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Kitao MASANOBU (Santo KYODEN) (1761-1816)



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One double-oban design from the most sumptuous album ever produced: Yoshiwara keisei: Shin bijin awase jihitsu kagami, “A Mirror of New Yoshiwara Courtesans with Samples of Their Calligraphy.” Published by Tsutaya Juzaburo, 1784. Shows courtesans viewing calligraphic scrolls. Seven double-oban designs were published in album form, although the original intention was for a larger set. Signed on two sheets Kitao sensai Masanobu.

 

 

Fine impression. Extremely good colour. Centre fold (as always), several very small wormholes and minor marks, but otherwise in very good condition.

 

 

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Utgawa HIROSHIGE (1797-1858)




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A beauty from a set: Edo meisho gosho, “Five Elements of Famous Places in Edo.” This design representing Water of Kameido, Kameido no mizu, and Metal of Ueno, Uenoji no kane. A rare set published by Kikakudo, c. 1847-52.

 

 

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

 

 

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Utagawa TOYOKUNI II (1777-1835)




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An aizuri (blue) print from a set Tosei bijin hana-awase, “Beauties of the Latest Fashion Compared to the Beauty of Flowers.” In this case kikyo flowers – the Chinese bellflower. Aizuri prints were the outcome of avoiding intermittent edicts promulgated by the bakufu prohibiting the number of blocks that could be used. The aim being to curb excesses, raise moral standards and encourage thrift. Published by Shimizo, c. late 1820s. Three other prints from set are in the Brooklyn Museum of Art, 76.151.13; 14; 15.

 

 

Fine impression, colour and condition. Signed Toyokuni ga.

 

 

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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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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 HIROSHIGE (1797-1858)




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Shimadai, grouper (probably Chilodactylus zonatus) and ainame, greenling (Hexagrammus otakii) together with red-berried nanten. Poem by Kanshunro Nushibito. Probably the first edition (Kruml 18a). From the second series of fish published by Yamasho c. 1840-42.

 

 

Fine impression, colour and condition. Signed Hiroshige ga.

 

 

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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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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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Utagawa YOSHIKAZU (Active 1850-1870)



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A triptych showing Miinamoto no Yorimitsu (aka Raiko) and his retainers confronting the giant Earth Spider (Tsuchigumo – a form of spider-like yokai). After a fierce battle Yorimitsu cuts off the head of the spider and 1990 dead victims emerge from its stomach. A popular subject and there are numerous versions by other artists.

 

 

Fine impression and colour. Light backing and trimming, otherwise very good condition. Signed Isshunsai Yoshikazu ga.

 

 

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Utagawa KUNIMARO (Active 1850-1875)




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An oban showing Jiraiya (Ogata Shuma Hiroyuki), a ninja who was able to transmogrify himself into a giant toad. His arch enemy was Orochimaru, a master of serpent magic, who is seen here as a giant snake. Jiraiya kills the snake with his heavy o-zutsu, hand cannon. Based on a multi-volume book by Mizugakiya Egao, Jiraiya goketsu Monogatari, it went on to be a very successful Kabuki play performed at the Kawarazaki-za Theatre in 7/1852 with Ichikawa Danjuro VIII playing Jiraiya. Published by Daikokuya Heikichi, 8/1852.

 

 

Very fine impression. Fine colour. Slightly trimmed at bottom, otherwise very good condition. Signed Kunimaro ga.

 

 

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Ichiryusai HIROSHIGE (1797-1858)



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Seki and Kameyama from the chuban Muraichi Tokaido. The set of 56 prints published by Muraichi, 1852. Printed two-to-a-sheet uncut and probably from a complete proof set. Double censor’s seals Murata and Kinugasa and date seal 2ic/1852 top right.

 

 

Fine impressions with strong woodgrain showing. Fine colour. Very small binding holes in right border, otherwise fine condition. Signed Hiroshige ga on each print.

