Utagawa YOSHITSURU (Fl. c. 1840-50)
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A fine original drawing by Yoshitsuru who was a pupil of Kuniyoshi. Sumi and slight colour on thin paper lightly adhered to a card, 13.25 x 10 in; 33.5 x 25.5 cms. The head drawn in great detail. Probably for an unpublished set of warrior prints. Shows a bajutsu samurai attacking an enemy on horseback.
In good condition apart from minor defects associated with a drawing’s survival. Signed Isseisai Yoshitsuru ga.
Status: Available
Kitagawa UTAMARO (1753-1806)
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A scene taken from the Chinese 14th century heroic novel San guo zhi yanyi, “Romance of the Three Kingdoms” attributed to Luo Guanzhong. Shows in the centre Liu Bei (Jap. Ryubei), the founder of the Kingdom of Shu, and the two warriors, Guan Yu (Kan U) on the right and Zhang Fei (Cho Hi) on the left. The three swore pledges of brotherhood in a peach orchard. Toen gikei no zu, “Picture of the Oath in the Peach Orchard. “ Published by Tsutaya Juzaburo with early signature c 1782-3. Rare.
Fine impression. Very good colour: yellow ground. Slight crease down right edge and very small wormage near top right, otherwise very good condition. Signed Utamaro ga.
Status: Available
Tsukioka YOSHITOSHI (1839-1892)
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The great beauty Lady Kaoyo (Gozen) admires herself in a long morror. Lord Ko Moronao, the chief retainer of Shogun Ashikaga Takauji, hears of her beauty and connives to spy on her after her bath. He falls in love, but she is married to En’ya Hankan Takasada. The evil Moronao plots against En’ya although the outcome is that the family is put to death, including En’ya’s wife. The story forms the basis of the famous Chushingura tale. From the set Ikkai zuihitsu, “Essays by Yoshitoshi.” (Ikkai was an early name of Yoshitoshi’s.) A set of thirteen prints published by Masadaya Heikichi 1872/3. A fine set.
Extremely fine impression and colour from the first edition. Most designs from the set have red seals in the margin and red seals over the signature. These were removed on later editions. Trimmed on black border at left, otherwise fine condition. Signed Ikkaisai Yoshitoshi hitsu.
Status: Available
Tsukioka YOSHITOSHI (1839-1892)
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Shows Tobosaku (who stole the Peaches of Immortality), Miura Daisuke Yoshiaki (Lord of Kinugasa castle), and the son of Urashima Taro (who saved the sea turtle and was carried to the Dragon King’s Palace) drinking wine. From the set Ikkai zuihitsu, “Essays by Yoshitoshi.” (Ikkai was an early name of Yoshitoshi’s.) A set of thirteen prints published by Masadaya Heikichi 1872/3. A fine set.
Extremely fine impression and colour from the first edition. (No seals on the first edition.) Margins trimmed a little, otherwise fine condition. Signed Ikkaisai Yoshitoshi hitsu.
Status: Available
Utagawa HIROSHIGE (1797-1858)
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Spring moon at the shore of Tsukudajima . One of a set of chu-tanzaku prints published by Shogendo, c. 1837. Tsukudajima was one of two islands at the mouth of the Sumida River. Originally a sanbar, it was reclaimed with earth and rocks and given its name by the first Tokugawa Shogun, Ieyasu, who invited thirty-three fishermen to live there in 1613 in order to provide fish for the rapidly expanding city of Edo. The fishermen came from Tsukudama near Osaka and it was they who became the proprietors of what would become the Tsukiji fish market. It must have been popular during the late Edo period as a place to visit and view the boats from teahouses on the shore because there are many prints depicting the area, especially under a full moon.
Fine impression, colour and condition. Signed Hiroshige ga. n.
Status: Available
Utagawa HIROSHIGE (1797-1858)
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Suruga, Miho no Matsubara, “Pine Beach of Miho in Suruga [Province]” from Fuji sanjurokkei, “Thirty-six Views of Fuji” published by Tsutaya Kichizo, 1858. A striking design with the yellow sky and one of the best prints from the set. The Miho peninsula has a seven-kilometre seashore lined with pine trees.
Fine early impression and colour with the red signature and title labels double-printed to give a more saturated colour. Fine condition. Signed Hiroshige ga.
