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Tsukioka SETTEI (1710-1786)
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An original painting, sumi and full colour on silk, 38 x 12.5 in; 96 x 32 cms. Settei produced many illustrated books but after around 1765 turned towards painting beauties, courtesans and geishas. They are of the utmost refinement – the faces and limbs often delineated in red and their costumes embellished with gold. Settei is also known for his elegant shunga. A beauty looks towards a weeping willow. Painted c 1770. In good condition with an elaborately stencilled and embroidered mount. Details picked out in gold.
Signed Hokkyo Tsukioka Settei dzu and sealed o’Shinten.
Status: Available
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Matsumura KEIBUN (1779-1843)
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An original painting, sumi and very light colour on paper, 52.5 x 20 in; 133.5 x 51 cms. Keibun studied with his older half-brother Matsumura Goshun as well as Maruyama Okyo. At his best, the equal of Goshun. Noted for his kachoga, as here, showing a bird on a flowering branch and a gourd vine.
In good condition. Signed and sealed Keibun.
Status: Available
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Kubo SHUNMAN (1757-1820)
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One of a series of surimono with title: Guncho gafu, “ Pictorial Record of a Swarm of Butterflies.” (In fact butterflies and moths.) Shunman is recognised as possibly the greatest designer of surimono and the prints from this set are amongst the most beautifully printed in this field. His family were printers and this would explain their particular excellence. In fact it is possible that Shunman engraved and printed himself which would account for his seal on other artists’ surimono. Issued c 1810s by the Kasumi-ren poetry club. (Their seal above the signature, top right, Kasumi-ren guncho gafu.) There are copies of the prints from this set which can be very misleading. Two other genuine impressions are in Harvard, 1933.4.1375 and the Met, JP2356.
Very fine impression. Fine colour. Slight discolouration and crinkling at the corners, otherwise good condition. Signed Sho Shunman sei.
Status: Available
Isoda KORYUSAI (1735-1790)
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A chuban print showing two unidentified birds eating ripe pomegranites. Koryusai designed a considerable number of kacho prints in this chuban format. They are all rare. J. Hillier in his book A New Approach, G. Bell And Sons Ltd, 1960, p.74, states that “… kacho represent a sphere in which Koryusai is pre-eminent and in respect of which his genius has not been sufficiently acknowledged.” Published c 1770. Another (very faded) impression is in MFA Boston, 21.8240.
Very fine impression, colour and condition. Excessively rare in this fine, unfaded condition. Signed Koryusai ga.
Status: Available
Utagawa HIROSHIGE II (1826-1869)
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An original drawing, sumi on paper, 9 x 12 in; 23 x 30.5 cms. Neko ni kamibukuro, “cat in a paper bag.” A proverb: “to back away from something.”
Slight foxing, otherwise good condition. Sealed Ichiryusai.
Status: Available
Hishikawa MORONOBU (?-1694)
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A large sumizuri-e from a shunga set of twelve published c 1680s. In each case the couples are enclosed in a Chinese-style fan border. A couple in flagrante delicto beside an engawa with a bird cage. Moronobu was possibly the single most influential artist and pioneered the ukiyo-e school. A painter, printer and illustrator.
Very good impression. Minor marks, otherwise good condition.
Status: Available
Hishikawa MORONOBU (?-1694)
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A large sumizuri-e from a shunga set of twelve published c 1680s. In each case the couples are enclosed in a Chinese-style fan border. A couple in flagrante delicto. Moronobu was possibly the single most influential artist and pioneered the ukiyo-e school. A painter, printer and illustrator.
Very good impression. Minor marks, otherwise good condition.
Status: Available
Hishikawa MORONOBU (?-1694)
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A large sumizuri-e from a shunga set of twelve published c 1680s. In each case the couples are enclosed in a Chinese-style fan border. A couple in flagrante delicto. Moronobu was possibly the single most influential artist and pioneered the ukiyo-e school. A painter, printer and illustrator.