 

 

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Kawanabe KYOSAI (1831-1889)




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A triptych, Nanba senki no uchi, “The Battle of Nanba,” showing the Buddhist monk Tenkai (1536-1643) chanting a spell, and Okubo Hikozaemon (1560-1639), both retainers of Tokugawa Ieyasu, at the great battle of Domyoji, Osaka, in 1615. Tokugawa Ieyasu’s army clashed with the Osaka army of Toyotomi Hideyori. This led to the fall of Osaka and the death of Hideyori. On the right is a huge exploding land-mine disintegrating a Buddhist stone statue. Published by Ebisuya Shoshichi, 4/1874. Extremely rare: I have only seen one other impression of this design.

 

 

Fine impression and colour. Trimmed, otherwise very good condition. Signed Seisai Kyosai and Oju Seisai Kyosai.

 

 

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Utagawa HIROSHIGE II (1826-1869)




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Gathering iwatake, rock tripe or rock mushrooms in Kii Province. The common name for various edible lichens that grow on cliffs. The gatherers used precarious baskets that were hauled up and down the cliff face to collect them. Kishu Kumano iwatake tori from Shokoku meisho hyakkei. “Hundred Views of Famous Places in the Provinces.” Published by Uoyei 1859-1861 (this being 1860).

 

 

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

 

 

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Utagawa HIROSHIGE (1797-1858)




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Tosa, kaijo katsuo tsuri, “Tosa [Province], Bonito Fishing at Sea.” 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 1855. Tosa, located on the southern coast of the island of Shikoku, was famous for its bonito.

 

 

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

 

 

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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.

 

 

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Shotei HOKUJU (1763-1825)




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Shimosa Choshi no ura katsuo tsuribune, “Fishing for Bonito in Choshi Bay in Shimosa Province.” Hokuju, a pupil of Hokusai, produced a number of these fine “westernized” landscapes designed with stylised clouds, cubistic mountains and shadows cast by figures. This is one of the best. Bonito is a favourite fish in Japan where it is in the markets from around May each year. Choshin Bay has always produced the largest seafood catch in Japan. Hokuju produced a substantial body of work in this vein. However, he was not the only one. Okyo, Toyoharu, Hokusai, Kunitora, Kuninao and Shinsai also designed prints in this genre, as well as other artists producing examples. Interestingly, Hiroshige, the pre-eminent landscape artist, designed nothing like this. Indeed, the influences flowed the other way before too long, Hiroshige being a favourite of the Impressionists. This is the rare first edition published by Eijudo, c. 1820. His landscapes were republished by Yamamoto. Rare.

 

 

Fine impression and colour. Very good condition. Full size. Signed Shotei Hokuju ga.

 

 

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Kishi GANTAI (1782-1865)




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An extremely large painting, 55.5 x 32 in; 141 x 81.3 cms, sumi and light colour on silk. Shows a pair of Sika deer, their summer coats spotted and white. Gantai was the son and pupil of Ganku, and together with his brother, Renzan, carried on the Kishi school tradition. With his father, worked on the paintings for the new Kanazawa Castle in 1809. A highly accomplished painter, especially of kachoga. This is possibly the largest Gantai painting and it’s interesting to compare with the gajo by him also offered on this update. In very good condition. Framed and glazed. Signed Chikuzennosuke Gantai hitsu with seals Gantai and Kunchin.

 

 

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Kawanabe KYOSAI (1831-1889)




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The lion falling in love from a set Kyosai rakuga, “Kyosai’s Drawings for Pleasure.”A satirical take on current events and mores. A design based on Aesop’s Fables which tells of a lion falling in love with a beautiful girl and asking her to marry him. Her bemused parents set a challenge for him: to have his claws removed and teeth filed. He duly submits only to have the parents then laugh and ask him to do his worst. Published 1874 by Sawamuraya Seikichi. A set of 15 prints was planned but only 12 are known.

 

 

Fine impression and colour. Light album backing, otherwise very good condition. Signed Seisai Kyosai.

 

 

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Utagawa YOSHITORA (Active c. 1840-1880)




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An oban with title: Furyu saya-e: oiran, “Elegant Sheath-Pictures: Oiran.”A catoptric (mirror as opposed to an oblique) anamorphic print showing a parading courtesan. These prints were meant to be viewed in conical or cylindrical mirrors placed at the bottom of the image. The flat distorted image was then seen undistorted. However, in Japan the image was viewed in the curved surface of a sword sheath. Anamorphosis was known in Europe in the early 15th century and also in China during the Ming Dynasty (1368-1644). Published by Enshuya Matabei, c. 1845. Another impression is illustrated in Edo no asobi-e, Shinichi Inagaki, Tokyo Shoseki, 1988, plate 6. Very rare.

