Toba HIROMARU (Active 1804-1818)
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An original painting showing a parading courtesan. Sumi and colour on paper, 45.5 x 11.25 in; 115.5 x 28.5 cms. A rare artist of the Utagawa school. Probably a pupil of Utagawa Toyohiro. His extant paintings show a considerable talent with particularly attenuated faces. Another example is in the MFA, Boston, acc. no. 11.7369 as well as there having been two sold at auction: Christies, NY 16/9/2003, lot 153 and Bonhams NY 18/3/2015, lot 3010. Some minor marks and creasing, but otherwise good condition. Signed Toba Hiromaru hitsu. Seal unread.
Status: Available
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Kawanabe KYOSAI (1831-1889)
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A large original painting, full colour on silk, image size 48 x 21.75 in; 122 x 55.25 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 Kano Chinshin before becoming an independent painter at 27. Adept at highly finshed paintings but also produced a large corpus of spontaneous paintings. Shows a standing courtesan with her kamuro. An homage to Hokusai whom he obviously admired.
Highly finished in places but also incorporating quirky elements of Hokusai’s style. Signed Hokusai hitsu-i (“Imitating Hokusai’s brush”) Shojo Kyosai. In very good condition with old double box with an untranslatable annotation on inside of lid comparing him to Hokusai. An important new discovery.
Status: Available
Toyohara KUNICHIKA (1835-1900)
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A diptych showing the actor Ichikawa Danjuro IX as Kamakura Gongoro Kagemasa in the drama Shibaraku, “Just a moment.” The large sansho (three square) motif was the symbol of the Danjuro clan and is repeated around the border. In the background are peonies, also associated with the Danjuro clan. Published by Tanaka Katsuzo, 1878.
Fine impression, colour and condition. Signed Oju Toyohara Kunchika hitsu.
Status: Available
Utagawa KUNIYOSHI (1797-1861)
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An o-tanzaku print, Yugao chapter from the fifty-four chapters of Genji, the Genji Monogatari. A tenth century romance written by Murasaki Shikibu. From a set Buyu nazoraye Genji, “Heroic Comparisons for the Chapters of Genji.” In this case showing Benkei creeping up on Ushiwaka on Gojo Bridge in Kyoto. The story relates how Benkei only needs one more blade to add to the 999 he has wrenched from samurai attempting to cross the bridge in order to fashion an invincible weapon. Benkei loses the fight and becomes Yoshitsune’s loyal retainer. Published by Ibaya Sensaburo, c. 1843.
Fine impression and colour. Very good condition. Signed Cho-o-ro Kuniyoshi ga.
Status: Available
Tsukioka YOSHITOSHI (1839-1892)
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A triptych Taira Kiyomori hi no yamai no zu, “The Fever of Taira no Kiyomori.” Kiyomori’s wife, Niidono, dreams that the King of Hell, Ema, is coming for Kiyomori for his crime of burning the Rushana Buddha. His family gather around him and pray but to no avail. He dies on the 4/2/1181. Shows Niidono and her son beside a convulsed Kiyomori. Behind are visions of hell with Ema and figures who may have been Kiyomori’s victims. Published by Akiyama Buemon, 1883.
Fine impression, colour and condition. A lovely copy of this triptych. Signed Yoshitoshi ga.
Status: Available
Utagawa KUNIYOSHI (1797-1861)
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Ichikawa Kodanji IV as the ghost of Asakura Togo in the play Higashiyama Sakura zoshi, “The Story of Sakura of Higashiyama.” Based on historical events in 1653 with the characters’ names changed (Asakura Togo was actually Sakura Sogoro). The story tells of a village chief who was forced to witness the beheading of his sons before being crucified by the cruel samurai Lord Hotta Kozuki, after he had protested at the levy of unfair taxes. Sakura’s ghost returns to haunt Hotta’s castle. In fact the left sheet of a diptych. However, nearly always sold as a single sheet as the other side does not marry up, is undistinguished and was probably sold separately. Published by Sumiyoshi Masagoro, 1851. Beside the signature is the seal shita-uri, “low sale” meaning it was sold “under the counter” due to censorship laws prevalent at the time. This is the very rare first edition with the carver’s seal Hori Take, Yokokawa Takejiro, to the right of the publisher’s seal on the left. This was removed on later editions. One of the great ghost prints.
