Katsushika HOKUSAI (1760-1849)

Click here to view image full size. One volume complete: Hokusai soga, “Hokusai’s Free Sketches.” Two versions of this publication are known: Solely printed in sumi and ( as here ) sumi with gradated shading and a pink block. This version also with the colophon. Both are almost certainly contemporaneous. Contain’s some of Hokusai’s best known images and was considered by Jack Hillier to contain “the finest figure prints by Hokusai.” Published 1820 by Eirakuya, Nagoya; Surawaya Mohei and seven others in Edo.     Original light blue burnished covers. Original title slip. Some slight damage to covers, and thumbing on some pages, but overall a very nice copy with fine impressions.     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.

Katsushika HOKUSAI (1760-1849)

 Click here to view image full size. Two volumes complete: Toto shokei ichiran, “Fine Views of the Eastern [Edo] Capital at a Glance.” Shows famous places in Edo with accompanying kyoka poems at the top. Volume 1: 10 sheets, 1 p. preface. Volume 2: 11 sheets with colophon giving date Kwansei 12 (1800). Publishers Tsutaya Jusaburo, Suharaya Mohei and Suharaya Ihachi. Ando Enshi engraver and artist Hokusai shinsei. This book was first published with title Toto meisho ichiran by Tsutaya Jusaburo. Shortly afterwards the title was changed and the two other publishers joined Tsutaya Jusaburo. This is the edition offered here. Original hand-painted covers with a decoration of iris flowers and water (only found on the original edition). The blocks were subsequently sold to the Nagoya publisher Hishiya Kinbei who reissued it in 1815 together with Suharaya Mohei and Ihachi. The blocks were yet again sold, this time to Kawachiya Mohei who issued another reprint in 1840 with the above publishers. A lovely early example of this famous book. Cover and title slips in very good condition.   One wormhole affecting last 4 pages at the top outside image area, otherwise contents fine and clean. Provenance: Large seal of Hayashi Tadamasa at the start to each volume.   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.

Katsushika HOKUSAI (1760–1849)

 Click here to view image full size. One volume complete Ehon Suikoden, “A Picture Book of the Suikoden”, published by Kadomaruya Jinsuke, Bunsei 12, 1829 showing 108 Chinese brigands. Some fine designs. Signed Katsushika Zen Hokusai I-itsu fude. Fine impressions. Original covers lacking title slip. Some slight foxing and minor marks. Status: Sold  Click here to view image full size.  Click here to view image full size.  Click here to view image full size.

Katsushika HOKUSAI (1760-1849)

 Click here to view image full size. A poem by Fujiwara no Yoshitaka (954-974) from Hyakunin isshu uba ga etoki, the “Hundred Poems Explained by the Wet Nurse.” Published by Eijudo and Iseri, c 1835-6. Although obviously intended to be a set of 100 prints, only 27 are known plus drawings for others. The poet speaks of a trivial life prior to meeting his lover. Two women and their companions relax after a bath admiring the view across water. Steam rises from the bath and two cormorants are seen on the left. A languid scene and one of Hokusai’s most beautiful designs. Fine impression, colour and condition. Full size. Two states are known: the printers quickly discovered that the red seal at left was not easily discernable and cut the green block to correct this. Signed Zen Hokusai. Status: Sold

Katsushika HOKUSAI (1760-1849)

Click here to view image full size. A matron with lover. A shunga sheet from the extremely rare de-luxe edition of the Fukujuso, “The Adonis Plant.” The blocks were re-carved, the text deleted, a mica ground added, and sumptuous hand-colouring applied and was renamed Nami chidori, “Plovers Above the Waves.” This was a costly exercise and was obviously directed at a few wealthy clients. Hokusai’s best shunga set with large figures often completely filling the space. Published c 1820. Another example illustrated in Richard Lane, Hokusai, Life And Work, Barrie & Jenkins, 1989, no. 224, p. 168.     Fine impression. Wonderful fresh carefully hand-applied colour with mica ground. Album backing. Centre fold (as usual) and slight soil to corner. But otherwise very good condition.     Status: Sold

Katsushika HOKUSAI (1760-1849)

 Click here to view image full size. One sheet from a shunga set of 12 prints Ehon tsuhi no hinagata, “Patterns of Loving Couples.” Published 1814. The series title is a play on words. Tsuhi can be read as “couple” or “male and female pairs” or it can be pronounced tsubi, an old term for vulva.   Very good impression and colour. Slight soil and the usual slight centre fold, otherwise very good condition.   Status: Sold  

