Please contact JapanesePrints-London for prices of catalogued items. We also purchase prints, paintings and books individually or as collections. Richard Kruml also appraises and values collections.

 

Dealing in fine Japanese prints, paintings and books since 1968.

 

Ishikawa TOYONOBU (1711-1785)




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A very fine original painting, sumi and colour on paper with extensive laquer and a large emossed gold floral pattern on the bijin’s kimono; other areas in gold. Image size 35.25 x 17.75 in; 89.5 x 45 cms. Shows an elegant beauty holding up an haori to slip it over the shoulders of a seated nobleman. There is a great feeling of tenderness between the couple in this beautiful painting. In fact Toyonobu produced a print of this exact subject but showing the actors Nakamura Kiyosaburo I as Okiku and Ichimura Kamezo I as Kosuke, a pair of lovers, who were in the play Fujito nikki in 7/1751. Toyonobu must have liked the design and produced this painting but of just the protagonists. See this link in google
for the published print.

Toyonobu was a pupil of Nishimura Shigenaga and his style is also indebted to Okumura Masanobu. Produced some of the most exquisite kakemono-e, hashira-e and large obans of this period which, when they come onto the market, fetch considerable sums of money. (See, for example, Christies auction, N.Y., 18/9/2002, lot 6, ex Vever collection.) For a fine collection of his work, see The Clarence Buckingham Collection of Japanese Prints. The Primitives, 1955, A.I.C., pp. 199 – 229, nos. 1 – 58. Signed Ishikawa Shuha Toyonobu zu with seals Ishikawa uji and Toyonobu. Illustrated in colour in the exhibition catalogue of the Fuchu Art Museum, Artists of the Three Capitals-Learning About Edo Through Kyoto and Osaka, Kaneko, Nobuhisa, Oto, Yumiko, 2012, No. 67, p. 92. The cataloguing gives the play as Hiyoku no kagamon but this is most likely a dance that served as the finale. Hiyoku can mean “wings abreast” and hiyoku no tori, the “hiyoku birds” were a mythical couple who shared a single pair of wings, i.e. two lovers. In fine condition, especially given the age. Painted c. 1751.

 

 

Status: Available

 

 




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Utagawa KUNITSUGU (1800-1861)




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

 

 

Status: Available

 

 




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Utagawa KUNISADA (1786-1864)




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Two volumes complete Yakusha sugao natsu no Fuji, “Portraits of Actors Compared to Fuji in the Summer.” (In other words, without white makeup.) Vol. one: Preface signed Santoan Kyozan. Frontispiece illustration showing Mt. Fuji and nine double-page illustrations of actors and their acolytes in a variety of pursuits offstage. Postscript dated Bunsei 11 (1828). Vol: two: Preface by Tsuruya Namboku IV dated 9/1827. Frontispiece illustration showing a washbowl and fan and nine double-page illustrations of actors from Edo, Kyoto and Osaka. Postscript signed Kochoro Utagawa Kunisada ga with seal Gotokan to tekichoku ko and the publishers: Tsuruya Kiemon; Yamamoto Kyubei; Eijudo (Nishimuraya Yohachi); Kansendo (Izumiya Ichibei); Kinrindo (Moriya Jihei). This fascinating book shows actors in and around their residencies. Replaced title slips and covers. Fine impressions and very good colour. Minor marks and thumbing. Rare.

 

 

Status: Available

 

 




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Torii KIYOMITSU (1735-1785)




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An hosoban showing the actor Ichimura Uzaemon IX in the role of Hanako performing the famous dance in Musume Dojoji, “The Maiden at Dojoji Temple.” Hanako is allowed to dance before the new bell at the temple only to reveal herself as the spirit of Kiyohime who killed the priest Anchin hidden beneath the first bell. Published by Nishimuraya Yohachi c 1765.

 

 

Fine impression. Very good colour and condition. Signed Torii Kiyomitsu ga.

 

 

Status: Available

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Suzuki HARUNOBU (1724-1770)




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A chuban shunga print showing the occupant of a kago in flagrante with one of the porters, having seized the opportunity of a stop on the journey. Published late 1760s. Rare.

