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Ichiryusai HIROSHIGE (1797-1858)




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Ichiryusai HIROSHIGE (1797-1858)

A bluebird and a branch of wild rose. A chuban print published c 1835-9. A very similar design with the same poem is in the Museum of Fine Arts, Boston, acquisition number 21.9729 and also a chutanzaku design, acquisition number 21.7997. Rare.

 

Fine impression. Very good colour. Minor marks, otherwise very good condition. Signed Ichiryusai Hiroshige hitsu with Ichiryusai seal.

 

Status: Sold

 

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Ichiryusai HIROSHIGE (1797-1858)




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A Java sparrow on a clematis vine. A sanchogake format (three designs printed on a horizontal sheet and intended to be separated). Published c 1835-9. This is the first edition with the cube-shaped red Hiroshige seal. Two later impressions are in the Museum of Fine Arts, Boston, acquisition numbers 21.9590 and 65.1671. Rare.

 

Fine impression and colour. Minor marks, otherwise very good condition. Signed Hiroshige hitsu.

 

Status: Sold

 

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Utagawa HIROSHIGE (1797-1858)



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A half-block, 8.75 x 6.5 in; 22.5 x 16.5 cms, print showing a Japanese crane standing in water with a flowering plant (a variety of Berberis ?). Published c. late 1840s by Tsutaya Kichizo. Unidentified collector’s seal au verso.

 

Very good impression, colour and condition. Signed Hiroshige hitsu.

 

Status: Sold

 

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Utagawa HIROSHIGE (1797-1858)



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A third-of-a-block (ko-tanzaku) print, 13.5 x 3 in; 34 x 7.25 cms, showing a sparrow and cherry blossom. Published c. mid 1840s. Unidentified publisher’s seal. These narrow panels are often poorly printed, but not in this case.

 

Very fine impression: beautiful gradation. Fine colour and condition. Signed Hiroshige hitsu.

 

Status: Sold

 

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Ohara HOSON (Aka SHOSON, KOSON) (1877-1945)



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A mother monkey holding a persimmon and four playful babies. Published by Kawaguchi, c. 1930. The first and only edition. Ex Robert O. Muller collection. Rare.

 

 

Very fine impression, colour and condition. Signed Hoson. Copyright seal in lower right margin; seal of printer, Komatsu, and carver, Maeda, in lower left margin. Kawaguchi catalogue number “28” on reverse.

 

 

Status: Sold

 

 

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Utagawa HIROSHIGE (1797-1858)



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A bora, grey mullet (Mugil cephalus), together with camellia and Japanese asparagusudo. This impression is from the extremely rare first private edition for a poetry club with the judges’ names beside the kyoka poems by Higaki Kunifune and Toshinoto Haruki. From a set of ten prints published – most likely – by Eijudo around 1832-34. These prints were subsequently issued commercially by Eijudo with his seal and a kiwame seal (both missing here on the private printing) and with the judges’ names removed. Who the poetry group was is not known, but they must have been affluent and influential. Of the sixteen poets on the prints, four were certainly members of the Shingyoku Circle, which was affiliated to the Yomogawa. This was the group that commissioned, amongst others, Hokusai’s Horse and Shell series of surimono. There appear to be three other impressions known from the private edition: Sebastian Izzard, Hiroshige, The Ukiyo-e Society of America Inc., 1983, no. 5; Ukiyo-e art, no. 18, Memeorial exhibition of Hiroshige, The Japan Ukiyo-e Society, 1968 (C) no. 4; and Juzo Suzuki, Utagawa Hiroshige, Nihon Keizai Shinbun, 1970, no. 593. Provenance: Ex Stoclet collection.

 

Very fine impression. Fine colour. Centre fold (as usual as they were issued in folding album form), otherwise fine condition. Signed Ichiryusai Hiroshige ga.

 

Status: Sold

 

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Ichiryusai HIROSHIGE (1797-1858)



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An extremely rare aiban print showing two kochi , bartail flatheads, (Platycephalus indicus) and an abalone, sea-ear, (Haliotus tuberculate). From a set of eight prints of various fish published c. late 1830s. Another impression is illustrated in Japanese Prints IV – Hiroshige and the Utagawa School, Rijksmuseum Amsterdam, 1984, no. 45, p. 35.