Very good impression. Minor marks, otherwise good condition.
Status: Available
Hishikawa MORONOBU (?-1694)
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A large sumizuri-e from a shunga set of twelve published c 1680s. In each case the couples are enclosed in a Chinese-style fan border. A couple in flagrante delicto. Moronobu was possibly the single most influential artist and pioneered the ukiyo-e school. A painter, printer and illustrator.
Very good impression. Minor marks, otherwise good condition.
Status: Available
Hishikawa MORONOBU (?-1694)
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A large sumizuri-e from a shunga set of twelve published c 1680s. In each case the couples are enclosed in a Chinese-style fan border. A couple in flagrante delicto. Moronobu was possibly the single most influential artist and pioneered the ukiyo-e school. A painter, printer and illustrator.
Very good impression. Minor marks, otherwise good condition.
Status: Available
Utagawa TOYOKUNI II (TOYOSHIGE) (1777-1835)
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Returning Geese at Miho: Kiyomizu Temple of Suruga Province with a Distant View of Yoshiwara from Meisho hakkei, “Eight Views of Famous Places.” A popular theme in Japanese art originating in China and the landscape of the Xiaoxiang region where the Xiao and Xiang rivers converge. Published c 1833-4 by Kinjudo.
Fine impression, colour and condition. The pigment in the title cartouche intact, which is usually faded. Signed Toyokuni hitsu.
Status: Available
Utagawa HIROSHIGE II (1826-1869)
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The Dragon’s Maw Mountain, Bizen Province, Bizen tatsu-no-kuchiyama from Shokoku meisho hyakkei, “Hundred Views of Famous Places in the Provinces.” An uncompleted set of 81 prints published by Uoya Eikichi between 1859-1861 (this being 1861). Shows a lone figure battling a heavy rainstorm in a steep-sided canyon.
Superb impression of the first edition. Fine colour and condition. Signed Hiroshige ga.
Status: Available
Utagawa HIROSHIGE II (1826-1869)
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Mino Ochiai-bashi. Mino (Noshu) Province from Shokoku meisho hyakkei, “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.
Superb impression of the first edition. Fine colour and condition. Signed Hiroshige ga.
Status: Available
Ikeda EISEN (1790-1848)
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Urawa Shuku Asamayama enbo, “Urawa Station, Distant View of Mount Asama” from Kisokaido rokujukyutsugi no uchi, “Sixty-Nine Stations of the Kisokaido.” The set was published by Hoeido and Kinjudo, 1834-1842. The first 23 (of 70) prints were designed by Eisen, the rest by Hiroshige. In the distance can be seen a smoking Mount Asama. Although there is regular volcanic activity, the last bad eruption was in 1783.
Very good impression of the first edition with signature. (This was removed on later states.) Very good colour. Slight centre fold, otherwise very good condition. Signed Eisen ga.
Status: Available
Utagawa KUNIYOSHI (1797-1861)
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The priest Nichiren standing on the rocky promontory at Reizan in Kamakura and having his prayers for rain answered. The event occurred in 1271. His disciples surround him and protect him from the deluge with a large umbrella. Bunei hachi Kamakura Reizan-ga-saki uki. The second best design from Koso [Nichiren] goichidai ryakuza, “Illustrated Abridged Biography of the Founder.” Nichiren (1222-1282) was the founder of the Buddhist Nichiren sect (Nichiren shu – Kuniyoshi being a follower) and indeed the set of ten prints may have been commissioned to mark the 550th anniversary of his death. Published by Iseya Rihei, c 1831.
Fine impression, colour and condition. Ample room on top border for the umbrella which protrudes beyond the border and is often trimmed off, as is the information on right border. Signed Ichiyusai Kuniyoshi ga.
Status: Available
Kitagawa UTAMARO (1754-1806)
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A double-bust portrait of the famous courtesans Ariwara (bottom) and Usumizu of the Tsuruya House in the Yoshiwara, Edo. From a set Seiro yukun awase kagami, “Mirror of Courtesans of the Green Houses.” Published by Yamada, c 1797.