Katsushika HOKUSAI (1760-1849)

 Click here to view image full size. One sheet from a shunga set of 12 prints Ehon tsuhi no hinagata, “Patterns of Loving Couples.” Published 1814. The series title is a play on words. Tsuhi can be read as “couple” or “male and female pairs” or it can be pronounced tsubi, an old term for vulva.   Very good impression and colour. Slight soil and the usual slight centre fold, otherwise very good condition.   Status: Sold  

Katsushika HOKUSAI ( 1760-1849 )

 Click here to view image full size. Shrike and wild strawberry 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 ( as here ) was published by and has the seal Eijudo. A later edition 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 and colour. Minor soil, otherwise very good condition. Signed Zen Hokusai Iitsu hitsu. Status: Sold

Katsushika HOKUSAI ( 1760-1849 )

 Click here to view image full size. A surimono showing two young girls making new year envelopes. On the side screen is a view of Fuji. Three poems above. Published c 1806. Fine impression and colour. Small strengthened area au verso, otherwise very good condition. Signed Hokusai ga. Status: Sold

Katsushika HOKUSAI ( 1760-1849 )

 Click here to view image full size. Hotei with a karako puppet doll. Hotei, the God of abundance and good health, was one of the Seven Gods of Good Luck. The concept originated in India ( except Ebisu ) and came to Japan via China. He is usually shown as a shaven-headed priest in loose Chinese garments, holding a fan and reclining against a large bag. He is often surrounded by children trying to discover what is in the bag. Karako is a Chinese child who is usually depicted with a partly shaven head. These “treasures” were auspicious symbols of prosperity. Sumi and light colour on paper, image size 20.75 in x 13.5 in; 52.6 cms x 34.4 cms. The calligraphy is by Shotochinjin. Signed Gakyo Rojin Manji yowai hachi-go, “From the brush of Manji, old man mad with painting, aged eighty-five. With Katsushika seal. Exhibited in Masterpieces of Paintings by Hokusai School at the Itabashi Art Museum, 2008. . New mount and box with a futo-maki ( a thick wooden roll to preserve the painting from damage ). In fine condition. 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.

Katsushika HOKUSAI (1760-1849)

 Click here to view image full size. An original sumi drawing of a seated bijin writing on a handscroll. From a series of such studies showing women in various attitudes, smoking; playing musical instruments; adjusting hair, etc. The design cut out and mounted onto a larger sheet of Japanese paper, 10.5 x 8 inches. Status: Sold

Katsushika HOKUSAI (1760-1849)

Click here to view image full size. A small original drawing, 3.25 x 4.25 in; 0.825 x 1.05 cms. Sumi on paper laid onto card showing a vendor or waiter offering food. Very much in the style of the “Day” and “Night” series of drawings in the MFA, Boston, c 1815. Provenance: Ex collection Catherine Gide, the daughter of Andre Gide and Elizabeth van Rysselberghe who was the daughter of Theo van Rysselberghe, the Belgian painter and friend of the French Impressionists. Sold “as is.”   Status: Sold  

Katsushika HOKUSAI (1760-1849)

Click here to view image full size. An important large brush drawing in red ink showing a full length figure wielding a stave at a cowering adversary. The standing figure has no sword or armour but is obviously a chivalrous man of great probity. The leaning attitude of the upright figure is typical of Hokusai (for example, see Theodore Bowie, Indiana University Press, 1974, The Drawings of Hokusai, no. 108) and gives movement to what otherwise would be a static pose. Red ink was frequently used by Hokusai, not just on the obvious Shoki paintings (see nos. 160-161, pages 254-5, Timothy Clark, Hokusai Beyond The Great Wave, B.M., 2017) but as underdrawing on figures and landscapes (see nos. 178-182, pages 279-283, Timothy Clark, Hokusai Beyond The Great Wave, B.M., 2017). Red ink and wash on thin Japanese paper laid onto european paper, image area 16.5 x 15.5 in; 41.5 x 39.5 cms. An area not pertinent to the design missing top right but otherwise in good condition. Provenance: Ex collection of Peggy and David Rockefeller (inventory number 23.040).     Status: Sold     Click here to view image full size. Click here to view image full size.