 

Fine impression and colour. Slight soil, otherwise very good condition. Signed Hiroshige

 

Status: Sold

 

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Utagawa KUNISADA (1786-1864)



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Moon from a set Furyu settsugekka, “A Fashionable Snow, Moon, Flower.” An uncut fan print showing the actor Iwai Kumesaburo III as Shirai Gonpachi. Kumesaburo last played this role in the play Kakitsubata tamuke no harakawado performed at the Kawarasaki-za theatre in 3/1850. Published by Kojima Jubei (who specialised in fans) in 3/1853.

 

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

 

Status: Sold

 

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Utagawa KUNISADA (1786-1864)



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An exceedingly rare fan print showing a bust portrait of Ichikawa Danjuro VII as Soga no Goro wearing the iconic kuruma bun wig. This famous story has many versions but basically it tells how Kawazu Sukeyasu was murdered by his cousin Kudo Suketsune. Sukeyasu left two sons and his widow remarried a man called Soga. He adopted the two children and they waited patiently for an opportunity to kill Suketsune which came when he was hunting near Mt. Fuji. They killed him but were themselves slain in the ensuing battle. Published c.1827 by Maru-Mata, a publisher who seems to have only produced fan prints for a few years. Possibly Kunisada’s finest actor design in this format. A design I have never seen and probably unique.

 

Very good impression. Good colour. Dismounted from a fan and sold “as is” with all imperfections. Signed Kunisada ga.

 

Status: Sold

 

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Ichiryusai HIROSHIGE (1797-1858)



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An uncut fan print: Yoshiwara Naka-no-cho sakura doki, “Cherry Blossom at Naka-no-cho in the Yoshiwara.” Published 7/1852. Exceptionally rare: One other trimmed impression is illustrated in Hiroshige Fan Prints, Rupert Faulkner, Unsodo, 2010, no. 55, p. 45.

 

Fine impression and colour. Extremely good condition. Signed Hiroshige ga.

 

Status: Sold

 

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Ichiryusai HIROSHIGE (1797-1858)



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An uncut fan print: Ochanomizu no seiran, “Fine Weather but Windy.” From a set Edo hakkei, “Eight Views of Edo.” Published 1847-8 by Ibaya Senzaburo (who specialised in fans). Shows two beauties caught on a blustery day to the north of the Kanda River, the aqueduct lower left and Mt. Fuji in the distance. Exceptionally rare: The V & A museum has a complete (trimmed) set, see Rupert Faulkner, Hiroshige Fan Prints, 2001, nos. 23-30 (this being no. 25). And another impression is illustrated in Ukiyo-e Art, number eighteen, Memorial Exhibition of Hiroshige, 1968, no. 3. These appear to be the only other impressions known.

 

Fine impression. Very good colour. Slight centre fold and soil, but generally very good condition. Signed Hiroshige ga.

 

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. Unidentified collector’s seal bottom right corner.

 

 

Fine impression, colour and condition. Signed Hiroshige ga.

 

 

Status: Sold

 

 

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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 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: Sold

 

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Ichiryusai HIROSHIGE (1797-1858)




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A shishi cub being taught to scale a vertical cliff. ( Shishi: ‘Chinese Lion’ [ Ch.: Shi-tzu ]. ) it was said that the shishi cast its young from a high rock to test whether it could scale the rock face in which case it became the perfect beast. Published by Sanoki, c 1839-40. Extremely rare: one other impression illustrated in The Art of Hiroshige, Tsuneo Tamba, no.410.


Fine impression and colour. Small areas of expert restoration. Signed Hiroshige ga.



Status: Sold

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Utagawa KUNISADA (1785-1865)



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An uncut fan print showing the actor Bando Takesaburo I in the role of the Sumo wrestler Shirafuji Genta from a set: Mitate gonin otoko go-hiiki omozashi, An Imaginary Five Commoners.” Published by Yama-Ta, 2ic/1852.

 

Superb impression with mica added to sky and burnishing. Superb colour and condition: From a group of such fans that are as the day they were first printed and must have been put together by a fan collector. Signed Toyokuni ga.

 

Status: Sold

 

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Utagawa KUNISADA (1785-1865)



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An uncut fan print showing the actor Bando Shuka I: “Snow” from a Furyu settsugekka set of Snow, Moon , Flowers. Published by Kojima Jubei (who specialised in fans) in 3/1853.