 

 

Fine impression. Very good colour and condition. Signed Ichimosai Yoshitora ga.

 

 

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Santo KYODEN (Kitao MASANOBU) (1761-1816)




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A pair of original paintings, full colour on silk, image size 38.5 x 15.5 in; 97.75 x 39.5 cms. Shows a courtesan on the left with a portrait of a novelist on the right. The paintings are signed “By special request” and were presumably commissioned by the novelist showing his paramour. I have not identified the novelist. Masanobu was a pupil of Shigemasa and was one of the leading authors and illustrators of kibyoshi, ehon and kyoka anthologies as well as being a painter and print artist. He illustrated the fine set of double-oban prints of courtesans in 1783-4: Yoshiwara keisai shin bijin awase jihitsu kagami. These painting must come from around this date as the pose of the courtesan is very similar to some of the figures in the above album. A controversial figure who ran foul of the authorities in 1789, subsequently ceasing to use the name Kitao Masanobu and thereafter his paintings are always spontaneous in an abbreviated style, often quite slight and signed Kyoden. Paintings fully finished like this are rare. In generally very good condition, although some loss of gofun. Signed Oju Kyoden Masanobu ga on each painting.

 

 

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Ichiunsai KUNIHISA (1832-1891)




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An original painting, full colour on paper with the black waistband heavily lacquered, image size 48 x 11 in; 122 x 28 cms. Shows a young beauty carrying a box. She wears an apron and has a towel slung over her shoulder, so is presumably an assistant in a kitchen or bathhouse or similar establishment. The narrow format enhances her natural elegance. Kunihisa was the pupil and son-in-law of Kunisada. Some repaired wormage, otherwise good condition. Signed Kunihisa ga with two indistinct seals.

 

 

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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.

 

 

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Yamamoto FUJINOBU (Active 1750-1770)




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An original painting, full colour on paper, image size 32.25 x 7 in; 82 x 18 cms. Shows a parading courtesan with her kamuro. A painter and print artist whose prints were always published by Yamamoto Fusanobu giving rise to the theory that Fujinobu was a pseudonym of the publisher. Much influenced by Harunobu. His prints are extremely rare. Slight creasing, otherwise good condition. Signed Fujinobu ga with indistinct seal.

 

 

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An original BLOCK (c. 1715)


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An original double-sided wood block, c. 1715. This is the earliest block I have catalogued or indeed seen. Shows warriors in combat on one side and on the reverse a samurai and attendant approaching a beauty on a balcony. Sold “as is” with all imperfections. Rare.

 

 

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Utagawa HIROSHIGE (1797-1858)



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Shibaura, shiohigari no zu, “Low Tide [or Ebbtide, or catalogued in some instances as Shell-gathering] at Shibaura” from a Toto meisho “Famous Places in the Eastern Capital” set of ten prints published c. 1831-2 by Kawaguchiya Shozo. Hiroshige’s first oban landscape set with some outstanding designs. Shibaura is now an area with high-rise residential towers. The first editions, as here, have decorative borders adding a western element into the designs. These were removed on later editions. Extremely rare in this state.

 

Fine impression and colour. Very minor edge soil and slight centre fold. Slight trimming of decorative border on left, otherwise very good condition. Prints from this set are often missing or have the publisher’s name and address on the right border trimmed. Signed Ichiyusai Hiroshige ga. (The last set to be signed like this.)

 

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Utagawa HIROSHIGE (1797-1858)



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Susaki yuki no hatsuhi, “Snow on New Year’s Day at Susaki” from a Toto meisho “Famous Places in the Eastern Capital” set of ten prints published c. 1831-2 by Kawaguchiya Shozo. Hiroshige’s first oban landscape set with some outstanding designs. Fukagawa Susaki was a spit of land along Edo Bay. (Also the subject of the Eagle design, Jumantsubo Fukagawa Susaki, from the One Hundred Views of Edo later on.) The first editions, as here, have decorative borders adding a western element into the designs. These were removed on later editions. Extremely rare in this state.