Fine impression, colour and condition with gum applied to the eyes (only found on the first edition).Signed Ichiyusai Kuniyoshi ga.
Status: Available
Utagawa HIROSHIGE II (1829-1869)
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An original painting, full colour on silk, 37 x 14 in; 94 x 35.5 cms. The pupil of Hiroshige I who gave him the name Shigenobu. Adopted by Hiroshige in 1845 and married his daughter, Otatsu, on Hiroshige’s death. (Later divorcing her around 1865.) Shows a beauty cooling off on the prow of a boat beneath a full moon and the trestles of a bridge. (Probably the Ohashi over the Sumida River.)
In very good condition and possibly his best painting. Signed Hiroshige ga, seal unread.
Status: Available
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Yamamoto FUJINOBU (Active 1750-1770)
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An original painting, full colour on paper, image size 32.25 x 7 in; 82 x 18 cms. Shows a parading courtesan with her kamuro. A painter and print artist whose prints were always published by Yamamoto Fusanobu giving rise to the theory that Fujinobu was a pseudonym of the publisher. Much influenced by Harunobu. His prints are extremely rare. Slight creasing, otherwise good condition. Signed Fujinobu ga with indistinct seal.
Status: Available
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Kawanabe KYOSAI (1831-1889)
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A fine original Kyosai painting, full colour on silk, 47.5 x 16.5 in; 121 x 42 cms. Shows Emma, the King of Hell, walking with and holding an umbrella above a courtesan while a ghoulish oni looks on wearing a costume of gunnera leaves. Emma-O is the Japanese Buddhist version of Yama, the Hindu god of death. It was he who assigned people after death to one of the states of reincarnation. He is shown with the headdress, robes and holding the staff of a Chinese judge. The preparatory drawing for this painting is illustrated in Kawanabe Kyosai, In Honour of 100TH Anniversary of His Death, published by Ukiyoe Ota Kinen Bijutsuken, 1989, no. 61, p. 60. Kyosai was 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.
In very good condition. Signed Seisai Kyosai with Kyosai seal.
Status: Available
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Utagawa HIROSHIGE (1797-1858)
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Oki Province, Takuhi Shrine. From a set of 69 prints [Dai Nihon] Rokujuyoshu meisho zue, “Famous Places in the Sixty-odd Provinces [of Japan]” published by Koshihei between 1853 and 1856, this being 1853. The prows of two boats near the island of Nishinoshima. A torii seen at the top of the print indicates the Takuhi Shrine, one of the most important shrines dedicated to the gods of the sea.
Fine impression and colour. Light album backing, otherwise very good condition. Signed Hiroshige ga.
Status: Available
Utagawa HIROSHIGE (1797-1858)
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Shinano, Sarashina tagoto no tsuki, Kyodaisan, “Shinano [Province], the Moon Reflected in the Sarashina Paddy-fields, Mount Kyodai.” This was a popular destination for outings to view the multiple reflections. From a set of 69 prints [Dai Nihon] Rokujuyoshi meisho zue, “Famous Places in the Sixty-odd Provinces [of Japan]” published by Koshimuraya Heisuke between 1853 and 1856, this being 1853.
Fine, early impression. Fine colour and condition with large margins. Signed Hiroshige ga.
Status: Available
Utagawa HIROSHIGE II (1826-1869)
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A view of a smoking Mt Asama, Shinano Province, from Shokoku meisho hyakkei, the “One Hundred Views of Famous Places in the Provinces.” Mt Asama is an active volcano which violently erupted in 1108. Subsequently there was another eruption in 1783 and since then there have been minor tremors. Published by Uoya Eikichi between 1859 and 1861 (this being 1859).
Fine impression, colour and condition. Signed Hiroshige ga.
Status: Available
Toyohara KUNICHIKA (1835-1900)
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The actor Nakamura Shikan IV as Ishikawa Hachizaemon in the play Chuko musashi no abumi staged at the Nakamura-za Theatre in 4/1869. From a set of at least 22 prints published by Gusokuya Kahei, 1869. Kunichika was a hack artist who nevertheless produced some fine triptychs (horizontal and vertical) and this fine set of actor bust portaits.
