Mori SOSEN (1747-1821)

Click here to view image full size. A fine original painting, sumi and light colour on silk; 41.75 x 15 in; 106 x 38.1 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 Maruyama Okyo’s (1733-1795) 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. He is said to have lived in the woods for three years eating fruit and nuts to better study the monkeys and other animals at close quarters. (Even if this is apocryphal it underlines the appreciation of his commitment to understanding the monkey.) Shows two monkeys on a bough beneath a large red sun. In very good condition. Genuine Sosens (and there are many copies) show a great skill in the way their fur coats are built up with hundreds of fine strokes. The box that goes with the painting has an inscription on the lid: “A painting of monkeys by Mori Sosen” and on the underside of the lid is a guarantee by Ayaoka Yushin (a Shijo painter and pupil of Shibata Zeshin, [1846-1910]) signed Ayaoka with seal Yutoku and dated June 1891. The painting signed “Painted by Mori Sosen early spring [=January] 1800” with seals Mori Shusho and Sosen.     Status: Sold     Click here to view image full size. Click here to view image full size. Click here to view…

Mori SOSEN (1747-1821)

 Click here to view image full size. An original fan painting of a baby tanuki amongst autumn grasses and beneath a full moon. Sosen was a close observer of nature (even, it is said, living for a while in the woods to closely observe the animals). He is best known for his monkey paintings, of which there are many copies. The tanuki, or Japanese raccoon dog, is frequently depicted in Japanese art and mentioned in the folklore. It was reputed to be a mischievous creature and a master of disguise. Sumi and colour on a gold-flecked paper ground; 8 x 20.5 in; 20.5 x 52 cms. Mounted as a scroll. Old mount and box. An inscription on the inside of the box reads: Kokou Souryo shintei, “Judged by Kokou Souryo.” On the outside the inscription reads: Shunsou-tanuki-senmen, “Autumn grass tanuki fan.”   Sosen hitsu. Painted c. 1800. Signed Sosen with seals Shusho. Good overall condition.   Status: Sold    Click here to view image full size.  Click here to view image full size.  Click here to view image full size.

Hishikawa MOROSHIGE (Fl. 1684-1704)

  Click here to view image full size. An original painting showing a go game being watched by beautifully attired ladies. Moroshige was the senior pupil of Hishikawa Moronobu, and, it is said, was the father of Furuyama Moromasa. Sumi and full colour with extensive gold on silk; 10.75 x 15 in; 27.5 x 38 cms. Newly remounted with futomaki and box. Provenance: Ex William Sturgis Bigelow collection. He was one of the first Americans to live in Japan and much of his extensive collection went to the Museum of Fine Arts, Boston. His original seal has been affixed to the side of the box.   Painted c. 1700. In very good condition. Rare: A fine painting and nice subject.   Status: Sold    Click here to view image full size.  Click here to view image full size.  here

Nagasawa ROSETSU (1754-1799)

Click here to view image full size. An original painting, sumi and light colour on silk, image size 17.5 x 14.25 in; 44.5 x 36 cms. Little is known of Rosetsu’s life: He was a lay student of Zen and a minor samurai. He became a pupil of Maruyama Okyo – the pre-eminent painter in Kyoto – at the age of 25. It is now generally agreed that he surpassed his teacher after some years. There are anecdotes – not verified – regarding his death, his break-up with Okyo and his drinking. Initially strongly influenced by Okyo, but then free of his style, he became highly skilled not only at more formal, finished paintings, but also at quick, spontaneous renditions. Often eccentric and not easily categorized, he was extensively faked in the Meiji period. Shows a reclining female cat who has obviously had a number of litters and a playful kitten.   A background of cherry blossom. The rendition of the furry tail and the character imbued in the face is impressive. Signed Rosetsu in sosho script of his late period (c 1795-1799) with seals Nagasawa (upper) and Gyo ‘Fish’ (lower). Unmounted and slightly cut into lower seal. Framed and glazed.   Status: Sold  