Fine impression. Very good colour. Very slight trimming, otherwise very good condition. Signed Utamaro hitsu.
Status: Available
Kitagawa UTAMARO (1754-1806)
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A design from a set of six prints Furyu ko-dakara awase, “Elegant Comparisons of Little Treasures.” About to breastfeed (chichi). Published by Izumiya Ichibei, c 1802.
Fine impression. Extremely well preserved colour. Very good condition. Signed Utamaro hitsu.
Status: Available
Utagawa KUNISADA (1786-1864)
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A beauty washing in a large tub of water. Kiku,”Chrysanthemum” from a set Tosei hana kurabe, “Contest of Modern Flowers.”Beauties compared to flowers. Published by Omiya Heihachi, c 1820. This appears to be the earliest state with the beauty’s undergarment printed red which is lacking in other impressions.
Very good impression. Fine colour. Very good condition. Signed Gototei Kunisada ga.
Status: Available
Utagawa KUNISADA (1786-1864)
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A vertical double oban showing a woman holding a ruler and offering a small bolt of cloth with the other hand. From a set Atsurae ori jisei konomi, “Fabrics to Order in Current Taste.” Published by Yamashiroya Jinbei, c 1843-7. A rare design from a rare set, and even rarer to find in this condition as most examples have been mounted and consequently damaged from being hung.
Very fine impression. Fine colour and condition. Signed Oju Kunisada aratame Nidai Toyokuni ga.
Status: Available
Torii KIYOTSUNE (Fl. c 1757-1779)
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A pillar print showing an amorous couple walking beside rice paddies. In the background a line of women plant rice. Kiyotsune was a pupil of Kiyomitsu and specialised in theatrical prints. Published c early 1770s. Rare.
Fine impression. Exceptionally well retained colour. Very good condition. Signed Kiyotsune ga.
Status: Available
Ikeda EISEN (1790-1848)
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A beauty, Ureshi so, “The Contented Type” from a set Imayo bijin junikei, “Twelve Views of Modern Beauties.” Above on a handscroll is a view of Fuji from Takanawa. She bites onto a tissue which has erotic connotations. Published c 1822-25 by Izumiya Ichibei.
Fine impression and colour. Very good condition. Signed Keisai Eisen ga.
Status: Available
Tsukioka YOSHITOSHI (1839-1892)
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Shows Sano Genzaemon Tsuneyo in his snowy garden about to cut his precious bonsai to provide kindling to cook a meal for an unexpected visitor. The guest, disguised as a monk, was in fact the retired regent Hojo Tokiyori (1226-1263) on an intelligence mission. He is shown peering through the shoji. From a set Yoshitoshi musha burui, “Yoshitoshi’s Courageous Warriors” published by Kobayashi Tetsujiro, 1883. This is the first edition with the heavily variegated cartouche. Some first editions from the set also have red seals in the left margin and some also have the panels below coloured.
Very good impression, colour and condition. Signed Taiso Yoshitoshi ga.
Status: Available
Utagawa TOYOKUNI (1769-1825)
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Shows Ichikawa Danzo IV as Shundo Jiroemon disguised as a beggar and Morita Kan’ya VIII as Takaichi Buemon in the Daianji Zutsumi scene from the play Katakiuchi tsuzure no nishiki, “The Vendetta in Patched-Brocade.” A fine grey-ground print published by Eijudo, 1798. Ichikawa Danzo IV had one of the great Kabuki faces. See the 1799 Toyokuni bust of Danzo as Keyamura Rokusuke in the drama Hikosan Gongen Chikai no Sukedachi.
Fine impression. Very good colour and condition. Signed Toyokuni ga.
Status: Available
Utagawa KUNITORA (Active c 1819-1840)
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A triptych showing the famous sumo wrestlers from the Higashikata (East) camp. The opposite side being the Nishikata (West) camp. On the centre panel at the top are the famous wrestlers Arauma Daigoro (left) and Genjiyama Tsunagoro (right). Published by Eikyudo c late 1820s. Rare.