Status: Available
Utagawa HIROSHIGE (1797-1858)
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Seki from a Tokaido set published by Maruya Seijiro, 1850-51, hence it is often referred to as the Marusei Tokaido. Also known as the Reisho Tokaido because the title “Tokaido” is written in formal script. Below is the station number 48. Seki was located where the two highways of Tokaido and Ise-ji meet. Seki means “barrier checkpoint.” Figures pass beneath a torii gate on a snowy hillside.
Fine impression and colour. Minor edge soil, otherwise very good condition. Signed Hiroshige ga.
Status: Available
Kawanabe KYOSAI (1831-1889)
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A fine original Kyosai painting, full colour on paper, 51.5 x 21.5 in; 131 x 54.5 cms. Shows Otafuku being carried across a river on the back of a blue oni. They look down with consternation at a red oni who has fallen into the water spilling his basket of mushrooms. The face of the blue oni takes on the appearance of Hyottoko, the male pairing of Otafuku. Known as the Goddess of Mirth, Otafuku is often shown with the Seven Gods of Good Fortune. There are various theories as to her origins and her face, in the form of a mask, has become ubiquitous. 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. Provenance: The inside of the lid on the box is signed and sealed by Mano Gyotei (Kyotei) who was Kyosai’s pupil and guarantees the painting. Sealed Kyosai.
Status: Available
Kishi GANTAI (1782-1865)
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An extremely large painting, 55.5 x 32 in; 141 x 81.3 cms, sumi and light colour on silk. Shows a pair of Sika deer, their summer coats spotted and white. 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. This is possibly the largest Gantai painting and it’s interesting to compare with the gajo by him also offered on this update. In very good condition. Framed and glazed. Signed Chikuzennosuke Gantai hitsu with seals Gantai and Kunchin.
Status: Available
Utagawa HIROSHIGE (1797-1858)
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Harima Tatsuyama, “Mount Tatsu [Dragon] in Harima [Province]” from a set of twenty prints Sankai mitate zumo, “Wrestling Matches Between Mountains and Sea.” A fanciful and imaginative title lacking in other Hiroshige sets. Comprises of ten prints of mountains and ten prints of harbours. A fine snow scene. Published by Yamadaya Shojiro, 1858. The title is in a wrestling umpire’s fan (gunbai).
Fine impression of the first edition: Later printings have a solid red in the title cartouche instead of variegated colour and lack other subtleties. Fine colour with oxidation. Very slight discoloration in top right margin and imperceptible centre fold, otherwise very good condition. Signed Hiroshige ga.
Status: Available
Kitao MASANOBU (1761-1816)
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Shows a couple caught in a downpour, the man shielding his companion with an umbrella. They are on the shore of Lake Biwa, northeast of Kyoto. In the distance can be seen the famous ancient pine tree in the grounds of the Karasaki Shrine. An unsigned (few of Masanobu’s prints are signed or have publisher’s seals) chuban set Furyu Omi hakkei, “Fashionable Eight Views of Omi,” this being night rain at Karasaki. Wrote under the name Santo Kyoden. Was also a painter, and illustrator of his own novels while owning a tobacco accessory shop. Published c. 1783. Rare.
Fine impression and colour. Small backing paper at top two corners, otherwise fine condition.
Status: Available
Kikugawa EIZAN (1787-1867)
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The geisha Hinaogi of the Daikokuya preparing to play the koto. She is adjusting the tsume (plectra) on her fingers that were used to pluck the strings. The title is enigmatic: It reads Ka getsu kai, “Harbinger of Moon and Flower” and if the character for “moon” is omitted it reads “oiran” (the highest ranking courtesan). Published by Enomotoya Kichibei, c. early 1830s. There is in fact a later copy of this print by Kunisada.
Fine impression. Excellent colour. Very good condition. Signed Eizan hitsu.
Status: Available
Nagasawa ROSETSU ( 1754-1799 )
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An original painting showing a white mouse and a spiny lobster on a tray. 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. The Chinese-style inscription above is by Rosetsu’s friend Minagawa Kien who was a painter and scholar of Confucianism. It implies that the lobster and mouse are both signs of good fortune. Ink and light colour on paper. Image size 44.75 x 11.25 in; 113.75 x 28.5 cms.
Signed Rosetsu with seal Gyo. Painted 1790s. Inscription signed and sealed Kyosai. Slight foxing, otherwise in very good condition. One of the most copied painters. See Kono, Exhibition of Nagasawa Rosetsu, Chiba City Art Museum, 2000, pl. 42 for identical seals. Tsuji Nobu, Nagasawa Rosetsu: the Fanciful Painter, Miho Museum, 2011, pls. 19, 58-60, 67,87, 90, 91, 93 and 94.