 

 

Very fine impression on thick hosho: The outlines raised in certain areas. Fine colour and condition.

 

 

Status: Available

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Kitagawa UTAMARO (1753-1806)




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An aiban showing a mother and daughter from a set Tosei fuzoku hakkei, “Eight Views of Manners of Today.” This design probably referring to Mother’s Day. Another from the set is illustrated in Ukiyoe Zuten, no. 13, Utamaro, Kiyoshi Shibui, p. 107. Published by Izumiya Ichibei, c 1803.

 

 

Fine impression and colour. Minor mark au verso at top, otherwise fine condition. Signed Utamaro hitsu.

 

 

Status: Available

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Kitagawa UTAMARO (1753-1806)




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An aiban showing an elegant couple holding falcons. Takagari, Japanese falconry, is said – as so much else in Japan – to have come from China around the 4th century. A symbol of nobility and a status symbol. Published C 1803.

 

 

Fine impression with excellent colour. Minor mark extreme bottom right, otherwise fine condition. Signed Utamaro hitsu.

 

 

Status: Available

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Utagawa KUNIYOSHI (1797-1861)




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Travellers viewing Mount Asama. Usui-toge yori Asama o miru zu, “A View of Mount Asama from Usui Pass.” From Kuniyoshi’s best landscape set. Of the utmost rarity with most extant impressions differing. This and the impression in the Museum of Fine Arts, Boston, are similar, without the smoke coming from the cone of Asama (the most active volcano on Honshu). Other impressions are in: The British Museum, 1948, 0410, 0. 108, which has gradation up the left side of the mountain; the Metropolitan Museum of Art, JP 1424, which has gradation down from the summit; and Worcester Art Museum which is similar to the Mets, 1901. 692. Published by Yamaguchiya Tobei, c. 1836.

 

 

Very good impression, colour and condition. Signed Ichiyusai Kuniyoshi ga.

 

 

Status: Available

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Utagawa HIROSHIGE (1797-1858)




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A snow scene: Yushima Tenjin sakaue chobo, “Hilltop View, Yushima Tenjin Shrine.” The shrine is dedicated to scholars and is near Ueno Park. 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.

 

 

Fine impression, colour and condition. Signed Hiroshige hitsu.

 

 

Status: Available

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Utagawa HIROSHIGE (1797-1858)




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A snow scene: Fukagawa kiba, “Fukagawa Timber Yards.” The yards date back and are the result of the Meireki fire of 1657. Large amounts of wood was required for expanding Edo and the wood yards were moved to this area of swampland east of the Sumida River. 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.

 

 

Fine impression, colour and condition. Signed Hiroshige hitsu.

 

 

Status: Available

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Utagawa HIROSHIGE (1797-1858)




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Koganeibashi no sekisho, “Evening Glow at Koganei Bridge.” From a fine and rare early set Edo kinko hakkei, ”Eight Views in the Environs of Edo.” This area was famous for its cherry trees and visitors are seen cherry viewing. It is also where the Tamagawa-josui was made to draw water from the Tama River into Edo. This set was first published privately for the Taihaido Poetry Club by the publisher Sanoya Kihei (Kikakudo) c 1837-8. (Similar to Hiroshige’s first set of fish prints.) For obvious reasons examples of these prints are of the utmost rarity. An entire set is in the Baur Collection, Matthi Forrer, 1994, nos. G492 – G499, this being G495. They have the copyright owner’s name in the left border, Taihaido Nomimasu, who was the head of the poetry club. They also have three poems on each design. The commercial edition, as here, has one or two poems and loses the Taihaido name. (Again, similar to the fish series.) These prints, initially not intended for commercial consumption, are more refined with a greater degree of care taken with the cutting of the blocks. Contrary to later sets, figures are small, pigments are subdued and large foreground objects are not in evidence yet. One of Hiroshige’s finest sets. Rare.

 

 

Very fine impression. Fine colour. Small edge nibble on top border and minimal edge soil, otherwise fine condition with large margins. Signed Hiroshige ga.