Fine impression and colour. Minor edge soil, otherwise very good condition. Signed Kunichika hitsu.
Status: Available
Shunbaisai HOKUEI (Active 1824-1837)
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Shows the actor Arashi Rikan II as the yako Koman holding a shakuhachi and posed within a wooden frame in the play Sugata kurabe deiri no minato, “Comparison of Fighting Figures at the Harbour.” Performed in 1834 at the Naka Theatre, Osaka. A yako was a chivalrous servant, usually of a samurai. Rare: Another impression is in the MIA, acc. no P.75.51.188.
Fine impression with the woodgrain enhanced on the background. Fine colour and condition. Signed Shunbaisai Hokuei ga with the carver’s seal bottom right Kasuke.
Status: Available
Kitagawa UTAMARO II (Fl. c 1807-1830s)
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A courtesan and her Shinzo from a set Edo murasaki edoru hinagata, “Models Designed in the Purple of Edo.” A bluish purple as opposed to the more reddish purple from Kyoto. A pigment that had been extremely expensive and reserved for the elite few, but became cheaper and more accessible during the Edo period, fuelled by leading actors – such as Danjuro – wearing an Edo murasaki headband. Published 11/1807. Publisher unread.
Very good impression, colour and condition. Signed Utamaro hitsu.
Status: Available
Utagawa KUNISADA (1786-1865)
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A courtesan biting on a tissue about to write a love letter from the set Ukiyoe jinsei tengankyo, “Types of the Floating World Seen Through a Physiognomist’s Glass.” The glass top right. These professionals who purported to look at people’s features and give counsel based on their countenance were called Ninsomi or simply Somi. This set of ten prints showing different female personalities have their characteristics written up above. Utamaro produced two fine sets based on this theme in 1792-4 and c 1802: Fuji ninso jupon and Bijin gomenso. The clenching of the tissue is always an indication of arousal. Published c 1830 by Moriya Jihei (Kinshindo).
Fine impression with blind-printing. Fine colour. Small repaired binding holes and very slight trimming, otherwise very good condition. Signed Gototei Kunisada ga.
Status: Available
Utagawa KUNIYOSHI (1797-1861)
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An original drawing, sumi on thin paper laid onto Japanese paper, 6.5 x 9.25 in; 15.9 x 23.5 cms. A heavily muscled individual (Benkei ?) dispatching two adversaries. Sold “as is” with all imperfections common to surviving drawings. Two areas of pentimenti.
Status: Available
Utagawa KUNISADA (1786-1864)
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An original hanshita-e (preparatory drawing) for a triptych showing, from the left, Nakamura Kamenojo I as the geisha Azuma standing above Kawarasaki Gonjuro I as Yamazakiya Yogoro, Bando Kamezo I as Settanaoshi Chogoro standing above Onoe Kikugoro IV as Kumasaka Ocho, and Onoe Kikugoro IV as Akogi Gennojo standing above Onoe Kikujiro II as Onnadayu Okoyo. The play was Yume musubu cho ni torioi performed at the Ichimura-za theatre 3/1856. These first drafts by the artist themselves survive because a more detailed drawing was needed by the blockcutter, and this was normally given to an assistant to execute. Or the drawing was never taken up by the publisher, for whatever reason. Sumi and touches of red with some pentimenti. (This was also most likely a published print by Sanoki as it is from the same group as others offered here.) Signed on two sheets Toyoukuni ga.
Status: Available
Utagawa KUNIYOSHI (1797-1861)
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A fine large original drawing, sumi on thin paper, 12 x 18.5 in; 30.4 x 47 cms. Shows battling women holding what appear to be wooden swords. Two seals at the bottom which appear to be the publisher Honmo who published 1855-56. Provenance: Ex collection Dr. Julius Kurth (1870-1949), an eminent scholar who wrote extensively on Japanese and Chinese art.
Sold “as is” but in good condition.
Status: Available
Utagawa YOSHITORA (1836-1887)
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A triptych showing the warrior Inukai Genpachi (the famous character from the Hakkenden) confronting a cat monster which has emanated from a horse on Mount Koshin. Other cat monsters stare in amazement. Published by Kojimaya Jubei, 1850.