Fine impression and colour. Very good condition. Signed Kunitora ga.
Status: Available
Utagawa YOSHIIKU (1833-1904)
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A fascinating triptych showing the backstage activities on the second floor of a kabuki theatre, Gakuya ni-kai no zu. Twenty-one actors are shown, mostly in their street clothes, together with assistants. However, on the right sheet can be seen an actor in full Shibaraku costume while the centre sheet has Ichikawa Ichizo III descending the stairs. Below is the actor Bando Mitsugoro VI in an onnagata role. On the left sheet can be seen another actor in an onnagata role applying his makeup. This is the bottom half of a hexaptych. Published by Izutsuya Shokichi, c 1861. This design is loosely based on the bottom half of a hexaptych designed by Kunisada in 1856. Rare.
Very good impression and colour. Minor defects, otherwise very good condition. Signed Yoshiiku ga.
Status: Available
Toyohara KUNICHIKA (1835-1900)
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A triptych with the title Mitate haruzumo futatsu chocho, “An Imaginary Spring Sumo Match with two Butterflies.” A parody of the famous Sumoba, “Sumo Scene” in the pay Futatsu chocho kuruwa nikki, “A Diary of two Butterflies in the Pleasure Quarters.” Shows the actors Ichimura Kakitsu IV (left) as the wrestler Chokichi and Bando Hikosaburo V (right) as his rival Chogoro. The names of both wrestlers begin with “Cho” and two of them together makes “Chocho” which also means “butterfly.” Published by Otaya Takichi, 1866.
Very good impression and colour. Backed, otherwise very good condition. Signed Kunichika ga.
Status: Available
Toyohara KUNICHIKA (1835-1900)
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In heavy rain before a giant waterwheel are two actors: On the right Ichimura Uzaemon XIII as the commoner Doroku confronting Ichikawa Kuzo III as Sanpei from the play Sarayashiki kesho no sugatami, “The Mansion of Plates and the Cursed Makeup Mirror.” Published by Kagiya Shobei, 1863.
Very good impression and colour. Backed, otherwise very good condition. Signed Kunichika ga.
Status: Available
Katsukawa SHUNSHO II (Active 1818-1830)
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Minamoto no Yoshinaka Shitenno to tomoni Kiso no okuyama ni Tengu o taiji su, “Minamoto Yoshinaka and His Four Retainers Defeat the Tengu in the Deep Mountains of Kiso.” Minamoto no Yoshinaka is seen in the centre panel, Higuchi Kanemitsu on the right holding a sword and Imai Kanehiro on the left panel. Tengu are winged demons or spirits known for their fencing abilities, have long noses or bird-like beaks, and are associated with the ascetic practise of Shugendo and wear the garb of its followers, the Yamabushi. Published by Fujiokaya Hikotaro. Rare: Another impression is in MFA, Boston, accession number 11.21594-6.
Fine impression. Very good colour and condition. Signed Shunsho ga.
Status: Available
Tsukioka YOSHITOSHI (1839-1892)
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A triptych from a set Bidan musha hakkei, “Eight Views of Warriors’ Fine Tales.” This design Togakushi no seiran, “Clearing Weather of the Togakushi Mountains.” Princess Sarashina, who is actually a female oni called Momji, “Maple Leaves,” having transformed herself, is seen screaming from behind a giant drum and raising a high wind scattering maple leaves against Taira no Koremori Ason who draws his sword to kill her. Published by Sanoya Tomigoro, 1868.
Extremely fine impression of the earliest state. Fine colour. Slight marks on first sheet, otherwise very good condition. Signed Gekko Yoshitoshi hitsu.
Status: Available
Utagawa HIROSHIGE (1797-1858)
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Iyo Province, Saijo. From a set of 69 prints [Dai Nihon] Rokujuyoshu meisho zue, “Famous Places in the Sixty-odd Provinces [of Japan]” published by Koshihei between 1853 and 1856, this being 1853. A large furled sail in the foreground with Saiju village on the water’s edge. Beyond is Mt. Ishizuchi.