Katsushika HOKUSAI (1760-1849)

Click here to view image full size. A sheet of original studies, sumi on thin paper, 10.5 x 15 in; 26.6 x 38 cms. Of particular interest and importance is the self-portrait in the upper right, This is another version of the famous self-portrait at the age of 83 (1842) sent to his publisher. Illustrated in Hokusai Drawings, J. Hiller, Phaidon, 1966, ill. No. 110 from the Rijksmuseum voor Volkenkunde, Leiden, Netherlands. Provenance: Ex Henri Vever collection, seal bottom right.   One small wormhole, otherwise in very good condition.   Status: Sold   Click here to view image full size.

Katsushika HOKUSAI (1760-1849)

Click here to view image full size. A sheet of original sumi drawings laid onto Japanese paper, 14 x 8 in; 35.5 x 20.1 cms.: Four being preliminary designs for the book: Ehon teikin orai, “Communication of Home Precepts” published in three volumes by Eijudo in 1828 (second and third vols n.d.). Together with a small study of a frog (with Hayashi seal). Provenance: Ex Hayashi collection, sold at the Hayashi sale, L’Hotel Drouot, 2nd June, 1902, lot 44. There exist drawings copied from these books. However, the drawings here show Hokusai indicating areas of, for example, foliage or flooring, which are then completed in detail by a pupil or block-copyist for the block-cutter. Obviously drawings copied from the book show these finished details. Laid around edges on old mount. Sold “as is” with minor imperfections. Status: Sold  

Katsushika HOKUSAI (1760-1849)

Click here to view image full size. A sheet of original sumi drawings laid onto Japanese paper, 13 x 8 in; 33 x 20.1 cms.: Four being preliminary designs for the book: Ehon teikin orai, “Communication of Home Precepts” published in three volumes by Eijudo in 1828 (second and third vols n.d.). Together with a study of persimmons. Provenance: Ex Hayashi collection, sold at the Hayashi sale, L’Hotel Drouot, 2nd June, 1902, lot 45. There exist drawings copied from these books. However, the drawings here show Hokusai indicating areas of, for example, foliage or flooring, which are then completed in detail by a pupil or block-copyist for the block-cutter. Obviously drawings copied from the book show these finished details. Laid around edges on old mount. Sold “as is” with minor imperfections.   Status: Sold  

Katsushika HOKUSAI (1760-1849)

 Click here to view image full size. An original sumi drawing on thin paper, 9 x 13.25 in; 22.9 x 33.6 cms, showing a reclining warrior, his sword resting on his shoulder. Provenance: Ex Hayashi collection, seal bottom left corner. Exhibited and sold at an exhibition: Hokusai, Prints, Paintings, Drawings and Illustrated Books held at the Hugh Moss gallery, London, 10 -25th May, 1972, no 112. The exhibition was curated by Jack Hillier who wrote the forward. Top left corner restored, otherwise good condition.   Status: Sold  

Katsushika HOKUSAI (1760-1849)

 Click here to view image full size. An important original painting showing a taro plant and balloon flowers. This statuesque plant is known as the village potato in Japan ( satoimo ) for its edible corms and “elephant ears” when grown ornamentally. Above is a poem by Ota Shokusanjin ( Ota Nampo ), a famous late Edo period poet and writer. The poem reads: Aki chikoo saitsuru hanano koikaze ni Kaburiwo fureru imoha arashina Shokusanjin Interestingly, Shokusanjin’s calligraphy is often at a slant. Why this should be I cannot say. The taro appears in other Hokusai paintings and there is another close version of this painting illustrated in the Special Exhibition, Hokusai, Nagoya City Museum, 1991.10.26 – 1991.11.24, no. 210. Hokusai often duplicated subjects as he was near to destitution many times. The painting employs the tarashi- komi – Rimpa technique of colours dripped or brushed into wet ink. Sumi and light colour on silk, 42.5 in; 108 cms x 11 in; 28 cms. Newly remounted and in fine condition with new box and futo-maki ( thick wooden roll to preserve the painting from damage ). Signed Iitsu hitsu with seal Iitsu. Sold together with what is probably the original box. 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.