Very fine impression. Fine colour. Imperceptible small binding holes, otherwise fine condition. Signed Ichimosai Yoshitora ga.
Status: Available
Utagawa HIROSHIGE (1797-1858)
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Nihonbashi yukibare, “The Nihon Bridge, Clear Weather After Snow.” From the set Meisho Edo hyakkei, “One Hundred Views of Edo.” The set published by Uoya Eikichi 1856-58 (this being 1856). The set comprises 118 prints by Hiroshige and another by Hiroshige II. However, three prints are dated 10/1858, the month following Hiroshige’s death and these are thought to be by Hiroshige II as well. They are: Ueno Yamashita, Ichigaya Hachiman and Bikunibashi. Number 1 from the set and a view of the Sumida River with Mt. Fuji in the distance. This is the starting point for the Tokaido Road.
Fine, early impression with gradation on the roofs and on Mt. Fuji. Fine colour. Margins trimmed a little, otherwise very good condition. Signed Hiroshige ga.
Status: Available
Utagawa HIROSHIGE (1797-1858)
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Bingo, Abuto, Kannondo, “Bingo [Province], Abuto Kannon Temple” from Rokujuyoshu meisho zu, “Famous Views of the Sixty-odd Provinces” published by Koshimuraya Heisuke in 1853-56 (this being 1853). The spectacular position of this small Buddhist temple is at the tip of Cape Abusagi overlooking the Seto Island Sea. This is the first edition with the added cloud top left and extra bokashi. The red signature and title labels are double-printed to give a more saturated colour (also found on early impressions of the Thirty-six Views of Fuji set). Provenance: Purchased from me in 1982.
Fine impression, colour and condition. Signed Hiroshige ga.
Status: Available
Tsukioka YOSHITOSHI (1839-1892)
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Okigatsuki-so: Meiji nenken saikyo nakai no fuzoku, “Looking Capable: The Appearance of a Kyoto Waitress in the Meiji Era [1867-1912].” Shows the waitress of a Kyoto geisha house whose job was to act as a go-between for customer and geisha. From a set Thirty-two Aspects of Women published by Tsunashima Kamekichi, 1888. The set depicts women of different backgrounds and occupations from the Kansei era through to the Meiji era with punning allusions to their situation or mood.
Very fine impression of the true first edition. Fine colour and condition. Signed Yoshitoshi ga.
Status: Available
Tsukioka YOSHITOSHI (1839-1892)
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Omota-so: Tempo nenkan Fukagawa karuko no fuzoku, “Looking Weighed-Down: The Appearance of a Waitress at Fukagawa in the Tempo Era [1830-1844].” Shows the waitress carrying a portable wooden table with food to a geisha party from a set Thirty-two Aspects of Women published by Tsunashima Kamekichi, 1888. The set depicts women of different backgrounds and occupations from the Kansei era through to the Meiji era with punning allusions to their situation or mood.
Very fine impression of the true first edition. Fine colour and condition. Signed Yoshitoshi ga.
Status: Available
Utagawa HIROSHIGE (1797-1858)
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One of a set: Edo Murasaki meisho Genji, “Murasaki’s Genji in Famous Places of Edo.” Mitate Ukifune Sumidagawa no watashi, “A Parody of Ukifune Crossing the Sumida River.” Shows a beauty on a ferry crossing the Sumida River in heavy snow, representing Ukifune, one of the court ladies of the Genji Monogatari. Stylised clouds above and below copying the traditional kiri-gane gold found on Yamato-e scrolls. These Genji pictures were popular at this time to circumvent the reforms of 1842. Published by Kinseido (his seal also appearing on the umbrella bottom right). Rare.
Fine impression. Very good colour. Lower margin trimmed close, otherwise very good condition. Signed Hiroshige ga.
