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.

 

Katsushika HOKUSAI (1760-1849)




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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).

 

 

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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.

 

 

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Utagawa KUNIYOSHI (1797-1861)




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A fine original sumi drawing (hanshita-e) of oban size for an unpublished set: Eiyu kumiuchi zu, “Collection of Heroes in Combat.” Has a date seal for 1856. Sumi and light colour with pentimenti on thin paper. Shows the protagonists Satsuma no Kami Tadanori, a famous general of the Taira Clan, in combat with Okabe Rokuyata Tadasumi of the Minamoto Clan during the Genpei wars of 1180-1185.

 

 

In extremely good condition. Signed Ichiyusai Kuniyoshi ga. Rare.

 

 

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Utagawa KUNIYOSHI (1797-1861)




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A fine original sumi drawing (hanshita-e) of oban size for an unpublished set, c. 1856. Sumi and light colour with extensive pentimenti on thin paper. Shows two samurai in combat. In extremely good condition.

 

 

Signed Ichiyusai Kuniyoshi ga. Rare.

 

 

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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.

 

 

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Okumura MASANOBU (1686-1764)




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An hashira-e showing Shoki, the Chinese demon queller, Chung Kwei, about to plunge a sword into an oni. Another pillar print showing Shoki from the same period is illustrated in The Clarence Buckingham Collection of Japanese Prints, The Primitives, Helen C. Gunsaulus, AIC, 1955, no. 103, p. 166. Published c. 1745. Rare.

 

 

Very good impression. A sumi-e, printed in sumi with washes of sumi applied by hand. Slight toning, otherwise very good condition.Pillar prints are often toned because they were hung and, of course, this is especially true of the earlier examples, as here. Signed Hogetsudo
Tanchosai Okumura Bunkaku Masanobu Baio ga with seal Tanchosai.

 

 

Status: Available

 

 

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Utagawa HIROSHIGE (1797-1858)




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An original painting in sumi with touches of green and pale blue. Image size 50 x 17 in; 127 x 43.2 cms on paper. Shows the Mount Haruna area which also has Mount Myogi and Mount Akagi. Depicts the strange peaks surrounded by swirling mist and cloud. The region was formed more than 300,000 years ago in Gunma, eastern Honshu. Hiroshige designed a snow scene of the same area for the print set Sixty-odd Provinces of Japan published in 1853. Recently remounted and in very good condition. Signed Hiroshige ga with Ichiryusai seal.

 

 

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.

 

 

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Tsukioka YOSHITOSHI (1839-1892)




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Urusa-so: Kansei nenkan shojo no fuzoku, “Looking Tiresome: The Appearance of a Virgin of the Kansei Era [1789-1801]” Shows a young woman playing with her cat from a set Thirty-two Aspects of Women published by Tsunashima Kamekichi, 1888. The set shows women of different backgrounds and occupations from the Kansei era through to the Meiji era with punning allusions to their situation or mood. One of the three best designs from the set.

 

 

Very fine impression of the first edition with blind printing on the cat. Fine colour and condition with the extra border left and top. Signed Yoshitoshi ga.

 

 

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Kikugawa EIZAN (1787-1867)




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A vertican oban diptych showing a courtesan holding a letter between her teeth. This, and biting a towel, were considered highly erotic and the prelude to intimate relations. Her obi, which has a design of a dragon amongst clouds, is printed with extensive mica added to the grey ground.

 

 

Fine impression and colour. Minor marks, otherwise fine condition. Signed Kikugawa Eizan hitsu.

 

 

Status: Available

 

 

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Utgawa HIROSHIGE (1797-1858)




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Kurodai, black sea bream (Acantho pagus schlegeli) and akadai, red bream (Pagus tumifrons) together with bamboo shoots and Japanese pepper. Poems by Tomigaki Uchiyasu and Kaoan Hoshi. From the first series of ten plus one prints published by Eijudo, c. 1832-34. The set 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 seldom come onto the market.

 

 

Fine, early impression before the grey block defect on the tail of the black sea bream. Fine colour. Slight centre fold (as usual), otherwise very good condition. Full size. Kruml 10b (Andon 49). Signed Ichiyusai Hiroshige.

 

 

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Utagawa KUNIMARU (1794-1829)




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An uchiwa-e (fan print) showing summer flowers : hydrangea, peony, iris, chrysanthemum, morning glory, etc against a yellow ground. Of the utmost rarity: possibly the only recorded example. Published by Ibaya Senzaburo with date seal Bunsei 10 (1827). Ex Werner Schindler collection, seal au verso, and illustrated in Masterpieces of ukiyo-e prints from the Schindler collection, Kondo/Suzuki, Tokyo, 1985, pl. 165, p. 140.

 

 

Fine impression; very good colour and condition. Signed Kunimaru hitsu.

 

 

Status: Available

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Utagawa HIROSHIGE (1797-1858)



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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: Available

 

 

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Utagawa HIROSHIGE II (1826-1869)



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Mino Ochiai-bashi. Mino (Noshu) Province from the “Hundred Views of Famous Places in the Provinces.” An uncompleted set of 81 prints published by Uoya Eikichi between 1859 – 1861 (this being 1861). An evening rain scene with figures making their way across the torrential Chitose River, famous for its fishing.