 

 

Status: Reserved

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Utagawa TOYOKUNI I (1769-1825)




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Shows the actor Onoe Shoroku I as Osakabehime, Princess Osakabe, a phantom who haunted the battlements of Himeji Castle. The character appeared in the play Matazoro Shoroku Osakabe banashi performed at the Ichimura-za Theatre from 22/5/1814. But this is probably a shini-e published the following year as it bears the information that Shoroku was 71 when he died (10/1815). Shoroku was renowned for his ghost roles. Published by Yamaguchiya Tobei who also published an impressive Kunisada vertical diptych of the same subject in 1814.

 

 

Very good impression, colour and condition. Signed Toyokuni ga.

 

 

Status: Available

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Utagawa KUNIYOSHI (1797-1861)




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The death of the Daimyo Imagawa Yoshimoto (1519-60) by Oda Nobunaga during the battle of Okehazama which was fought at night during an intense downpour and was the culmination of the feud between the Imagawa and Oda clans. The battlefield is now a park and a national historical site. The best design from a set Yobu hakkei, “Military Brilliance of the Eight Views.” Each print relates to the famous Eight Views theme, in this case Narumi yau, “Night Rain at Narumi.” Published by Enshuya Hikobei, 1852.

 

 

Fine impression, colour and condition. Full size with extra paper left and top, which is unusual as these prints are normally trimmed from albums. Signed Ichiyusai Kuniyoshi ga.

 

 

Status: Available

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Tsukioka YOSHITOSHI (1839-1892)




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“Flood” from a series Seiu kandankei, “A Barometer of Emotions.” Shows Nakamura Shikan III as Abe Bungo no Kami riding his horse through waves. Published by Okura Magobei 1876-77 (this being 1876). A rare set with some striking designs comparing actors in theatrical roles with meteorological phenomena.

 

 

Fine impression and colour. Slight trimming, otherwise fine condition. Signed Oju Yoshitoshi hitsu.

 

 

Status: Available

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Tsukioka YOSHITOSHI (1839-1892)




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A vertical diptych Seigen daraku no zu showing the priest Seigen of the Kiyomizudera Temple in Kyoto and the beautiful Sakura-hime (Princess Sakura). Several versions of the story exist. In one, Sakura-hime is Seigen’s long-deceased lover reincarnated as a young priest called Shiragiku. In another, Shiragiku is the dead lover reborn as Sakura-hime. The main thrust of the tale is that Seigen’s lust gets the better of him resulting in his removal from the temple. It was the basis of the play Sakura Hime azuma bunsho premiered 3/1817. This is the rare first state of the first edition published by Matsui Eikichi, 1889. It was republished by Hasegawa Tsunejiro in 1889 with the publisher and date in left border and on most impressions a seal at top left reading “Reproduction not allowed.”

 

 

Very fine impression with hand-applied colour to the eyes, teeth and nails with gum overlay to eyes on Seigen. Fine colour. Minor edge wear to right, otherwise fine condition. Ample room for joining. Signed Yoshitoshi.

 

 

Status: Available

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Kikugawa EIZAN (1787-1867)




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A triptych showing courtesans enjoying themselves on a balcony overlooking Tokyo bay. Furyu minami eki shiohi, “Fashionable South Station at Ebb Tide.” In fact, clam digging at low tide which can be seen in the background. This is a play on words as clams had erotic connotations. Shiohigari, “clam gathering” season is March to June with the peak coinciding with Golden Week at the end of April beginning of May. Published by Maruya Jinpachi, c. late 1810s.

 

 

Very fine impression and colour. Impeccable condition. Signed Kikugawa Eizan hitsu.

 

 

Status: Available

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Utagawa YOSHIYUKI (Active 1848-1864)




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A triptych showing one of the great combats of the Gempei wars during the battle of Ichi-no-Tani to the west of Kobe in 1184. In the centre the Taira leader Satsuma no Kami Tadanori holds down the Minamoto Okabe Rokuyata Tadazumi. On the left Gennai Saemon Hidekata and on the right Adachi Saburo Munetaka. Tadanori was a renowned warrior and distinguished poet. Published by To c. 1848.

 

 

Fine impression, colour and condition. Signed Ichireisai Yoshiyuki ga.