Status: Available
Utagawa TOYOKUNI I (1769-1825)
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A surimono showing the actor Ichikawa Danjuro II as Soga no Goro Tokimune holding the giant arrow prior to sharpening it on the large wetstone from the play Yanone Goro. From a series of surimono that paid tribute to the various generations of the Danjuro family. There are two versions of this set of surimono and some ambiguity as to which is the earlier. They are known with blank borders, lacking metallic pigments and signed Ko Toyokuni hitsu (except one design signed Toyokuni II and probably issued in 1833). The other, as here, is signed Toyokuni hitsu, has metallic pigments and the emblem of the Gogawa Poetry Club around the border. The poets were also changed for this issue. It seems that the first version was issued by the Danjuro Fan Club in 1825 and that the reissue, c 1830s, was by the Gogawa. One poem by Ryueishi. The finest design from the set.
Very fine impression with metallic pigments. Fine colour and condition. Signed Toyokuni hitsu.
Status: Available
Utagawa KUNISADA (1786-1864)
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A fan print showing the actor Bando Shuka I as Shirai Gonpachi from a set Mitate gonin otoko, go-hiiki no omoizashi, “A Parody of the Five Chivalrous Commoners: A Cup of Sake From Their fans.” Omoizashi means to pour sake for one’s loved one and indicates the adoration of the fans for their actors. Published by Yama-Ta, 2/1852.
Very good impression, colour and condition. Signed Toyokuni ga.
Status: Available
Toyohara KUNICHIKA (1835-1900)
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The actor Nakamura Sagisuke in the role of the samurai attendant Kanji (Chugen Kanji) in the play Kichisama mairu yukari no otozure which was premiered at the Nakamura-za Theatre 15/7/1869. From a set of at least 22 prints published by Gusokuya Kahei, 1869. Kunichika was a hack artist who nevertheless produced some fine triptychs (horizontal and vertical) and this fine set of actor bust portaits.
Fine impression and colour. Slight trimming, otherwise very good condition. Signed Kunichika hitsu.
Status: Available
Toyohara KUNICHIKA (1835-1900)
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The actor Kawarasaki Sansho (later Ichikawa Danjuro IX) in the role of Sato Masakiyo in the Momoyama Goten Ohiroma scene from Momoyama Monogatari performed at the Ichimura-za Theatre, 8/1869. From a set of at least 22 prints published by Gusokuya Kahei, 1869. Kunichika produced some fine triptychs (horizontal and vertical) as well as this fine set.
Fine impression and colour. Slightly trimmed, otherwise very good condition. Signed Kunichika hitsu.
Status: Available
Shunkosai HOKUEI (FL. 1829-1837)
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A dramatic diptych showing the actor Iwai Shijaku I as Lady Osuma shining her lantern on the actor Bando Jutaro as Sasaya Hanbei from the play Honobonoto ura no asagiri, “Daybreak Hidden on the Bay by Morning Fog.” A revenge drama performed at the Naka no Shibai, Osaka, 9/1832. Hanbei is an accomplice of the villain in the play, Karahashi Daisuke. The confrontation takes place immediately after he has murdered the fiancée of the play’s hero, Kowari Dennai, by throwing her off a cliff. He makes his escape by throwing shuriken (star-shaped throwing blades) at Osuma.
Very fine impression. This is a de-luxe edition of the first state “surimono-style.” The hand-stamped block cutter’s seal “surimono cut by Kasuke” bottom left of second sheet. A later edition missing seal was published by Iden. Fine colour with burnished pattern on Osuma’s costume and the poem above is written in metallic pigment. Fine condition. Signed Shunkosai Hokuei ga with seal fumoto no yuki.
Status: Available
Utagawa KUNISADA (1797-1861)
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A fine and interesting original painting, full colour on silk, 11.25 x 20.25 in; 28.5 x 51.5 cms. Shows a reclining beauty looking up at a cuckoo (hototogisu) flying in clouds. The cuckoo is the harbinger of the summer months. This painting, made c 1830, reflects Kunisada’s study, together with Ikkei, of the work of Hanabusa Itcho (1652-1724). Indeed, Ikkei gave Kunisada the name Hanabusa Ittai and this painting is signed Hanabusa Itcho Kunisada ga with seal Hanabusa Ittai Kunisada no in. To the bottom left is an inscription reading “A disciple of Utagawa Kunisada drawn on request [the cuckoo].” There is a small seal but it is undecipherable.
Minor marks but in generally very good condition. Touches of gold and the gofun on the face well retained. Newly mounted with new box.
