840s – many thin ropes were used to tie the couple together. They are now joined by a single large shimenawa – a rope of rice straw. The larger (male) rock called Izanagi has a small torii at the top. The smaller (female) rock is called Izanami. They are sacred to the Shinto religion and worshippers flock to the neighbouring Futami Okitama Shrine, which is dedicated to the food goddess Miketsu. The ancient Shinto custom of worshipping stones is called Iwakura. A fine Hiroshige painting.     Signed Hiroshige ga with large Ichiryusai seal. In good condition with interesting old mount.     Status: Sold     Click here to view image full size.

Ichiryusai HIROSHIGE (1797-1858)

Click here to view image full size. An original painting showing the old lighthouse at Tempozan, Osaka. To the left is the mount which was formed by earth dredged from the Ajigawa in 1831 to allow easier access for ships. In the foreground masts of moored vessels. There appear to be few images of this lighthouse. It was replaced by a lighthouse designed by the British engineer Richard Henry Brunton, the “Father of Japanese Lighthouses” in 1872. Sumi and light colour on paper, 12.75 x 20.25 in ; 32.4 x 51.4 cms.     Signed Hiroshige ga with Ichiryusai seal. Very good condition.     Status: Sold     Click here to view image full size. Click here to view image full size.