Kubo SHUNMAN (1757-1820)

Click here to view image full size. An original painting, sumi and colour on silk, 37 x 13 in; 94 x 33 cms. Shows a parading courtesan wearing a kimono of subdued colouring, being painted in sumi hues. She provocatively raises the hem of her monochromatic dress to reveal a bright red under-garment. Shunman, a man of great sophistication, designed only a few prints before concentrating on surimono and printing and issuing some of the finest in this format. (See The Japanese Print: A New Approach, J. Hillier, pp. 102-104 where he says “Probably no artist except Choki has achieved so high a reputation on such a small number of prints.”) He also excelled at painting, book illustration and light verse. Above is a poem by Ota Nampo (Shokuzanjin), a famous poet and fiction writer (1749-1823), as well as an occasional painter. In very good condition, signed and sealed Shunman.   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, 14.5 x 22 in; 36.8 x 55.9 cms. Labelled on the right Hakone no kosui, “The Lake of Hakone.” Shows the reflection of Fuji in Lake Kawaguchi with the Misaka mountain range. A similar view could be seen from Lake Ashi. Hokusai produced a version for for the Thirty-six Views of Fuji set and this area was the subject of a number of Hiroshige prints. Signed Hiroshige with Ichiryusai seal. In very good condition.   Status: Sold   Click here to view image full size.

Yashima GAKUTEI (1786-1868)

Click here to view image full size. An original painting, sumi and light blue on silk, 13 x 22 in; 33 x 55.9 cms. Shows a carp swimming amongst weeds. Gakutei is best known for his fine surimono (and in fact designed a surimono of this subject). Painted in Bunsei era (1818-1830). In fine condition apart from a minimal crease. Recently remounted.     Signed Gogaku with seals Yashima and Sadaoka. A beautiful painting.     Status: Sold     Click here to view image full size. Click here to view image full size.

Uegaki HORYU (Fl. c 1716-1736)

Click here to view image full size. An original painting, full colour on paper, 36.5 x 15.5 in; 92.75 x 39.4 cms. Shows a full-length courtesan. It appears there are at least four other Horyu paintings known: Two in the Tokyo National Museum: C0041812 and C0041813; one in the Cleveland Museum of Art; and another in the MFA, Boston, Acc. no. 11.7482. Horyu worked in parallel (and in competition) with the Kaigetsudo atelier. Signed Nihon-e Uegaki Horyu kore o gasu with one Horyu seal; the other unread. The lid of the box is inscribed: Kaigetsudo-ha Uegaki Horyu-hitsu tayu tachi sugata, “A standing figure of a top courtesan brushed by Uegaki Horyu of the Kaigetsudo school.” And on the inside of the lid: Showa hinoto’u uzuki gekan, “Late April of the Fire Rabbit Year [Showa 62” Appraised by Kimura Suetsuke (a dealer and Ukiyo-e expert).    Areas of restoration at bottom and one or two other small areas, but otherwise in very good condition for a painting of this period.    Status: Sold Click here to view image full size. Click here to view image full size. Click here to view image full size.

Watanabe SEITEI (1852-1918)

 Click here to view image full size. Seitei ( Shotei ) specialised in kachoga; was famous in this area, and regarded as the leading exponent. Technically brilliant. A complete set of three paintings showing, right, Hana shobu, “ Iris Flower; centre, Matsu ni koi, “Pine Tree and Carp”; and left, Shobu, “Iris.” Each painting in full colour on silk, image size 47.5 x 20 inches; 120.75 x 51 cms. Signed Seitei. Fine condition. With original double box, signed and sealed. 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.