Status: Available
Hishikawa SORI (Active 1797-1813)
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An original painting, full colour on silk, 43.25 x 14 in; 109.8 x 35.6 cms. An early pupil of Hokusai (who gave him his name Hishikawa Sori in 1798, it previously being Tawaraya). Generally referred to as Sori III. Produced a considerable number of small surimono – some of which can be confused with Hokusai’s work. Shows a beauty with a monkey at her feet. There is a print closely following the painting published in 1906. Illustrated in Nihon ukiyoe hakubutsukan, ed., Nikuhitsu ukiyoe senshu gekan (Selected Painting of Ukiyo-e, second vol.) Tokyo: Gakushu kenkyusha, 1985, plate 193.
In very good condition. Signed Hyakurin Sori ga with seal Sori.
Status: Available
Teisai HOKUBA (1771-1844)
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One of Hokusai’s best pupils. Known for his paintings of beauties but also designed some fine surimono. An original fan painting showing a reclining beauty. Sumi and light red on silvered paper, 7.25 x 17.75 in; 18.5 x 45.2 cms. Removed from a fan, so rib folds and other minor marks. Signed Hokuba ga.
Status: Available
Utagawa HIROSHIGE (1797-1858)
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Kozuke, Harunasan setchu, “Kozuke [Province], Mount Haruna Under Snow.” From a set of 69 prints [Dai Nihon] Rokujuyoshi meisho zue, “Famous Places in the Sixty-odd Provinces [of Japan]” published by Koshihei between 1853 and 1856, this being 1853. A red bridge spans a gorge with precipitous cliffs and a fast flowing river. Fantastic crags point upwards into the sky. In the distance is Mount Haruna – a sleeping volcano.
Very fine impression and colour. Light album backing, otherwise fine condition. Signed Hiroshige ga.
Status: Available
Kitagawa FUJIMARO (1790-1850)
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An original painting, full colour on silk, image size 35.25 x 13.5 in; 89.5 x 34.5 cms. Fujimaro was a talented late pupil of Utamaro. More than a dozen paintings are recorded by him including an example in the Portland Art Museum, acc. number 69.51. His best-known work is in the collection of the Tokyo National Museum depicting Yujyo risshi-zu and another four paintings of beauties in the four seasons is in the collection of the Ota Memorial Museum of Art, Tokyo. Shows a standing courtesan beside a vase containing peonies and cherry blossom. On her sumptuous costume are the black wheels of a hanaguruma, “flower cart.” These vehicles carried baskets with often elaborate arrangements of flowers. It seems more than coincidence that the vase is placed where the basket would have been on the cart.
Painted c 1820. Signed Fujimaro with seal Yozan. Newly remounted and in fine condition with new box and futo-maki (thick wooden roll to preserve the painting from damage).
Status: Available
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Shunchosai HOKUSHU (Active 1822-32)
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Onoe Kikugoro III as the ghost of Oiwa in Irohagana yotsuya kaidan, “Ghost Story of Yotsuya.” Performed at the Kado Theatre, 1/1826. Probably the best known Japanese ghost story and has been made into a number of films. Tamiya Iemon, a masterless samurai, murders the wife he has disfigured who comes back to haunt him until he is driven mad and subsequently killed by Oiwa’s brother. Evidently, Kikugoro’s performance was something of a sensation at the time as he gave a bravura performance playing both the ghost of Oiwa and Koheiji who were nailed on opposite sides of a panel dropped into the river. There are at least five states of this print. The first appears to be that illustrated in Roger Keyes, The Theatrical World Of Osaka Prints, Philadelphia Museum Of Art, 1973, no. 34, p. 108 with the engraver and two printers and the writing printed in silver. The example offered here appears to be a second state without the engraver and printers’ seal but with the writing still printed in silver. Other impressions with different seals and lacking the first three lines of writing and the silver are known. See The Tsubouchi Memorial Theatre Museum of Waseda University catalogue, Kamigata Prints in the former period: part 1, nos. 279 and 280. Also BM impression 1962,0210,0.2 which may be the last state.
Fine impression and colour with calligraphy in silver. Very good condition; full size. Signed Shunchosai Hokushu ga.