 

 

Status: Available

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Utagawa HIROSHIGE (1797-1858)




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A medium tanzaku showing a Java sparrow on a magnolia branch. Published by Kawasho (Kawaguchi Shozo) c early 1830s. Another example of this design has an overall light pink ground rather than the light yellow graded up, as here. Another impression is illustrated in Kikuchi , A Treasury of Japanese Wood Block Prints Ukiyo-e, NY, 1968, no. 1477.

 

 

Fine impression with blind-printing on the bird’s breast. Very good colour. Minimal soil at bottom, otherwise very good condition. Signed Hiroshige hitsu with Ichiryusai seal.

 

 

Status: Sold

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Utagawa HIROSHIGE (1797-1858)




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Kami, crab (Charybois) and saba, mackerel (Scomber Japonicus) together with two flowers of morning glory. Poem by Shichichintei. This is the first edition (Kruml 19a). From the second series of fish published by Yamasho c. 1840-42. Collector’s seal Hayashi bottom right corner.

 

 

Fine impression, colour and condition. Signed Hiroshige ga.

 

 

Status: Sold

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Tsukioka YOSHITOSHI (1839-1892)




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A fine and large original painting, sumi and light colour on silk. Image size 45.5 x 20.25 in; 115.5 x 51.5 cms. Shows Kato Toranosuke (1562-1611) and Yamaji Shogen (1546-1583) locked in combat having fallen over a cliff into a river. A full moon above. Toranosuke (Kiyomasa), a bodyguard of Toyotomi Hideyoshi, was one of the “Seven Spears of Shizugatake,” Shizugatake no shichi-hon-yan. His adversary is Yamaji Shogen of Katsuie Shibata’s army. (In fact, he defected to Katsuie from Hideyoshi during the battle and was killed there – presumably by Toranosuke .) The battle of Shizugatake was in 1583.

 

 

Signed Ikkaisai Yoshitoshi hitsu. Signature of c. mid 1860s. Recently remounted and in fine condition. The detail on the armour and accoutrements is exceptional.

 

 

Status: Sold

 

 




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Utagawa HIROSHIGE II (1826-1869)




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A snow scene showing Muro Harbour in Harima Province, Banshu Muro-tsu shinkei, “Actual View of Muro Harbour Banshu [Harima] Province.” From Shokoku meisho hyakkei, “One Hundred Famous Views in the Various Provinces.” The set published by Uoya Eikichi, 1859-61 (this being 1859). An uncompleted set with only 81 prints known. Beyond the harbour can be seen the Inland Sea, the Seto Inland Sea aka Setouchi.

 

 

Superb impression of the first edition. Fine colour and condition. Signed Hiroshige ga.

 

 

Status: Sold

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Utagawa HIROSHIGE (1797-1858)




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Shoheibashi Seido Kandagawa, “Seido Shrine and Kanda River Seen from Shohei Bridge.” The scene under light rain and is near present day Akihabara. From the set Meisho Edo hyakkei, “One Hundred Views of Edo.” The set published by Uoya Eikichi 1856-58 (this being 1857). 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.

 

 

Superb impression of the first edition. Fine colour and condition. Signed Hiroshige ga.

 

 

Status: Sold

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Utagawa HIROSHIGE (1797-1858)




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Azuma no mori yoru no ame, “Evening Rain at Azuma Shrine.” From a fine and rare early set Edo kinko hakkei, ”Eight Views in the Environs of Edo.” Shows figures walking along a dike beside the Kita Jumagawa. Azuma Shrine is seen amongst trees to the left. This set was first published privately for the Taihaido Poetry Club by the publisher Sanoya Kihei (Kikakudo) c 1837-8. (Similar to Hiroshige’s first set of fish prints.) For obvious reasons examples of these prints are of the utmost rarity. An entire set is in the Baur Collection, Matthi Forrer, 1994, nos. G492 – G499, this being G498. They have the copyright owner’s name in the left border, Taihaido Nomimasu, who was the head of the poetry club. They also have three poems on each design. The commercial edition, as here, has one or two poems and loses the Taihaido name. (Again, similar to the fish series.) These prints, initially not intended for commercial consumption, are more refined with a greater degree of care taken with the cutting of the blocks. Contrary to later sets, figures are small, pigments are subdued and large foreground objects are not in evidence yet. One of Hiroshige’s finest sets. Rare.