 

Superb impression with mica added to sky. Superb colour and condition: From a group of such fans that are as the day they were first printed and must have been put together by a fan collector. Signed Toyokuni ga.

 

Status: Sold

 

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Ichiryusai HIROSHIGE (1797-1858)



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A tanzaku showing a Japanese finch sitting on a camellia branch. Unidentified collector’s seal au verso.

 

Very fine impression. Fine colour and condition. Signed Hiroshige hitsu.

 

Status: Sold

 

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Ichiryusai HIROSHIGE (1797-1858)




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Ai or ayu, river trout, Plecoglossus altivelis. Poem by Haruzono Shizuo. From the first set of fish prints published by Eijudo, c 1832-4. This 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. The most sought after print in the series and probably the first to be designed.

 

Very good impression, colour and condition. Full size with with no centre fold. Signed Hiroshige hitsu.

 

Status: Sold

 

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Ichiryusai HIROSHIGE (1797-1858)




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A half- block print showing a small bird (possibly a bush warbler) and plum blossom. . Published by Kawasho (Kawaguchi Shozo) c. mid 1830s. Half-blocks were printed two-to-a-sheet and divided, either vertically or horizontally.

 

Very good impression, colour and condition. Signed Hiroshige ga with Utagawa seal.

 

Status: Sold

 

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Anonymous (c. 1810)




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An uncut ukie fan print, Edo meisho Eitaibashi, “Eitai Bridge, Edo.” Published by Ibaya Sensaburo, c. early 1800s. Possibly by Utagawa Kunimitsu or Utagawa Kunitora and quite possibly the only recorded impression.

 

Very good impression and colour. Slight corner soil, otherwise good condition.

 

Status: Sold

 

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Ichiryusai HIROSHIGE (1797-1858)




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A half-block print showing a sparrow and iris. Published by Kawasho (Kawaguchi Shozo) c. mid 1830s. Half-blocks were printed two-to-a-sheet and divided, either vertically or horizontally.

 

Very good impression, colour and condition. Signed Hiroshige ga with Utagawa seal.

 

Status: Sold

 

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Utagawa KUNIYOSHI (1797-1861)



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An uncut fan print from a series: Koumei matsu tsukushi, “ Famous Kinds of Pine.” A euphemism for young beauties. One here shown holding a cage for fireflies being caught by children in the background. Published by Maruya Jinpachi, 4/1854.

 

Fine impression, colour and condition. Signed Kuniyoshi ga.

 

Status: Sold

 

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Ichiryusai HIROSHIGE (1797-1858)



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A chu-tanzaku showing a house swallow above a trailing yellow plant.

 

Fine impression. Very good colour. Slight browning, otherwise very good condition. Signed Hiroshige fude.

 

Status: Sold

 

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Utagawa KUNIYOSHI (1797-1861)



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A chutanzaku print showing a tortoise, crab and dandelions from an untitled series of ten prints showing water creatures originally published two-to-a-sheet. Of the utmost rarity: Arguably the most difficult Kuniyoshi set to find. It appears there are only three other impressions known of this design: The Bidwell Collection, Springfield Museum of Fine Arts, illustrated in their catalogue, Utagawa Kuniyoshi, 1980, no 72 (60.D05.197); The Japan Ukiyoe Museum, uncut sheet with lobster and small fish, illustrated in Utagawa Kuniyoshi Exhibition Catalogue, 1996, p. 154, no. 208; and Kuniyoshi, Iwakiri Yuriko, Hotei publishing, 2013, p. 135, no. 109 (possibly from a French collection). This actual impression (making the fourth impression known) is illustrated in Kuniyoshi, Juzo Suzuki, 1992, no. 445. Ex collections J. Schedel (seal next to signature) and Sawai Suzuichi. This impression has no publisher’s seal nor does another design of a carp from the set illustrated in Heroes & Ghosts, Robert Schaap, Hotei publishing, 1998, p. 213, no 240. That is a very fine impression (as is this) and possibly they are proof impressions. Published by Tsujiokaya Bunsuke (Kinshodo), c 1837. For the full set illustrated see the Springfield catalogue mentioned above. Excessively rare.

 

Very fine impression with woodgrain showing on all blocks. Fine colour. Centre fold (evident if held to light), otherwise very good condition. Signed Ichiyusai Kuniyoshi ga with Yutaka seal.