Ichiryusai HIROSHIGE (1797-1858)

Click here to view image full size. An original fan painting mounted as a scroll. Shows a gorge with the fast flowing Nagatoro River in Musashi Province. (An area in western Saitama Prefecture northwest of Tokyo.) Sumi and light blue on paper, 7 x 20.5 in; 17.75 x 52 cms. Comes with a certificate from Aoki Shinzaburo (who had a large collection of Hiroshige drawings and paintings). In good condition. Signed Hiroshige with Ryusai seal.     Status: Sold     Click here to view image full size. Click here to view image full size.

Kikukawa EIZAN (1787-1867)

 Click here to view image full size. An original painting by Eizan who was the leading exponent of bijinga in the early 1800s producing many fine oban, triptych and shunga designs. He founded the Kikukawa School. Surprisingly, given his output of prints, his paintings are rare. This beautiful example, full colour on silk, 35 x 14.5 in; 88.9 x 36.8 cms, shows a courtesan reading a letter. Her sumptuous clothes are restrained in pattern and colour before the excesses of later years and other artists. Another example, not as fine as offered here, is in the Tokyo National Museum and is illustrated in their catalogue Ukiyo-e Painting Exhibition, 1993, no. 72, p. 64. The British Museum has a very slight painting of a beauty by Eizan illustrated in Ukiyo-e Paintings in the British Museum, Timothy Clark, Smithsonian Institution, 1992, no. 148, p. 195. One other fine example is illustrated in Masterpieces of ukiyo-e paintings from the Weston collection, various authors, 2015, no. 106, p. 161. Painted c. 1815-25. Signed Kikukawa Eizan hitsu with seals Kikukawa and Toshinobu. In very good condition having been recently remounted.   Status: Sold    Click here to view image full size.  Click here to view image full size.  Click here to view image full size.

Teisai HOKUBA (1771-1844)

Click here to view image full size. One of the outstanding pupils of Hokusai, his paintings rated next below the master’s, and also one of the earliest, together with Hokkei and Shinsai. Designed some fine surimono, also kyoka books. But best known for his highly accomplished kakemono of bijin, often set against well known places in Edo. This pair of paintings shows, right, a beauty beneath a cherry tree, Sakura; and, left, a beauty on a small jetty beneath a maple tree, Momiji. Beautifully presented with old mounts and box. Full colour on silk. Image sizes 39.75 x 13.5 in; 101 x 34.5 cms. In extremely good condition with beautiful details on the costumes of the two bijin. Each painting signed Teisai with seals Tei Sai. Probably c 1830’s when his finest work is considered to have been made.     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.

Ichiryusai HIROSHIGE (1797-1858)

 Click here to view image full size. An extremely rare aiban print showing a shimadai, grouper, (probably Chilodactylus zonatus) and an aji, horse-mackerel, (Caranx trachurus). From a set of eight prints of various fish published c. late 1830s.   Fine impression and colour. Slight soil, otherwise very good condition. Signed Hiroshige ga.   Status: Sold  

Kitao MASAYOSHI (1764-1824)

 Click here to view image full size. A falcon and camellia. One design from the album: Kaihaku raikin zui, A Compendium of Pictures of Birds Imported from Overseas. The first edition published by Gungyokudo Matsumoto Zembei, 2 Copies of the first two editions are excessively rare and it was then reissued with the plates signed Keisai (as here). However this print does not appear to be from an album and judging from the quality of printing must be from the first printing with signature and when some prints were issued separately. Designs that appear on the market from this publication are invariably on thin paper and poor impressions. Fine impression with beautiful gradation and blind printing. On thick deluxe hosho Fine colour. Very minor soil, otherwise fine condition. Signed Keisai Utsusu. Status: Sold

Ichiryusai HIROSHIGE (1797-1858)