 

Fine impression and colour. Very minor edge soil and slight centre fold, otherwise very good condition. Prints from this set are often missing or have the publisher’s name and address on the right border trimmed. Signed Ichiyusai Hiroshige ga. (The last set to be signed like this.)

 

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Utagawa KUNIYOSHI (1797-1861)



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An o-tanzaku print, Yugao chapter from the fifty-four chapters of Genji, the Genji Monogatari. A tenth century romance written by Murasaki Shikibu. From a set Buyu nazoraye Genji, “Heroic Comparisons for the Chapters of Genji.” In this case showing Benkei creeping up on Ushiwaka on Gojo Bridge in Kyoto. The story relates how Benkei only needs one more blade to add to the 999 he has wrenched from samurai attempting to cross the bridge in order to fashion an invincible weapon. Benkei loses the fight and becomes Yoshitsune’s loyal retainer. Published by Ibaya Sensaburo, c. 1843.

 

Fine impression and colour. Very good condition. Signed Cho-o-ro Kuniyoshi ga.

 

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Utagawa KUNIYOSHI (1797-1861)



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The priest Nichiren standing on a rocky promontory at Reizen 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. This example has an orange-red colour used on Nichiren’s robe and umbrella rather than the brighter red of other impressions. Very good colour and condition. Full size with ample room on top border for the umbrella which protrudes beyond the border and is notorious for being trimmed. Signed Ichiyusai Kuniyoshi ga.

 

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Utagawa NOBUKATSU (Active 1824-1841)



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An Osaka print showing the actor Onoe Baiko III as Kan Shojo (Sugawara Michizane) in the play Sugawara denju tenarai kagami, “Sugawara and the Secrets of Calligraphy.” Performed at the Takeda Theatre, 3/1830. This is the famous Mt. Tempai scene from the play. Published by Tenmaya Kihei. Shows Kan Shojo transformed into the Thunder God wreaking revenge on his enemies.

 

Fine impression and colour. Crease near right edge, otherwise very good condition. Signed Tessai Nobukatsu ga.

 

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Utagawa HIROSHIGE (1797-1858)



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Okute from Kisokaido rokujukyutsugi no uchi, “The Sixty-nine Stations of the Kisokaido.” The set of seventy prints was started by Eisen and published by Hoeido in 1835, but in 1837 Hiroshige took over and completed the series with the publisher Iseya Rihei (Kinjudo). Shows woodcutters making their way home as evening approaches.

 

Fine impression: There is a plug of wood next to the last rock on the right. This repair gradually reveals itself and moves out leaving a gap. On the earliest impressions, as here, nothing is discernible. Slight fading of red, otherwise fine colour. Slight centre fold, otherwise fine condition. Signed Hiroshige ga.

 

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Utagawa HIROSHIGE II (1826-1869)



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A view of a smoking Mt Asama, Shinano Province, from Shokoku meisho hyakkei, the “One Hundred Views of Famous Places in the Provinces.” Mt Asama is an active volcano which violently erupted in 1108. Subsequently there was another eruption in 1783 and since then there have been minor tremors. Published by Uoya Eikichi between 1859 and 1861 (this being 1859).

 

Fine impression, colour and condition. Signed Hiroshige ga.

 

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Tsukioka YOSHITOSHI (1839-1892)



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A vertical diptych Shunkan sozu Kikaigashima ni oite tamatama Yasuyori no shamen sembo kito no zu. Shows Shunkan watching a boat sail away from Kikai Island with his pardoned compatriots. Shunkan, the abbot of the Zen temple Hoshoji in Kyoto, was exiled to the barren island of Kikaigashima together with two confederates in 1177 for conspiring against Taira no Kiyomori. The following year Kiyomori pardons political prisoners but omits Shunkan. He is seen here beseeching the boat with his two conspirators to return. Published by Matsui 1886.

 

Fine impression of first state. Fine colour with splashed gofun and blind-printing. Fine condition with ample room for joining the two sheets. Signed Yoshitoshi.