Katsushika HOKUSAI (1760-1849)

 Click here to view image full size. One of the most majestic landscape sets: Shokoku takimeguri, “Travelling Around the Waterfall Country.” A series of eight waterfalls, this being the Kiyo fall: Tokaido Sakanoshita, Kiyotaki Kannon, “The Kiyo Waterfall, Kannon Shrine at Sakanoshita on the Tokaido.” This fall descends in rivulets rather than a torrent. Shows pilgrims visiting the Kannon ( God of Mercy ) Buddhist cave to the right of the waterfall. Published by Eijudo, c 1832. Interestingly, there is a clever set of copies of this set, fully discussed in Oriental Art, Summer 1972, vol. XVIII, no. 2, pp. 141 – 147 by Roger Keyes. Fine early impression. Fine colour. Very full size with only minor trimming top left: These designs are martyrs to trimming being slightly over-sized and few impressions are truly full size. Later impressions introduced a yellow-orange top right which spoils the harmony of the print, and the subtle gradation on the left is lost. Signed Zen Hokusai Iitsu hitsu. Status: Sold

Katsushika HOKUSAI (1760-1849)

 Click here to view image full size. The Aoigaoka [waterfall] in Edo: Toto Aoigaoka no taki from a set of eight prints with title, Shokoku taki meguri, “A Journey to the Waterfalls of All the Provinces.” A majestic set with a mostly beautiful unifying colour scheme: There is probably no other Hokusai set that has the same impact when viewed complete. Amongst Hokusai’s finest work and much sought after. There are numerous Hiroshige designs based on the same location but they are prosaic in comparison. Eisen, inspired by Hokusai, also produced a set of waterfalls in 1847 which are themselves fine and rare. This particular fall is in fact a spillway for the Tameike reservoir seen above. Aoi Hill near Toranomon Gate to the left. The set published by Eijudo, c. 1832. Rare.   Fine impression. Fine, unfaded colour. Minimal soil and slight trimming on left: These designs are martyrs to trimming and many illustrated examples are trimmed, otherwise very good condition. (This raises an interesting problem because most Hokusai landscapes do not have a black border – contrary to Hiroshige’s – which do, making it easy to judge the trimming on the latter.) Signed Zen Hokusai Iitsu hitsu.   Status: Sold  

Katsushika HOKUSAI (1760-1849)

 Click here to view image full size. A surimono showing a bamboo-ware maker. One of the characters from Taketori monogatari, “Tale of the Shining Princess.” He is shown sawing through a large bamboo stem surrounded by his tools. Behind him an uguisu ( bush warbler, signifying the arrival of spring ) sits on a bamboo vase. Two poems above by Bunyusha Harusato and Bunbunsha. Provenance: From my Surimono Prints catalogue, no. 15, 1975, no. 6. Very fine impression. Fine colour. The saw blade, chisel and other areas printed in silver. The outline of the craftsman’s trousers printed in gold. Very good condition. Signed Katsushika Taito ( signature of c 1819 ). Status: Sold

Katsushika HOKUSAI (1760-1849)

 Click here to view image full size. A wonderfully delicate study using light washes showing a Japanese carrot, mushrooms, a Japanese cucumber ( which have knobbles or spikes as opposed to our smooth-skinned varieties ), aubergines and long beans ( possibly yardlong beans ). Obviously from a large album of such studies ( it has a light centre fold ) which would have been signed and/or sealed at the end. Full colour on paper. Fine condition. 11.5 x 18.5 in; 29.5 x 47 cms. Status: Sold  Click here to view image full size.  Click here to view image full size.

Katsushika HOKUSAI (1760-1849)

 Click here to view image full size. A poem by the Lady of Ise which speaks of a love that has not been reciprocated. From Hyakunin isshu uba ga etoki, the “Hundred Poems Explained by the Wet Nurse.” Published by Eijudo and Iseri, c.1835-6. Although obviously intended to be a set of 100 prints, only 27 are known plus drawings for others. The scene shows two ladies looking out over the rice fields to the Naniwa Inlet ( the ancient name for the region around Osaka ). The house is either being built or repaired with new tiles to the roof. Exceptionally early impression with beautiful printing. This appears to be the earliest state with gradation on the roof bottom right and down from the top. Fine colour. Full size. Very slight centre fold, otherwise very good condition. Signed Zen Hokusai manji. Status: Sold

Katsushika HOKUSAI (1760-1849)