Status: Available
Tsukioka YOSHITOSHI (1839-1892)
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Uesugi Kenshin Nyudo Terutora. Shows Uesugi no Terutora (aka Kenshin) riding into battle through clouds of smoke against his long-standing adversary Takeda Shingen. From a set of 33 prints Yoshitoshi musha burui, “Yoshitoshi’s Courageous Warriors.” Published by Kobayashi Tetsujiro between 1883 and 1886, this being 1883. A fine design.
Very fine impression of the first edition. (Which should have a three-colour cartouche; two red seals and the publisher’s address in blue in the left margin.) It was reprinted by Tsunajima Kamekichi in 1886 and there are many late printings of the set. Fine colour and condition. Full size with extra paper at left. Signed Taiso Yoshitoshi ga.
Status: Available
Utagawa KUNIYOSHI (1797-1861)
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A triptych showing the famous battle on Gojo Bridge. 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. He meets Ushiwaka Maru (Minamoto no Yoshitsune’s childhood name) and challenges him to a fight on the bridge. Yoshitsune is aided by Sojobo, King of the Tengu (white-bearded in the centre) and other yamabushi tengu. Benkei loses the fight and becomes Yoshitsune’s loyal retainer. Published by Enshuya Hikobei, 1847-50. Robinson T194.
Fine impression, colour and condition. A lovely copy of this triptych. Signed Ichiyusai Kuniyoshi ga.
Status: Available
Tsukioka YOSHITOSHI (1839-1892)
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A triptych showing carp swimming beneath wisteria. A rare and extremely unusual subject in Yoshitoshi’s canon of work. Koi are symbols of love and friendship in Japan. The breeding of ornamental carp began in the 1820s. The outside world was unaware of the advances in breeding colour variations until an annual exposition in Tokyo in 1914. Published by Akiyama Buemon, 1889. There is an original drawing, most likely for this triptych, elsewhere on this site. A much sought after design.
Very fine impression. Fine colour. Completely untrimmed with the extra margins around. Fine condition. Signed Yoshitoshi ga.
Status: Available
Mori SOSEN (1747-1821)
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A fine surimono-sized painting, light colour on silk, 7.75 x 7 in; 19.5 x 17.8 cms. Shows a female sika deer. His life is not well documented but he is known to have studied under the Kano artist Yamamoto Joshunsai (?-1781) before being drawn into Maruyama 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 painting 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.
Very good condition, unmounted. Signed Sosen hitsu with seals So, Sen.
Status: Available
Tsukioka YOSHITOSHI (1839-1892)
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A triptych showing the priest Iwakura Sogen in a snowy garden. “Snow” from a set of three half-length portraits of actors with title: Setsugekka no uchi, “Snow, Moon, and Flowers.” Sogen was infatuated with the beautiful courtesan Irokotohime. He broke his vow of chastity and was expelled from his temple. Unfortunately, Irokotohime dies and Sogen is left with just his memories. There are other versions of this story and a play with the actor Onoe Baiko V. Published by Akiyama Buemon, 1890.
Fine impression of the first edition with variegated and unaltered sub-cartouche. Fine colour and condition. Signed Yoshitoshi ga.
Status: Available
Okumura MASANOBU (1686-1764)
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One of the most influential and innovative print designers, publishers and painters. He is also credited with inventing the hashira-e as well as being the first to use multiple-block printing. A wide hashira-e (habahiro hashira-e, 24 x 6 in; 61 x 15 cms) showing the actor Sanogawa Ichimatsu I. Masanobu designed a number of prints showing this popular actor who started the fashion for the hisobi pattern on his costume which is now called the Ichimatsu moyo. Published by Masanobu c 1741. Rare.
Fine impression. Hand-applied colour: yellow, light red and light orange. Slight fading, otherwise very good condition. Signed Hogetsudo shomei Okumura Bunkaku Masanobu shohitsu, “Truly published by Hogetsudo and true brush by Okumura Masanobu” with seal Tanchosai.
Status: Available
Utagawa HIROSHIGE (1797-1858)
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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: Available
Katsushika HOKUSAI (1760-1849)
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old lady in a bath house and two of a seated and standing beauty. (These last two studies were copied many times by Hokusai’s pupils.) Provenance: Ex Hayashi collection, seal bottom right. Good condition.