 

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Utagawa HIROSHIGE (1797-1858)



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A triptych, Takanawa tsuki no kei, “Moon at Takanawa” from a set Edo meisho shiki no nagame, “Famous Places of Edo in the Four Seasons.” Shows beauties on the veranda of an inn overlooking the bay. Takanawa was a popular place to visit with views on a clear day of the Boso mountains across Edo Bay. Hiroshige depicted this area many times. Published by Maruya Jimpachi (Enjudo), 1847-8.

 

Very fine impression. Fine colour. Minor trimming, otherwise very good condition. Signed Hiroshige ga.

 

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Utagawa KUNIYOSHI (1797-1861)



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A triptych showing Fujiwara no Hidesato being accompanied by a retinue of fish, octopuses and lobsters as he leaves the Dragon King’s Palace with the presents of inexhaustible rice, bolts of cloth, and a bell in gratitude for killing the centipede of Mount Mikami. Ryugujo Tawara Toda Hidesato ni sanshu no tosan o okura. Published by Maruya Kyushiro, 1858.

 

Very good impression. Good colour. Some light toning and soil. Signed Ichiyusai Kuniyoshi ga.

 

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Utagawa KUNIYASU (1794-1832)



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A triptych Soshu Enoshima Benzaiten Iwaya narabi sairei no zu, “Picture of Iwaya, the Main Shrine, Pilgrims to the Display of Benzaiten at Enoshima.” Enoshima island was a popular place to visit with the Iwaya caves and the shrine of the Buddhist goddess Benzaiten (Benten), goddess of the arts, entertainment and wealth, and one of the Seven Gods of Good Fortune. A fascinating print showing a multitude of various visitors. Published by Kawaguchiya Uhei, late 1820s. Rare.

 

Fine impression, colour and condition. Signed Kuniyasu ga.

 

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Utagawa KUNIYOSHI (1797-1861)




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“Goat” from a set Mitate junishi, “Selection for the Twelve Signs.” Shows the beauty Okoma looking through a curtain. Briefly the story relates how she is to be married off to a rich man by her mother but Okoma is in love with another man called Chushichi. A visiting barber cuts Chushichi’s hair and concocts a scheme with him to have her kidnaped and for Chushichi to rescue her. Published by Kojima c 1845. Robinson S38.8.

 

 

Fine impression, colour and condition. Signed Ichiyusai Kuniyoshi ga.

 

 

Status: Available

 

 

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Utagawa KUNIYOSHI (1797-1861)




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The best design from a set of half-length otokodate figures: Kuniyoshi moyo shofuda tsuketari genkin otoko, “Men of Ready Money with True Labels Attached, Kuniyoshi Fashion.” Here showing Danshichi Kurobei emptying a bucket of water over himself. Danshichi was a fishmonger in the city of Sakai who murdered somebody in the mid-winterof 1697, the body only being discovered when the snow melted. He is often depicted pouring water over his head, although there are also versions where he commits the crime in a swamp. Published by Ibaya Kyubedi, 1845. Poem by Hoshitei.

 

 

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

 

 

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Utagawa KUNISADA (1786-1865)



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A triptych showing the great wrestling match between Matano Goro Kagehisa and Kawazu Saburo Sukeyasu. The match was refereed by Ebina Gempachi and occurred during a hunting expedition organised by the general Minamoto no Yoritomo in 1176 near Mt. Akazawa. Kawazu was the eventual victor after a rematch, throwing Matano by twisting his foot behind him – a throw still known as the kawazu in his honour. Kawazu was later found murdered – his death being avenged by his sons Juro and Goro. Published by Yamaguchiya Tobei, 1838-40. An earlier version was designed by Kunisada as well as there being an excellent example by Kuniyoshi.

 

 

Very good impression and colour. Minor creasing and wear, otherwise good condition. Signed Kochoro Kunisada ga.

 

 

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 II (1826-1869)



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Enshu Akiba enkei Fukuroi tako. Fukuroi, Enshu (Totomi) 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 1859). Shows kite flying with a distant view of Mount Akiba. It has been suggested that the release of confetti was to bring good luck for the forthcoming harvest.

 

 

Very fine impression of the first edition. Fine colour. Very slight soil, otherwise fine condition. Signed Hiroshige ga.

 

 

Status: Available

 

 

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