 

Status: Sold

 

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Ichiryusai HIROSHIGE (1797-1858)



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An uncut fan print with title Shinkiro no zu which has a double meaning of being the Yoshiwara in the deep sea and also a chimera or mirage. The scene enclosed in a (dreaming ?) bivalve shows visitors in a watery Yoshiwara, all with fish heads. Of the utmost rarity: This appears to be the only impression known. There are also what appear to be keying marks on three sides that have not been removed. Published by Shinagawaya Kyusuke with censor seal for 1845.

 

Very fine impression. Fine colour and condition. Signed Hiroshige giga hitsu.

 

Status: Sold

 

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Ichiryusai HIROSHIGE (1797-1858)



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A Java sparrow on a clematis vine. A sanchogake format (three designs printed on a horizontal sheet and intended to be separated). Published c 1835-9. Rare.

 

Very good impression, colour and condition. Signed Hiroshige hitsu. (There is an impression with a cube-shaped red Hiroshige seal which is the first state.)

 

Status: Sold

 

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Gyokurantei SADAHIDE (1807-1873)




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An uncut aizuri-e fan showing Urashima Taro astride a large turtle approaching the Dragon King’s Palace. The story relates how the fisherman rescues the turtle from some miscreant children on a beach. A few days later, while fishing, the turtle appears and rewards him by taking him to the palace (Ryugu-jo Castle) where he is thanked by Princess Otohime, the King’s daughter. After a few happy days he wishes to return to his village but discovers he has, in fact, been away for 100 years and become an old man. Extremely rare: Possibly the only known impression. Provenance: Ex collection Toni Strauss-Negbaur, seal au verso.

 

 

Very good impression and colour which is mainly aizuri with colour on Urashima and the turtle. Restored centre fold and slight edge soil, otherwise good condition. Signed Sadahide ga.

 

 

Status: Sold

 

 

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Ichiryusai HIROSHIGE (1797-1858)




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An original painting, sumi and light colour on light green-coloured silk, 21.37 x 13.62 in; 51.8 x 34.7 cms. The location is unidentified but shows an inland sea with a promontory and shrine. A beautiful, lyrical landscape probably painted in Kaei era (1848-54). In good condition and has recently been remounted with a futo-maki wooden role. Signed Hiroshige with Ichiryusai seal.

 

Status: Sold

 




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Watanabe SEITEI (1852-1918)




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A complete set of 12 paintings showing birds and plants representing the months of the year. Seitei ( Shotei ) specialised in kachoga; was famous in this area, and regarded as the leading exponent. Technically brilliant. January shows a dove on a pine tree with pine cones. February depicts narcissus. March is represented by cherry blossom. April is a display of yamabuki, Japanese mountain rose, with bees. May shows a cuckoo with a falling ginkgo leaf. June is wisteria and a butterfly. July has a beetle climbing a leaf on an iris plant. August shows Japanese morning glory, Asagao. September has a grasshopper on an edamame ( soybean ) plant. October appears to be a wild chrysanthemum and beetle. November depicts what is probably a nuthatch climbing down a tree. And December is represented by a snipe. Each painting sumi and colour on silk. Image size 33.8 x 27.4 cms; 13.25 x 10.75 in. Each painting signed and sealed Seitei. Matching mounts. Slight staining on one or two paintings ( primarily July ) otherwise in very good condition. New box but retaining original lid with Seitei signature and seal and inscription Shiki no kacho, “Birds and Flowers of the Four Seasons.” It is rare to find complete sets of such paintings which are usually conceived as handscrolls.



Status: Sold




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Nishikawa SUKENOBU (1671-1750)