Status: Available
Attributed to Sugimura JIHEI (Active c. 1681-1703)
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A large-size hand-coloured print showing a couple in flagrante delicto from an untitled set of twelve prints published by Hangiya Chojiro, c. 1685. (There were in fact two alternative designs added making a total of fourteen sheets.) Most reference works give this set to Moronobu. However, Timothy Clark, in the British Museum exhibition catalogue: Shunga, sex and pleasure in Japanese art, 2013, pp. 128-131 attributes the set to Jihei stating that “…this group of prints is one of the most glorious to have survived from the early period of ukiyo-e.”
Very good impression. Fine hand-colouring. Minor imperfections and signs of mounting au verso, but all compatible with the age of the print.
Status: Available
Attributed to Sugimura JIHEI (Active c. 1681-1703)
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A large-size hand-coloured print showing a couple in flagrante delicto from an untitled set of twelve prints published by Hangiya Chojiro, c. 1685. (There were in fact two alternative designs added making a total of fourteen sheets.) Most reference works give this set to Moronobu. However, Timothy Clark, in the British Museum exhibition catalogue: Shunga, sex and pleasure in Japanese art, 2013, pp. 128-131 attributes the set to Jihei stating that “…this group of prints is one of the most glorious to have survived from the early period of ukiyo-e.”
Very good impression. Fine hand-colouring. Minor imperfections and signs of mounting au verso, but all compatible with the age of the print.
Status: Available
Hishikawa MORONOBU (?-1694)
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A large sumizuri-e print from a shunga set of twelve published c. 1680s. In each case the couples are enclosed in a Chinese-style fan border. A couple in flagrante delicto beside a tiger and bamboo screen. Moronobu was possibly the single most influential artist and pioneered the ukiyo-e school. A painter, printmaker and illustrator.
Good impression. Minor marks, otherwise good condition.
Status: Available
Hishikawa MORONOBU (?-1694
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A large sumizuri-e print from a shunga set of twelve published c. 1680s. In each case the couples are enclosed in a Chinese-style fan border. A couple in flagrante delicto, the women disturbed while threading a needle. Moronobu was possibly the single most influential artist and pioneered the ukiyo-e school. A painter, printmaker and illustrator.
Very good impression. Slight stains at top, otherwise very good condition.
Status: Available
Hishikawa MORONOBU (?-1694)
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A large sumizuri-e print from a shunga set of twelve published c. 1680s. In each case the couples are enclosed in a Chinese-style fan border. A couple in flagrante delicto. Moronobu was possibly the single most influential artist and pioneered the ukiyo-e school. A painter, printmaker and illustrator.
Very good impression. A small wormhole and slight stain, otherwise very good condition.
Status: Available
Hishikawa MORONOBU (?-1694)
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A large sumizuri-e print from a shunga set of twelve published c. 1680s. In each case the couples are enclosed in a Chinese-style fan border. A couple in flagrante delicto. Moronobu was possibly the single most influential artist and pioneered the ukiyo-e school. A painter, printmaker and illustrator.
Very good impression. A small wormhole and slight stain, otherwise very good condition.
Status: Available
Tsukioka YOSHITOSHI (1839-1892)
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Shows Asahina Saburo Yoshihide, the fabled warrior of superhuman strength, subjugating the King of Hell, Ema-o. He forces him to indicate the path to Heaven. This episode is from the kabuki play Asahina. From the set Ikkai zuihitsu, “Essays by Yoshitoshi.” (Ikkai was an early name of Yoshitoshi’s.) A set of thirteen prints published by Masadaya Heikichi 1872/3. A fine set.
Extremely fine impression and colour from the first edition. Most designs from the set have red seals in the margin and red seals over the signature. These were removed on later editions. Margins trimmed a little, otherwise fine condition. Signed Ikkaisai Yoshitoshi hitsu.
Status: Available
Tsukioka YOSHITOSHI (1839-1892)
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Shows Kintaro (aka Sakata Kaidomaru and Sakata no Kintoki) grappling with a giant carp. Kintaro, a child of herculean strength, was raised by a yama-uba on Mount Ashigara where he was befriended by the mountain animals. From the set Ikkai zuihitsu, “Essays by Yoshitoshi.” (Ikkai was an early name of Yoshitoshi’s.) A set of thirteen prints published by Masadaya Heikichi 1872/3. The masterpiece from the set and one of Yoshitoshi’s best designs. A fine set.