Fine impression and colour. Light album backing, otherwise very good condition. Signed Hiroshige ga.
Status: Available
Utagawa KUNIYOSHI (1797-1861)
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A poem by the celebrated poet and monk Noin-hoshi from the series Hyakunin isshu no uchi, “One Hundred Poems for One Hundred Poets” which was compiled in 1235 by Fujiwara Teika (1162-1241). A group of travellers are caught in a torrential downpour. One of the best designs in the set published by Ebisuya Shoshichi, Ebine, 1840-42. Only 58 of the 100 are known. Various translations of the poem exist, here is one:
The maples and leaves
Of Mount Mimura –
Making the Tatsuta River
A fine brocade
Very fine impression. Fine colour. Slight nibbling on one margin, otherwise fine condition. Signed Ichiyusai Kuniyoshi ga.
Status: Available
Utagawa HIROSHIGE (1797-1858)
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Mimasaka, Yamabushidani, “Mimasaka [Province], Yamabushi Valley.” Travellers caught in heavy wind and rain in the valley. Hiroshige II also produced an excellent version of this design. From a set of 69 prints [Dai Nihon] Rokujuyoshi meisho zue, “Famous Places in the Sixty-odd Provinces [of Japan]” published by b Koshimuraya Heisuke between 1853 and 1856, this being 1853.
Very fine impression and colour. Light album backing and very small wormhole at extreme edge of margin, top left, otherwise fine condition. Signed Hiroshige ga.
Status: Available
Hishikawa SORI (Active 1797-1813)
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An original painting, full colour on silk, 43.25 x 14 in; 109.8 x 35.6 cms. An early pupil of Hokusai (who gave him his name Hishikawa Sori in 1798, it previously being Tawaraya). Generally referred to as Sori III. Produced a considerable number of small surimono – some of which can be confused with Hokusai’s work. Shows a beauty with a monkey at her feet. There is a print closely following the painting published in 1906. Illustrated in Nihon ukiyoe hakubutsukan, ed., Nikuhitsu ukiyoe senshu gekan (Selected Painting of Ukiyo-e, second vol.) Tokyo: Gakushu kenkyusha, 1985, plate 193.
In very good condition. Signed Hyakurin Sori ga with seal Sori.
Status: Available
TORII School (c. late 1750’s)
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An original painting, full colour on paper with gold additions, image size 30 x 10 in; 76 x 25.5 cms. Shows a beauty holding up a puppet of the actor Bando Hikosaburo II. Painted c. late 1750s and possibly by Torii Kiyomitsu. In good condition with seal Torii.
Status: Available
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Kitagawa FUJIMARO (1790-1850)
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An original painting, full colour on silk, image size 35.25 x 13.5 in; 89.5 x 34.5 cms. Fujimaro was a talented late pupil of Utamaro. More than a dozen paintings are recorded by him including an example in the Portland Art Museum, acc. number 69.51. His best-known work is in the collection of the Tokyo National Museum depicting Yujyo risshi-zu and another four paintings of beauties in the four seasons is in the collection of the Ota Memorial Museum of Art, Tokyo. Shows a standing courtesan beside a vase containing peonies and cherry blossom. On her sumptuous costume are the black wheels of a hanaguruma, “flower cart.” These vehicles carried baskets with often elaborate arrangements of flowers. It seems more than coincidence that the vase is placed where the basket would have been on the cart.
Painted c 1820. Signed Fujimaro with seal Yozan. Newly remounted and in fine condition with new box and futo-maki (thick wooden roll to preserve the painting from damage).