Status: Available
Keisai EISEN (1790-1848)
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An amorous couple beside a screen decorated with a large chrysanthemum. From a set of twelve prints Keisei higo, “Secret Words of a Courtesan” published c 1822-25. Although coming under the heading of shunga, each print is an abuna-e design, without any graphic detail. Shows a courtesan with her client. She turns to tie the iwata-sash which indicates she is pregnant.
Fine impression. Very fine colour. Fine condition.
Status: Available
Utagawa KUNIYOSHI (1797-1861)
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2 vols. complete: Kanjaku tsuizen hanashidori, “The Liberated Birds: A Memorial Book for Kanjaku.” A memorial book for the actor Nakamura Utaemon who died in 1852. He had the literary name of Kanjaku, meaning ”playing with sparrows” and the covers and many illustrations allude to this custom of releasing birds at funerals. Vol. 1: 1st preface , 3pp. giving the biography of Utaemon IV; poem 1p. 3 sheets: calligraphy (in ishizuri), 1p.; illustrations in colour, 5pp. signed on first page Toyokuni (III). Sheets 1-8: 2nd preface, 5pp., remaining pp. text, poems and colour illustrations. Sheets 1-75 with 15 single-page and 62 double-page illustrations in sumi and light colour. Inside back cover: colophon dated Kaei 5 (1852). Vol. 2: 110 sheets of text, poems, and illustrations. 38 single-page and 50 double-page illustrations (many in colour and includes a double-page illustration by Kuniyoshi). Last page, colophon, dated Kaei 5 (1852). Original covers with clouds and sparrows. Some soil and minor damage. One title slip missing and other damaged. Contents extremely good.
Status: Available
Katsushika HOKUSAI (1760-1849)
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Volume 11 from the Manga. Front cover with original pink title slip: (Denshin kaishu) Hokusai manga juichihen, (“Transmitted from the Gods.”) “Hokusai’s Sketches, Vol. 11.” Original grey covers with burnished wave and diamond pattern. Inside front cover catalogue of newly published books; 2 pages preface and 29 numbered pages comprising 56 illustrations , 36 single page and 10 double page. 2 pages block-holders catalogue and inside back cover catalogue of newly published books. The extremely rare first edition published by Eirakuya Toshiro, Nagoya, c. 1834. The Manga was eventually completed in 15 volumes (the last two posthumously). The first 10 volumes published by Kadomaruya Jinsuke, Edo and Eirakuya Toshiro, Nagoya, 1814-1819; vols. 11 and 12 by Eirakuya only, c. 1834; vol. 13 by Eirakuya only, c. 1849; vol. 14 by Eirakuya only, c. 1850s; vol. 15 by Eirakuya only, 1878. Initially based on sketches produced on a visit to his friend and pupil Maki Bokusen in Nagoya in 1812. These sketches were collated by Bokusen and Katsushika Hoku’un and published in 1814. Other pupils collected sketches and so the set expanded. The books were enormously influential and popular, not just in Japan, but in the West and were endlessly reprinted giving rise to a plethora of late editions. In 1831, the German Phillip Franz von Siebold, reproduced images from the Manga in lithograph in his Archiv zur Beschreibung von Japon. They were also highly admired by the Impressionists, especially Manet and Bracquemond.
Fine impressions of the first edition. Some minor defects but otherwise in very good condition.
Status: Available
Suzuki HARUNOBU (1724-1770)
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Two volumes complete: Ehon haru no nishiki, “Picture Book: The Brocades of Spring.” Vol. 1: 1 page preface dated Kanoto U (1770); single page and 8 double page colour prints. Vol. 2: 1 single page and 8 double page colour prints. 1 page colophon with date, publisher, block-cutter and artist as Suzuki Harunobu with his seal. 2 pages publisher’s announcements. Published by Yamazaki Kimbe, Edo. This is the first edition, Meiwa 8 (1771). Other copies are in the MFA, Boston, acc. no. 1997.477.1-2 and the Philadelphia Museum of Art, acc. no. 1970-46-1. Provenance: Ex collections H.M.Kaempfer and Hayashi (their seals on the first page of each volume). Original covers and title slips. Covers worn. Some soil and edge restoration.
Very good impressions with generally very good colour. Rare in the first edition.
Status: Available