Extremely fine impression and colour from the first edition. Most designs from the set have red seals in the margin and red seals over the signature. These were removed on later editions. Margins trimmed a little, otherwise fine condition. Signed Ikkaisai Yoshitoshi hitsu.
Status: Available
Tsukioka YOSHITOSHI (1839-1892)
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A fascinating print showing Kintoki (aka Kintaro and Sakata Kaidomaru) and yama-uba beneath a flowering cherry tree. Strong western elements are obvious in this design indicating a knowledge of (probably) Flemish Madonna and Child paintings or icons, Kintoki standing in for the child Jesus. Yama-uba is depicted as a bare-breasted benign mother figure, rather than the wizened witch which is how she is usually shown, having raised Kintoki on Mount Ashigara. From the set Ikkai zuihitsu, “Essays by Yoshitoshi.” (Ikkai was an early name of Yoshitoshi’s.) A set of thirteen prints published by Masadaya Heikichi 1872/3. A fine set.
Extremely fine impression and colour from the first edition with a brown Kintoki (rather than bright red) and the red seals in the margin and over signature. The white hare’s coat is blind-printed. Margins trimmed a little, otherwise fine condition. Signed Ikkaisai Yoshitoshi hitsu.
Status: Available
Tsukioka YOSHITOSHI (1839-1892)
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Shows the famed warrior Sanada Saemon-no-jo Yukimura (in fact Nobushige) crouching down amongst giant lotus plants, holding a rifle, in order to ambush Tokugawa Ieyasu during the siege of Osaka castle. Initially, Yukimura was a follower of Ieyasu but was betrayed by having his land seized and so switched sides. He won many battles in which his army was outnumbered. From the set Ikkai zuihitsu, “Essays by Yoshitoshi.” (Ikkai was an early name of Yoshitoshi’s.) A set of thirteen prints published by Masadaya Heikichi 1872/3. A fine set.
Extremely fine impression and colour from the first edition. Most designs from the set have red seals in the margin and red seals over the signature. These were removed on later editions. Margins trimmed a little, otherwise fine condition. Signed Ikkaisai Yoshitoshi hitsu.
Status: Available
Tsukioka YOSHITOSHI (1839-1892)
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Shows the warrior Zhang Fei (Jap. Yokutoku) awaiting his rival Cao Cao on Changban bridge. Fei tricks his enemy into thinking he leads a vast army by dragging logs from a nearby forest causing a huge dust cloud. Cao Cao retreats. The story is from the Romance of the Three Kingdoms (Chi. Sanguo yanyi). From the set Ikkai zuihitsu, “Essays by Yoshitoshi.” (Ikkai was an early name of Yoshitoshi’s.) A set of thirteen prints published by Masadaya Heikichi 1872/3. A fine set.
Extremely fine impression and colour from the first edition. Fine burnishing on the horse. Most designs from the set have red seals in the margin and red seals over the signature. These were removed on later editions. Margins trimmed a little, otherwise fine condition. Signed Ikkaisai Yoshitoshi hitsu.
Status: Available
Tsukioka YOSHITOSHI (1839-1892)
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Shows Chao Gai (Jap. Takuto Tenno Chogai), the Heavenly King and Suikoden hero, lifting a stone pagoda which releases a Pandora’s box of gruesome spirits: An enormous white figure with a face on its abdomen, various oni and a brown spirit, its chest holding a twisting snake. From the set Ikkai zuihitsu, “Essays by Yoshitoshi.” (Ikkai was an early name of Yoshitoshi’s.) A set of thirteen prints published by Masadaya Heikichi 1872/3. A fine set.
Extremely fine impression and colour from the first edition. Most designs from the set have red seals in the margin and red seals over the signature. These were removed on later editions. Trimmed on black border at left, otherwise fine condition. Signed Ikkaisai Yoshitoshi hitsu.
Status: Available
Toyoharu KUNICHIKA (1835-1900)
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The actor Bando Hikosaburo V as Nikki Danjo from a set Goketsu kijutsu kurabe, “Competition of the Magicians.” Published by Matsui Eikichi, 1873/4. Hikosaburo played Nikki Danjo in the play Date zensei kuruwa kagami at the Murayama Theatre, 3/1872. The story relates how Nikki Danjo retrieves the list of conspirators against the Lord of Oshu by changing into a rat. A guard attacks the rat and strikes it on the head with an iron fan. It transmogrifies into Nikki Danjo. This sensational scene in kabuki has Nikki Danjo emerging through a trapdoor in the hanamachi in a cloud of smoke. He is usually shown with the scroll of conspirators in his mouth and a red mark on his forehead where he was hit by the fan.