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The pre-eminent painter in the Kyoto area during the first half of the eighteenth century. He enjoyed a great reputation in his lifetime and his (over 100) illustrated books influenced many artists, not only in the Kyoto-Osaka area but also in Edo. Many of his books were published by Hachimonjiya in Kyoto such as Hyakunin joro shina sadame (1723). Other famous books being: Tokiwa gusa (1731); Asakayama (1739); Chiyomi-gusa (1740). His paintings were collected by his contemporaries with Yanagisawa Kien (in his Hitorine, c. 1726) calling him the “supreme master” of Ukiy-e, superior to Okumura Masanobu, Torii Kiyonobu, Hanekawa Chincho and Kaigetsudo. Full colour on silk, 30.25 x 17.5 in; 76.7 x 44.3 cms. Shows a typically refined and elegant beauty watching her assistant washing a tea-whisk in a stream. Suihen bijin zu. There are two other versions of this design by Sukenobu: One was auctioned in 1933 at the Osaka Art Club from the W. Sturgis collection and there is another from Nagano, Japan, illustrated in Kokka, no. 18, 2011, p. 10. Other examples are in major museums such as the Metropolitan, Philadelphia, Freer, Honolulu, British, etc. Although Sukenobu produced many paintings, genuine works are now rare. Painted c late 1730s. Minor marks and creases and some loss of gofun, but in very good condition for an early 18th century painting. Sealed Nishikawa shi in and Sukenobu. Illustrated and exhibited in Nikuhitsu Ukiyoe Beauty, Tokyo Fuji Art Museum, 1983, no. 21, ex Hirano collection, Akita Prefecture.

 

Very good condition. Signed and sealed Bokusen. See my Blog on this update.

here

 

Status: Sold

 




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Hasegawa SADANOBU II (active 1867-1880s)




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An original painting by Sadanobu II. A reclining beauty reading a book. There appears to be nothing else like this by Sadanobu, and indeed, there are very few bijin-ga prints by him. A beautiful painting.
Sumi and colour on silk. Image size 13 x 9.25 inches; 33 x 24 cms. Slight loss of gofun and minor marks. Mounted onto board.


 

Signed Ho Utamaro Sadanobu, “copied [ or imitating ] Utamaro, Sadanobu” with Sadanobu seal.

 

Status: Sold

 




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Watanabe SEITEI (1851-1918)




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Two geese – possibly Greater White-fronted Geese ( although the legs should be a little more orange ) with tall reeds and a large misty moon. Sumi and light colour on silk, 43 x 16 in; 109 x 40.5 cms. Signed and sealed Seitei. In fine condition with original box signed and sealed by Seitei.



Status: Sold




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Katsushika HOKUSAI (1760-1849); Kyokutei BAKIN (1767-1848); Jippensha IKKU (1765-1831)




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An original painting by Hokusai showing the back view of a courtesan. Above are inscriptions by Bakin and Ikku, the two leading writers of the day. ( Bakin is famous for writing Chronicles of the Eight Dog Heroes of the Satomi Clan of Nanso and Ikku for writing the most humorous book in the Japanese language: Shank’s Mare Journey on the Tokaido.) This painting was originally sold at the Tokyo Bijutsu Club, December 3rd, 1928. It is illustrated in Katsushika Hokusai Paintings, Mainich Shimbun, 1975. It is signed Toyo Katsushika Hokusai ga, “Painted by Katsushika Hokusai of Orient” and the seal, Katsushika Hokusai, is the same seal as that used on the pair of hand scrolls, Day and Night, in the Museum of Fine Arts, Boston. Colour and sumi on paper, 11.12 x 11.5 in; 28.2 x 29.2 cms. An intriguing old mount and sold with original sales slip from 1928 and a copy of the 1975 catalogue.

 

The inscriptions translate as:

 

I went out dressed up very lightly just to show off for the sake of cherry blossom viewing party.
However, I ended up catching a cold and all my efforts to enjoy the cherry blossoms went for nothing.

 

Jippensha Ikku

 

Yoshiwara is located in the north of Mount Kinryu, and it is a very grassy place.
Here I live inside the fence of Miuraya,
I am worshiped by so many guests.
Even though I devote myself completely to seek popularity every day,
I am a louse whose heart cannot be stolen by money alone.
This is my mettle as a courtesan.

 

Kyokutei Bakin

 

Status: Sold

 




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Utagawa HARUSADA (1830-1887)




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An exceptionally beautiful painting of a standing beauty by this pupil of Kuniyoshi. An ukiyo-e artist who worked in Kyoto. Real name Okamoto Syotaro. Full colour with touches of gold on silk. Image size 40.5 x 13.5 in; 102.8 x 34.2 cms. Very minor brown area otherwise in fine condition. Signed Harusada ga. Seal unread.

 

Status: Sold

 




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Kubo SHUMMAN (1757-1820) and Kameda BOSAI (1752-1826)




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An original painting showing a parading oiran on the first day of the eighth month, Hassaku (hachigatsu sakuhi). It was common on this day to wear a white kimono. This festival still takes place in the Gion quarters of Kyoto. The calligraphy, above, is by Bosai (Hosai), an amateur artist and noted scholar and writer. Full colour on silk, 35.25 x 12.5 in; 89.5 x 31.7 cms. In good condition. Signed Shumman painted by himself with Shumman seal.