Status: Available
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Tsukioka YOSHITOSHI (1839-1892)
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A triptych showing carp swimming beneath wisteria. A rare and extremely unusual subject in Yoshitoshi’s canon of work. Koi are symbols of love and friendship in Japan. The breeding of ornamental carp began in the 1820s. The outside world was unaware of the advances in breeding colour variations until an annual exposition in Tokyo in 1914. Published by Akiyama Buemon, 1889. There is an original drawing, most likely for this triptych, elsewhere on this site. A much sought after design.
Very fine impression. Fine colour. Completely untrimmed with the extra margins around. Fine condition. Signed Yoshitoshi ga.
Status: Available
Keisai EISEN (1790-1848)
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A carp swimming among water-weed. The moon’s reflection in the blue water. There are various editions of this design: without the moon’s reflection; with and without the censor seal; with and without publisher’s seal; with and without currents in the water. Published by Ezakiya, c. 1843-6. Rare.
Fine impression and colour. Faint vertical folds and two areas of sumi, otherwise very good condition. Signed Keisai with seals Ippitsuan and Keisai.
Status: Available
Utagawa KUNIYOSHI (1797-1861)
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2 vols. complete: Kanjaku tsuizen hanashidori, “The Liberated Birds: A Memorial Book for Kanjaku.” A memorial book for the actor Nakamura Utaemon who died in 1852. He had the literary name of Kanjaku, meaning ”playing with sparrows” and the covers and many illustrations allude to this custom of releasing birds at funerals. Vol. 1: 1st preface , 3pp. giving the biography of Utaemon IV; poem 1p. 3 sheets: calligraphy (in ishizuri), 1p.; illustrations in colour, 5pp. signed on first page Toyokuni (III). Sheets 1-8: 2nd preface, 5pp., remaining pp. text, poems and colour illustrations. Sheets 1-75 with 15 single-page and 62 double-page illustrations in sumi and light colour. Inside back cover: colophon dated Kaei 5 (1852). Vol. 2: 110 sheets of text, poems, and illustrations. 38 single-page and 50 double-page illustrations (many in colour and includes a double-page illustration by Kuniyoshi). Last page, colophon, dated Kaei 5 (1852). Original covers with clouds and sparrows. Some soil and minor damage. One title slip missing and other damaged. Contents extremely good.
Status: Available
Katsushika HOKUSAI (1760-1849)
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Hokusai’s interpretation of a poem by Onakatomi no Yoshinobu Ason (921-991). From an unfinished set: Hyakunin isshu uba ga etoki, “Pictures of One Hundred Poems by One Hundred Poets Explained by the Nurse.” The poems are from an anthology Hyakunin isshu, “One Hundred People, One Poem Each” compiled by the poet Fujiwara no Teika (1162-1241). The poet speaks of his love as being like the fire kept by the guards at the gate to the Imperial Palace: It burns hot only at night. There is actually some doubt that the poem can be attributed to Yoshinobu. Shows a group of off-duty Imperial carriage guards relaxing around the smoking embers of a fire. The poet with his servant is seen sitting on the distant hill. Published by Eijudo, 1835-36. A considerable number of original drawings exist for the set that were not turned into prints and are in various museums and private collections.
Fine impression, colour and condition. Signed Saki no Hokusai Manji.
Status: Available
Suzuki HARUNOBU (1724-1770)
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Two volumes complete: Ehon haru no nishiki, “Picture Book: The Brocades of Spring.” Vol. 1: 1 page preface dated Kanoto U (1770); single page and 8 double page colour prints. Vol. 2: 1 single page and 8 double page colour prints. 1 page colophon with date, publisher, block-cutter and artist as Suzuki Harunobu with his seal. 2 pages publisher’s announcements. Published by Yamazaki Kimbe, Edo. This is the first edition, Meiwa 8 (1771). Other copies are in the MFA, Boston, acc. no. 1997.477.1-2 and the Philadelphia Museum of Art, acc. no. 1970-46-1. Provenance: Ex collections H.M.Kaempfer and Hayashi (their seals on the first page of each volume). Original covers and title slips. Covers worn. Some soil and edge restoration.
Very good impressions with generally very good colour. Rare in the first edition.
Status: Available