Very fine impression. Fine colour and condition. Signed Oju Kunichika hitsu.
Status: Available
Utagawa HIROSHIGE (1797-1858)
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Station Suhara from Kisokaido rokujukyu tsugi no uchi, “Sixty-nine Stations of the Kisokaido” published by Kinjudo, 1834-1842. The road known as the Nakasendo, “central mountain route,” as opposed to the Tokaido which was the “eastern sea route” was started with Keisai Eisen and finished by Hiroshige who designed 47 prints. This is one of Hiroshige’s most famous designs. Shows travellers sheltering in a wayside shrine from heavy rain with two figures running for its shelter. In the distance, silhouetted, a figure on horseback, another following on foot. Hiroshige based his design on an illustration in Itcho gafu, “Itcho’s Picturebook” by Suzuki Rinsho, 1770. This station is famous for the number of variant states, some lighter, some darker, and variations in the gradation on the trees as the printers strove to capture this stormy scene. This is an early state.
Fine impression with crisp seals. Fine colour and condition with large margins. Signed Hiroshige ga.
Status: Available
Utagawa SADAKAGE (Fl. c. 1818-1844)
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An aizuri-e (blue print) showing a beauty bowing obsequiously with a cup of tea. Shi, “Samurai” from a set of the Four Estates: Shi, Samurai; No, Peasant; Ko, Artisan; Sho, Merchant. Published by Kawaguchiya Chozo, c. 1830s. These blue prints using the imported bero, Berlin blue (what we called Prussian blue), became popular during the 1820s to 1840s as the cost came down.
Very good impression, colour and condition. Signed Gokotei Sadakage ga.
Status: Available
Utagawa Toyokuni II (1777-1835)
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An aizuri-e (blue print) showing the courtesan Utagawa of Tamaya admiring a bowl of carnations. From a set Bijin awase published by Shimizu, c. late 1820s. These blue prints using the imported bero, Berlin blue (what we called Prussian blue), became popular during the 1820s to 1840s as the cost came down.
Fine impression and colour. Trimmed slightly, otherwise very good condition. Signed Toyokuni ga.
Status: Available
Kobayashi KIYOCHIKA (1847-1915)
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A triptych Ujigawa Kajiwara Kagesue, Sasaki Takatsuna, miju uma. Yoshitsune is informed that Kiso no Yoshinaka is entrenched behind the natural defence of the Uji river, then in full flood. Yoshitsune calls on Kajiwara Kagesue and Sayemon-no-jo Sasaki Shiro Takatsuna to make an attempt at fording the river. He gives them his best horses: Surusumi to Kagesue and Iketsuki to Takatsuna. They plunge into the river beside their horses with Takatsuna, dodging the hail of arrows, arriving first. One of Kiyochika’s best designs. Published 1899.
Fine impression, colour and condition. Untrimmed with margins intact. Signed Kiyochika.
Status: Available
Hosoda EISHI (1756-1829)
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Two beauties examining tanzaku poetry cards from a set Ukiyo Genji hakkei, “Eight Views of Genji in the Floating World.” The designs stand alone but also form diptychs. This series compares scenes from the famous Tale of Genji novel written by the Lady Murasaki in the early 11th century with the Eight Views of Omi [Lake Biwa]. In the present case, Maboroshi rakugan (viz Katata rakugan, “Descending Geese at Katata”) is compared to chapter 41, Spirit Summoner, of the Tale of Genji where a poem composed by the Akashi Lady is in response to the grieving Genji’s poem after the nocturnal encounter with Murasaki which refers to the wild goose (aka Genji) having flown away. Published by Eijudo c 1797-99. Another impression is in the B.M., reg. no. 1931, 0427,0.8 and an impression is illustrated in Klaus J. Brandt, Hosoda Eishi, 1977, 119, no. 301. Provenance: Sold Sothebys, New York, 28/10/1980, lot 866.
Fine impression. Very good colour with yellow ground. Slight centre fold and very slight trimming, otherwise very good condition. Signed Eishi zu.
Status: Available
Tsukioka YOSHITOSHI (1839-1892)
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Jiki-tsuki-so: Kaei nenkan anego no fuzoku, “Looking as if Somebody is About to Arrive: The Appearance of a Fireman’s Wife in the Kaei Era [1848-1854].” A fireman’s wife waits for the return of the head of the household. 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