 

 

Very fine impression. Fine colour and condition with large margins. Signed Hiroshige ga.

 

 

Status: Sold

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Utagawa HIROSHIGE (1797-1858)




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Haneda no rakugan, “Descending Geese at Haneda.” From a fine and rare early set Edo kinko hakkei, ”Eight Views in the Environs of Edo.” Planes now descend here. This set was first published privately for the Taihaido Poetry Club by the publisher Sanoya Kihei (Kikakudo) c 1837-8. (Similar to Hiroshige’s first set of fish prints.) For obvious reasons examples of these prints are of the utmost rarity. An entire set is in the Baur Collection, Matthi Forrer, 1994, nos. G492 – G499, this being G492. They have the copyright owner’s name in the left border, Taihaido Nomimasu, who was the head of the poetry club. They also have three poems on each design. The commercial edition, as here, has one or two poems and loses the Taihaido name. (Again, similar to the fish series.) These prints, initially not intended for commercial consumption, are more refined with a greater degree of care taken with the cutting of the blocks. Contrary to later sets, figures are small, pigments are subdued and large foreground objects are not in evidence yet. One of Hiroshige’s finest sets. Rare.

 

 

Very fine impression. Fine colour. Minimal edge soil, otherwise fine condition with large margins. Signed Hiroshige ga.

 

 

Status: Sold

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Utagawa TOYOKUNI II (1777-1835)




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A surimono showing a bust portrait of the actor Ichikawa Danjuro VII as Kanawa no Goro, a retainer of Kamatari no Fujiwara, disguised as the fisherman Fukashichi from the Mikasayama Goten scene at the palace on Mount Mikasa in Act 4 of Imoseyama onna teikino. Three poems by Shoshokyo Otokado, Sakuragawa Jihinari and Sakuragawa Omokage. Issued c. mid 1820s. Rare.

 

 

Fine impression. Very good colour and condition. Signed Toyokuni ga.

 

 

Status: Sold

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Katsushika TAITO II (Fl. c 1810-1850)




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One of the great surimono designs and extremely rare: There appear to be four other genuine examples recorded, apart from this impression, which is from the Vever collection. (See Vever sale, Sothebys, 1977, lot 302. In fact, Vever had two copies. The other sold Vever sale, Sothebys, 1978, lot 231.) The Baur impression. See The Baur Collection, Matthi Forrer, Geneva, 1994, Volume 1, G224, and is also illustrated in the Chiba Museum catalogue, Ukiyo-e bino kiwami, 2001, no. 126. The Chester Beatty impression. See The Art of Surimono, Roger Keyes, Sothebys, 1985, vol. 2, no. 335, p. 384 (ex Gonse). And the MFA, Boston, impression, accession no. 11.20424, ex William Sturgis Bigelow. Three poems by Bunshuro Tomoyoshi, Bunkaro Kiyomaru, and Bumbunsha. Shows a carp swimming down amongst water-weeds and cherry blossom. The carp was a symbol of achievement against adversity in Japan and had a connotation with the new year. In fact, Taito designed another print of a carp amongst water-weeds which is part of a harimaze sheet and is most often encountered with the left calligraphy removed. Issued c 1832 for the Taikogawa Poetry Club. Vever seal bottom right.

 

 

Very fine impression with burnishing on the eye and the cherry blossom blind-printed. Fine colour. Minor foxing, otherwise very good condition. Signed Katsushika Taito.

 

 

Status: Sold

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Totoya HOKKEI (1780-1850)




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A surimono from a set Onkyoku zukushi, “An Array of Songs.” In the cartouche, top right, on the right, is Tokiwazu (a school of vocal music featuring the 3-stringed shamisen), and on the left the title of the musical piece illustrated here, which is Oimatsu, “Old Pine Tree,” a brief and auspicious piece composed in 1747 and used for celebratory occasions. A warrior is shown reclining against an old pine in heavy rain. Issued c 1818. Another from the set is illustrated in Reading Surimono, John Carpenter, Hotei publishing, 2008, no. 76, p. 203. Rare.