 Click here to view image full size. Koi, carp (Cyprinus carpio) from the second series of ten fish prints published by Yamasho, c 1840-42. The first series was issued privately for a poetry group ( probably the Shingyoku Circle ) with judges’ names and extra poems. Poem above by Makuzu. These prints are of the utmost rarity as probably only enough for the Circle were printed and they never come onto the market. Due to their popularity this first series was published commercially and a second set was commissioned. The best design from the second set. Other examples: Vignier and Inada, Vol. VI, pl. LXIX, no. 265 and Tamba, no. 424.   Very good impression. Early state: See Andon 49, Hiroshige: A shoal of red herrings, number 12. This is Kruml c with the b Ichiryusai seal. Fine colour. Slight trimming left and top, otherwise very good condition. Signed Hiroshige hitsu.   Status: Sold  

Katsushika HOKUSAI (1760-1849)

 Click here to view image full size. Cuckoo and azaleas from the so-called Small Flower series of ten chuban prints published c 1832. Amongst the most sought after of Hokusai’s prints. The first edition was published by and has the seal Eijudo. A later edition (as here) has combined manji and kiwame seal ( and some are printed on thin Chinese-style paper ), and there are also impressions extant without any seals which probably constitute a third state. All impressions are rare and the first state excessively so. Indeed, these prints are considered even rarer than the larger bird and flower set Hokusai designed c 1833. The printing and colour on this set comes close to surimono quality. Each print has a Chinese poem written in hiragana. Fine impression. Slight fading, otherwise very good condition. Signed Zen Hokusai Iitsu hitsu. Status: Sold

Utagawa HIROSHIGE (1797-1858)

Click here to view image full size. Mii no bansho, “Evening Bell at Miidera Temple” from a set Omi hakkei no uchi, “Eight Views in Omi [Province].” Shows the temple hidden amongst hills on the southern side of Lake Biwa. Miidera is the common name for the Onjoji, a temple of the Tendai sect founded in 858. Published by Hoeido and Eikyudo in c. 1834-5. The “Eight Views” theme was derived (as so much else in Japanese art) from China and based on the Eight Views of Xiaoxiang paintings of the 11th century. The subject was transposed to Omi and then taken up by such artists as Harunobu, and later Hiroshige. It was often playfully alluded to in sets of eight prints in mitate-e style.     Very good impression, colour and condition, Signed Hiroshige ga.     Status: Sold

Utagawa HIROSHIGE (1797-1858)

Click here to view image full size. Mimasaka, Yamabushidani, “Mimasaka [Province], Yamabushi Valley.”A high wind and rain in the valley with a man on a raft on the Yoshi River. Other figures in the foreground, one having lost his hat. 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: Sold    

Utagawa KUNIYOSHI (1797-1861)

 Click here to view image full size. An extremely rare diptych, Shoki-san jaki ni sokko, “Shoki-San, Quick-Acting Medicine to Remove Evil Spirits.” Images of Shoki were used to ward off evil spirits and illness, especially during the Boys’ Festival. Published 1858 by Enshuya Hikobei. Provenance: Purchased from me in 1994. Extremely fine impression. Fine colour and condition. Signed Ichiyusai Kuniyoshi fude with Yutaka seal.   Status: Sold  

Utagawa KUNIYOSHI (1797-1861)

 Click here to view image full size. A triptych showing the famous archer Minamoto no Yorimasa preparing to shoot the monster Nue on the roof of the Shishinden Palace. The story relates how in 1153 the sixteen year old Emperor Konoe was having difficulty sleeping due to the shrieks and scratchings emanating from the palace roof. Guards informed him that a black cloud descended there every night. Yorimasa was called upon to investigate and he brought down the beast – a composite creature, part monkey, badger, tiger, dragon and snake which was duly despatched by his retainer Hironao no Hayata (Tadazumi no Hayata). Subsequently Konoe sleeps soundly and rewards Yorimasa with a fine sword and a court beauty Yorimasa loves. An exceptional design published 1842-3 by Yamashiroya Shinroku. Robinson T112. Provenance: Purchased from me in 1994. Fine impression, colour and condition. Signed Ichiyusai Kuniyoshi ga.   Status: Sold  

Utagawa KUNIYOSHI (1797-1861)