 

Status: Sold

 




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Takehara SHUNCHOSAI (Fl. c 1772-1818)




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An original painting showing beauties enjoying the cool of the evening on the riverbank and shallows of the Komo-gawa in Kyoto. An exceptional and rare painting by an artist best known for his guides to Osaka and Kyoto, Miyako meisho zue and Naniwa no kagami, published 1778 and 1780. Full colour on silk, 51 x 19.75 in; 129.5 x 50.2 cms. In very good condition. Signed Bunsei tei inoshishi chushu hatsumikka kyoshinioite Shunchosai Takehara Nobushige. Painted 1818.

 

Status: Sold

 




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Utagawa TOYOKUNI II (TOYOSHIGE) (1777-1835)




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An original painting on paper, unmounted, showing Asahina Saburo (Wada no Saburo Yoshihide), a famous warrior of the early Kamakura period (1185-1333). Image size 11.5 x 15.5 in; 29.2 x 39.5 cms. Signed Toyokuni suichu hitsu, “Toyokuni painted while being drunk.”

 

Status: Sold

 

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Matsumura KEIBUN (1779-1843)




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A fine gajo, 10.75 x 6.75 in; 27 x 17 cms, folding out to 10.75 x 13.5 in; 27 x 34 cms. Consisting of 24 paintings in sumi and light colour of birds, animals and fish, starting with the Twelve Signs of the Zodiac: Rat; Ox; Tiger; Hare; Dragon; Snake; Horse; Goat; Ape; Cock; Dog; Boar. Keibun studied with his older brother Matsumura Goshun as well as Maruyama Okyo. Highly talented, especially in kachoga, and went on to consolidate the Shijo style. Original covers and title slip. End sheet signed by the original owner: Sichikudou, Naniwa (the place that was to become Osaka) with his seal. Another unidentified large seal inside front cover. Some slight wormage not affecting any image and some appropriate scuffing of covers; otherwise very good condition. Painted probably late 1830s.

 

Status: Sold

 




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Tsukioka SETTEI (1710-1786)




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An interesting large painting, full colour on paper mounted on a wooden frame, 25.5 in; 62cms in diameter showing a bust portrait of a beauty with elaborate coiffure holding a child and a rattle. Although not signed, the attribution is unquestionable, painted between 1767-1773 in Osaka. It appears to have been commissioned to hang in a hairdresser’s or cosmetic shop and has metal eyes at the top. The oxidised silver leaf background was meant to resemble a mirror and the idea of busts reflected in mirrors and silver grounds was later employed by Utamaro and Sharaku. Apart from silver, gold leaf and gum is applied. Such signboards appear in an illustrated book by Hasegawa Mitsunobu published in Osaka in 1752. This new discovery has been written about by Dr. Yamamoto Yukari in vol.27 of Minzoku Geijutsu (Ethno-Arts) in 2011. Minor surface marks all over but astonishingly good condition given their age and use. Extremely rare.


Status: Sold




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Utagawa HIROSHIGE (1826-1869)




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A pair of original kakejiku with two paintings on each. Possibly from the front and back cover pages of a first edition “One Hundred Famous Views of Edo” set. Sumi and colour, image size of each painting 13.5 x 8.75 in; 34.25 x 22 cms. Shows top left a bowl with – possibly – turnips and a poem. Below a wicker basket and bowl with a miniature plum tree and an adonis plant (the most popular plants for the New Year). On the right, at the top are two chidori with poem and below a sake barrel and a plum branch. The bottom two paintings are signed Hiroshige with Ichiryusai seal. In fact, there is another version of the chidori painting associated with a painting of a kago and lantern illustrated in the exhibition catalogue, Hiroshige – A Poetic Ukiyo-e Artist, Fukushima Minpo, 1971, no. 16. These are also possibly from the ends of a first edition set of prints. Hiroshige and Hiroshige II were known to make these paintings, presumably for special clients. Provenance: Ex Takeoka Toyota collection (1844-1931). The box dated (Taisho 11, 1922) and guaranteed by him. He was a famous collector from the Meiji to early Showa era. Paintings and mounts in very good condition.

 

 

Status: Sold

 

 




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