 Click here to view image full size. A newly discovered Hokusai painting showing falling maple leaves, pine needles and a rustic broom. Pine needles and a broom would suggest the Pine Trees of Takasago. Uba’s broom sweeping away evil – bringing good luck. But the painting suggests a Zen theme, the previous mount being in the Rinpo style for the Japanese tea ceremony. The painting is from his Taito period ( 1808 – 1820 ) when he was in his mid 50’s. Sumi and red on paper. Image size 11 x 39.5 in; 28 x 100.5 cms. In very good condition, remounted using fine Kano-style brocade and a futo-maki. New box. Signed Taito hitsu with Fumoto no sato seal, “Village at the foot of the mountain.” This seal is known to be associated with his Taito period and is on around six paintings. No Japanese artist was plagiarized to the extent that Hokusai was. Inumerable drawings, paintings and prints purporting to be by him are in circulation. Status: Sold  Click here to view image full size.  Click here to view image full size.

Katsushika HOKUSAI (1760-1849)

 Click here to view image full size. A poem by Sanji Takamura from Hyakunin isshu uba ga etoki, the “Hundred Poems Explained by the Wet Nurse.” Published by Eijudo and Iseri, c.1835-6. Although obviously intended to be a set of 100 prints, only 27 are known plus drawings for others. The poem is a farewell on his exile to the Eighty Islands ( the Oki Islands, far out to sea, north of Honshu ). Hokusai shows his boat at the top of the design between the small islands. He instead concentrates on ama diving for awabi. These colourful girls were regarded as highly erotic as they dived bare-breasted. One of Hokusai’s most beautiful prints and, together with Minamoto no Muneyuki Ason, the best design in the set. Rare. Ex Le Veel collection , sold Paris 24/10/1980, lot 82. This impression exhibited and illustrated 10/1980 – 1/1981, Paris, Centre Culturel du Marais, Hokusai et son temps, p. 211, pl. 246. Exceptionally early impression with beautiful gradation. Fine colour. Full size. ( The signature is often trimmed off because it is near right edge. ) Very slight centre fold, otherwise very good condition. Signed Zen Hokusai manji. Status: Sold

Katsushika HOKUSAI (1760-1849)

 Click here to view image full size. A poem by Bunya no Asayasu from Hyakunin isshu uba ga etoki, the “Hundred Poems Explained by the Wet Nurse.” Published by Eijudo and Iseri, c.1835-6. Although obviously intended to be a set of 100 prints, only 27 are known plus drawings for others. The poem likens dewdrops to jewels spread across fields. Hokusai’s design shows five temple boys gathering lotus leaves. Scattered across the leaves are white drops of dew or water. A beautiful design. Ex collections Hayashi ( seal bottom left ) and Le Veel, sold Paris 5/11/1981, lot 85. Fine impression and colour. Two small expertly restored wormholes near top edge, otherwise very good condition. Signed Zen Hokusai manji. Status: Sold

Katsushika HOKUSAI (1760-1849)

 Click here to view image full size. A poem by Motoyoshi Shinno from Hyakunin isshu uba ga etoki, the “Hundred Poems Explained by the Wet Nurse.” Published by Eijudo and Iseri, c.1835-6. Although obviously intended to be a set of 100 prints, only 27 are known plus drawings for others. The poem concerns the intention of a lover to meet his love no matter what. There are numerous puns and double meanings in the poem. Hokusai shows the shore of Naniwa Bay with a reluctant ox being dragged along. Very good impression. Slight turning of the green and minimal soil, otherwise very good condition. Signed Zen Hokusai manji. Status: Sold

Katsushika HOKUSAI (1760-1849)

 Click here to view image full size. Toto Asakusa Honganji, “Fuji from the Roof of the Hongan Temple, Asakusa, in the Eastern Capital” from Hokusai’s most celebrated set: Fugaku sanjurokkei, the “Thirty-Six Views of Mount Fuji.” The set of 46 prints published by Eijudo, c 1830-32. This appears to be a New Year view judging by the kite being flown and the drum tower being erected to the left. The workmen repairing the roof, to the right, would also appear to be preparing for the New Year. Very good impression: Blue outline. ( Later editions have black, but these impressions are very late. ) Known with and without red Eijudo and kiwame seals. Slight centre fold and several backed pin holes at bottom and left side at base. Signed Zen Hokusai Iitsu hitsu. Status: Sold