 Click here to view image full size. Hironao no Hayata (Tadazumi no Hayata), Yorimasa’s retainer (see the triptych by Kuniyoshi of the same subject on this update), grappling with the composite beast Nue on the roof of the Shishinden Palace. Forked lightning bounces around him. One of the best designs from Honcho Suikoden goyu happyaku-nin no hitori, “Eight Hundred Heroes of our Country’s Suikoden, One by One.” Published by Kagaya Kichiemon, 1830-31. Very good impression and colour. Slight trimming, otherwise very good condition. Signed Ichiyusai Kuniyoshi ga.   Status: Sold  

Ichiryusai HIROSHIGE (1797-1858)

 Click here to view image full size. A newly discovered painting of a three-clawed Kano-style dragon amongst clouds. Although a subject popular with Japanese artists (and especially Chinese artists where the subject derives from), this appears to be the only such painting by Hiroshige extant. He did, however, produce two prints of the subject – a surimono and a large panel, both of around the same date. The signature indicates a date after 1840 and it was most likely painted for the Dragon Year 1844. Blue and brown ink on paper with extensive splashed ink. Image size 34.5 x 10.5 in; 87.7 x 26.7 cm. The mount uses a ryu-mon (dragon pattern) motif to match the subject. Very good condition. Signed Ichiryusai Hiroshige hitsu with Ichiryusai seal.   Status: Sold    Click here to view image full size.  Click here to view image full size.  Click here to view image full size.

Washi – Handmade paper

One of the pleasures of dealing in ukiyo-e is to handle hosho on a daily basis and it is a fact that paper making was already established and used for every imaginable purpose in China and Japan well before Guttenberg was printing the Bible on some of the first western handmade paper.   Hosho, used for printmaking, was manufactured in Echizen and a short- fibred variety of kozo called Nasu Kozo was used. Sumptuous hosho is found on many Harunubu prints and also surimono where a thicker paper was needed to better show off blind printing and where editions were small. Paper is discernably thinner on most Hiroshige sets. Besides kozo, Mitsumata and Gampi fibres were used for paper making but kozo was found to be the most suitable for print making coming from the mulberry family. The trees – in fact one year old sprouts from old stumps – were harvested in December, consequently paper making was an occupation that didn’t interfere with summer farming and the cold weather conditions were also better suited to making paper. The inner white bark of the kozo branches was used to make the bast and this was obtained by steaming the branches and stripping the black and green bark away. The fibre was then boiled in an alkali potash solution to remove the lignin and pectin leaving primarily cellulose fibre. Foreign particles were laboriously removed in cold water (not always successfully as they are found sometimes on 19th century landscapes) The fibre was then beaten or rather loosened to obtain the bast. A mould (su- made of hundreds of rounded bamboo splints woven together with silk threads) was lowered into the vat of bast plus water and a viscous solution of neri (roots from the tororo plant soaked and pounded) to aid…

Toyokuni – painted while drunk

In the current update is a painting signed “Toyokuni painted while being drunk.” This is not an isolated example: Certain artists – such as Kyosai – often signed works in this way and indeed may have benefited from a degree of inebriation to prompt inspiration. Artists often collaborated on works, especially of the Shijo school, and one can imagine the conviviality of such a cohors amicorum with food and wine being passed around. It’s difficult to think of a western comparison to this. Hand scrolls, because of their horizontal length and short height, were very suitable for joint efforts of like-minded artists or literati.     The example in this update is spontaneous – even slapdash – due to the artist’s intoxication, but this adds a charm and veracity to the subject. It also makes authentication easier, certainly of Ukiyoe subjects, as forgers tended to concentrate on copying the detailed, more sober and meticulous subjects, as these were the most highly valued.   Japanese paintings are an undervalued area of collecting. It’s possible, as here, to buy an important Hiroshige painting for the price many of his prints fetch. And one is purchasing an unique item.