 

 

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

 

 

Status: Available

 

 

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Utagawa KUNITORA (Active early 19th c.)




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An aiban yoko-e print from an extremely rare and fine set of prints published 1810s by Yamasho. Kunitora’s finest set. Hira bosetsu, “Evening Snow at Mount Hira” from a set Omi hakkei, “Eight Views of Omi.” The set employs strong Western elements with hatching and sinuous hills and houses. Four designs from the set are illustrated in The Western-Style Colour-Prints In Japan, Usaburo Toyama, 1936, nos. 180-183 (this design being 182). A wonderful design.

 

 

Fine impression, colour and condition. Oxidation on the title label. Signed Kunitora ga.

 

 

Status: Available

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Utagawa HIROSHIGE (1797-1858)




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The great shrine at Izumo, Izumo, taisha hotohoto no zu from Rokujuyoshu meisho zue, “Famous Views in the Sixty-odd Provinces.” The set published by Koshimuraya Heisuke, 1853-6 (this being 1854). Shows a group of three young women bringing offerings to the Shinto shrine. A large cryptomeria tree in the foreground and other figures, trees and a torii in the misty background. The main deity of the shrine is Okuninushi no Okami, patron of good relationships and marriage (which probably accounts for the women’s visit). A beautiful design when well printed.

 

 

Fine early impression: Should have applied bokashi across the foreground area, as here. Fine colour. Slight vertical crease in left margin, otherwise fine condition. Signed Hiroshige hitsu.

 

 

Status: Available

 

 

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Tsukioka SETTEI (1710-1786)




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A very fine large painting showing a standing beauty holding a cloth. At her feet is a fulling-block (kinuta) and several mallets. She looks skyward at the geese flying across the moon. One of the traditional symbols of autumn in Japan. There seems to have been a frisson in depicting these beauties fulling cloth near streams, as well as awabi divers and the women of Ohara collecting faggots. Settei produced many illustrated books but after around 1765 turned to painting beauties, courtesans and geishas. They are of the utmost refinement – the faces and limbs picked out in red, their costumes with areas of gold, and invariably have the wide lantern-locks (toro-bin) hairstyle. All these characteristics are found here. Full colour on paper, image size 48.75 x 18.25; 124 x 47.5 cms. Painting and mount in extremely good condition. The box comes with a registration form showing the work seems to have been put up for sale at the Tokyo Bijutsu Club in Tokyo about 70 or 80 years ago. Painted c 1770. Signed Shinten’o gihitsu (painted for amusement by Shinten’o). Seals Hokkyo Settei and Kidashi (family name).

 

 

Status: Available

 




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Teisai HOKUBA (1771-1844)




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An original painting on silk in full colour. Image size 36.5 x 13.5 in; 92.75 x 34.25 cms. A fine painting showing beauties from different social strata: A farmer’s wife; a courtesan; an elegant wife; and a Heian period court beauty. Hokuba was one of the earliest and best of Hokusai’s pupils. A printmaker, but only of surimono, book illustrator, and, most importantly, a fine painter. Above is a kyoka poem by Ota Nanpo (1749-1823), a famous poet and fiction writer. Silk slightly browned and minimal loss of some pigment but in otherwise good condition. Old mount: Would benefit from remounting. Painted Bunsei period, c. early 1820s.

 

 

Signed Teisai Hokuba ga with seals Hoku Ba.

 

 

Status: Available

 

 




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Ichiryusai HIROSHIGE (1797-1858)




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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: Available

 

 




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Ogata GEKKO (1859-1920)




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A triptych showing the last stand of the Kusunoki Clan at the Battle of Shijonawate in 1348. The event took place during the Nanbokucho wars when the Kusunoki Masatsura forces of the Southern Imperial Court were attacked at Yoshino by the Northern forces led by Ko no Moroyasu. Masatsura fought valiantly against a hail of arrows, eventually succumbing and committing suicide. . Published 1883 by Matsuo Danzo (who only appears to have survived one year). There is an earlier triptych version of this by Gekko in 1878. A later and far inferior reprint was published in 1901.

 

 

Superb impression, colour and condition with extensive burnishing. Signed Gekko ga.

 

 

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Tsukioka YOSHITOSHI (1839-1892)




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A triptych showing Raiko and his four companions conquering the demon of Oe Mountain. Raiko shitenno Oeyama kijin taiji. The story relates how the demon (Shuten-doji) kidnappes young girls and keeps them captive in his lair on Mt. Oe near Kyoto. The great warrior Minamoto no Yorimitsu (Raiko) and four retainers seek out the demon. They inebriate him and cut off his head. However, the beast’s head still takes a bite at Raiko who avoids death by wearing the additional helmets of his followers. Published by Kiya, 1864. An early and very fine design.

 

 

Fine impression and colour with lovely partial oxidation. Slight trimming, otherwise very good condition. Signed Ikkaisai Yoshitoshi ga.

 

 

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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.

 

 

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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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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 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.

 

 

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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.

 

 

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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.

 

 

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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.

 

 

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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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