 

 

Fine impression with gold, blind-printing and the rain printed in silver. Very good colour. The red may be down slightly but, as yet, I have not found another impression to compare. Very good condition. Signed Hokkei.

 

 

Status: Sold

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Utagawa KUNIYOSHI (1797-1861)




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Musashi-bo Benkei of herculean strength subdued by the young Onzoshi Ushiwaka Maru (Yoshitsune) on Gojo Bridge. The story relates how Benkei (1155-1189) wandered around Kyoto with the intention of relieving 1000 samurai of their swords. One night with one more sword to go he saw Yoshitsune playing a flute and wearing a golden sword at the Gojotenjin Shrine. They agreed to fight on Gojo Bridge in southern Kyoto. However, Yoshitsune was too agile for Benkei and had been educated in the secrets of fighting by the tengu. Following Yoshitsune’s victory Benkei became Yoshitsune’s retainer. Published by Tsutaya Kichizo, c. 1843.

 

 

Fine impression and colour. Slight trimming, otherwise very good condition. Signed Ichiyusai Kuniyoshi ga.

 

 

Status: Sold

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Utagawa YOSHITSUYA (1822-1866)




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A fine design showing the outlaw Yasusuke Hakamadare surrounded by a giant snake amidst falling leaves. He was able to disguise himself using the skins of animals and this translated into the notion that he could transform himself into these creatures or conjure them up as in the case of the battle between Raiko and Hakamadare where he invocates a giant snake. (The subject of another triptych design by Yoshitsuya.) From a rare set: Dai Nihon jutsu zukushi, “An Assortment of Magic in Great Japan.” This talented pupil of Kuniyoshi had a penchant for snakes, and produced some striking prints. Published 1861.

 

 

Fine impression and colour. Slight trimming, otherwise fine condition. Signed Ichieisai Yoshitsuya ga.

 

 

Status: Sold

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Katsukawa SHUNSHO (1726-1792)




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An hosoban showing the actor Otani Hiroji III wearing a red straw cape in the snow and holding aloft a crystal ball. An unidentified role published c. 1775. Evidently Hiroji was very popular with female theatre-goers.

 

 

Very good impression and colour. Minor soil and wear, otherwise very good condition. Signed Shunsho ga.

 

 

Status: Sold

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Utagawa KUNISADA (1786-1864)




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The actor Ichikawa Danjuro VII in the drama Shibaraku. He is seen in his voluminous robe with the large Sansho (three square) motif which was the symbol of the Danjuro acting clan. The origins of the drama go back to Danjuro I in 1697 although there have been changes over the centuries. It is not a play as such but a scene which lasts about 50 minutes and is inserted during interludes. Evidently Shibaraku, which translates as “Wait a minute” or “Stop a moment,” was first dramatically shouted by Danjuri I when his fellow thespians forgot or refused his cue to enter and take to the hanamichi, “flower path” set at right angles to the stage. It became so popular that it was included in the kaomise, “face-showing” performances every year. Published by Kawaguchiya Shozo, c. 1830.

 

 

Very good impression, colour and condition. Signed Gototei Kunisada ga.

 

 

Status: Sold

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Utagawa KUNIYOSHI (1797-1861)




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An interesting and rare Kuniyoshi triptych showing actors relaxing in a busy teahouse. In fact this group appeared in the play Sumidagawa tsui no kagamon performed at the Ichimura-za Theatre from the 3/3/1852. Left sheet: Suzuki Mondo just stepping into the room dressed in a blue and white yukata played by Sawamura Chojuro V. Other actors are Nakamura Kanemon , Nakamura Kantaro and Arashi Jitohachi III. Centre sheet: The courtesan Shiraito of the Hashimoto-ya standing right played by Bando Shuka I. Another actor Nakamura Kamenojo. Right sheet: The thug Tsukubane Sanpei seated holding a cup played by Otani Tomoemon IV and Oyaso, Mondo’s wife, seated by an hibachi played by Onoe Kikujiro II. Another actor being Bando Matataro. Published by Yamaguchiya Tobei, 1852.

 

 

Very good impression, colour and condition. Signed Ichiyusai Kuniyoshi ga.

 

 

Status: Sold

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