Isoda KORYUSAI (FL c 1764-1788)

 Click here to view image full size. A superb original painting, full colour on silk, showing a beauty running in a late snowfall. Cherry blossom above. A leading artist of his time who produced some of the best bijin and kacho prints of the 1770s before concentrating on painting. Image size 40.25 x 14.25 in; 102.5 x 36 cm. Good condition. Painted c 1778. Signed Koryusai ga with seal Masakatsu, no in.   Status: Sold    Click here to view image full size.  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. Nihonbashi no hakuu, “Light Rain on Nihon Bridge.” From a Toto meisho set of 21 designs published between c. 1832 and 1839 by Kikakudo. The set was subsequently enlarged. Shows figures crossing Nihonbashi in rain, one figure carries an umbrella with the publisher’s name. Warehouses in the background and a distant view of Fuji. A beautiful print and very difficult to find in early impression: The title cartouche had a plug inserted beside the bottom three characters of the title on the left. This damage seems to have occurred when the block was cut and over time the spigot gradually slipped out leaving an unprinted area (which is sometimes painted in). In the earliest impressions the plug is hardly visible (as here). Also, the publisher’s seal at the bottom right should be in red, later editions having it in black. There was also an early variant edition with a yellow sky.     Fine impression and colour. Imperceptible centre fold, also near the right edge, otherwise very good condition. Signed Hiroshige ga.     Status: Sold    

Utagawa HIROSHIGE (1797-1858)

Click here to view image full size. Station Fukushima from Kisokaido rokujukyutsugi no uchi, “Sixty-nine Stations of the Kisokaido.” The set of seventy prints was started by Eisen and published by Hoeido in 1835, but in 1837 Hiroshige took over and completed the series with the publisher Iseya Rihei (Kinjudo). Fukushima was one of the four most important checkpoints in the country and travellers had to have their documents inspected and approved before they could continue. Superb impression. Very fine colour. Fine condition. Signed Hiroshige ga. Status: Sold

Ichiryusai HIROSHIGE (1797-1858)

 Click here to view image full size. Tobiuo, flying fish (probably Prognichthys) and ishimochi also called guchi or shiroguchi, white croaker, (probably Argyrosomus argenatus). Together with a single lily. Poem by Toshigaki Maharu. From the second series of ten fish prints published by Yamasho, c1840-42.The first series was issued privately for a poetry group ( probably the Shingyoku Circle ) with judges’ names and extra poems. These prints are of the utmost rarity as probably only enough for the Circle were printed and they never come onto the market. Due to their popularity this first series was published commercially and a second set was commissioned. Fine, early impression with mica on the flying fish. Fine colour and condition. Full size and no centre fold. Signed Hiroshige ga in blue (which I have never seen).   Status: Sold  

Utagawa TOYOKUNI II (TOYOSHIGE) (1777-1835)

Click here to view image full size. Returning Geese at Miho: Kiyomizu Temple of Suruga Province with a Distant View of Yoshiwara from Meisho hakkei, “Eight Views of Famous Places.” A popular theme in Japanese art originating in China and the landscape of the Xiaoxiang region where the Xiao and Xiang rivers converge. Published c 1833-4 by Kinjudo.   Fine impression, colour and condition. The pigment in the title cartouche intact, which is usually faded. Signed Toyokuni hitsu.   Status: Sold  

Ikeda EISEN (1790-1848)

Click here to view image full size. Urawa Shuku Asamayama enbo, “Urawa Station, Distant View of Mount Asama” from Kisokaido rokujukyutsugi no uchi, “Sixty-Nine Stations of the Kisokaido.” The set was published by Hoeido and Kinjudo, 1834-1842. The first 23 (of 70) prints were designed by Eisen, the rest by Hiroshige. In the distance can be seen a smoking Mount Asama. Although there is regular volcanic activity, the last bad eruption was in 1783.   Very good impression of the first edition with signature. (This was removed on later states.) Very good colour. Slight centre fold, otherwise very good condition. Signed Eisen ga.   Status: Sold