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Katsushika HOKUSAI (1760-1849)




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Cuckoo and azaleas from the so-called Small Flower series of ten chuban prints published c 1832. Amongst the most sought after of Hokusai’s prints. The first edition was published by and has the seal Eijudo. A later edition (as here) has combined manji and kiwame seal ( and some are printed on thin Chinese-style paper ), and there are also impressions extant without any seals which probably constitute a third state. All impressions are rare and the first state excessively so. Indeed, these prints are considered even rarer than the larger bird and flower set Hokusai designed c 1833. The printing and colour on this set comes close to surimono quality. Each print has a Chinese poem written in hiragana.


Fine impression. Slight fading, otherwise very good condition. Signed Zen Hokusai Iitsu hitsu.


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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.



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Kitao MASAYOSHI (1764-1824)




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A falcon and camellia. One design from the album: Kaihaku raikin zui, A Compendium of Pictures of Birds Imported from Overseas. The first edition published by Gungyokudo Matsumoto Zembei, 2/1789. Copies of the first two editions are excessively rare and it was then reissued with the plates signed Keisai (as here). However this print does not appear to be from an album and judging from the quality of printing must be from the first printing with signature and when some prints were issued separately. Designs that appear on the market from this publication are invariably on thin paper and poor impressions.


Fine impression with beautiful gradation and blind printing. On thick deluxe hosho Fine colour. Very minor soil, otherwise fine condition. Signed Keisai Utsusu.



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Ichiryusai HIROSHIGE (1797-1858)




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Tobiuo, flying fish (probably Prognichthys) and ishimochi also called guchi or shiroguchi, white croaker, (probably Argyrosomus argenatus). Together with a single lily. Poem by Toshigaki Maharu. From the second series of ten fish prints published by Yamasho, c1840-42.The 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.

Fine, early impression with mica on the flying fish. Fine colour and condition. Full size and no centre fold. Signed Hiroshige ga in blue (which I have never seen).

 

Status: Sold

 

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Katsushika HOKUSAI ( 1760-1849 )




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Shrike and wild strawberry from the so-called Small Flower series of ten chuban prints published c 1832. Amongst the most sought- after of Hokusai’s prints. The first edition ( as here ) was published by and has the seal Eijudo. A later edition has combined manji and kiwame seal ( and some are printed on thin Chinese-style paper ), and there are also impressions extant without any seals which probably constitute a third state. All impressions are rare and the first state excessively so. Indeed, these prints are considered even rarer than the larger bird and flower set Hokusai designed c 1833. The printing and colour on this set comes close to surimono quality. Each print has a Chinese poem written in hiragana.


Fine impression and colour. Minor soil, otherwise very good condition. Signed Zen Hokusai Iitsu hitsu.


Status: Sold

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Keisai EISEN ( 1790-1848 )




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A prolific pupil of Eizan. Shows a carp swimming among water-weed. Blue ground. An extremely rare print. Published by Ezakiya, c 1843-6. There is another version of this print without censor’s seal and with a moon reflected in the water. This appears to be a copy of the impression offered here as the blocks vary slightly. Ex Vever collection, Sothebys 1977, Part III, lot 227, p. 120 ( who also sold the copy, lot 228 ).


Fine impression, colour and condition. Signed Keisai.


Status: Sold

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Keisai EISEN (1790-1848)




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A vertical diptych of a carp leaping a waterfall. Published by Kansendo, c 1830 – 44. Illustrated Keisai Eisen: Artist of the Floating World, Chiba City Museum of Art, 2012, p. 240, pl. 313.


Very good impression, colour and condition. This was a popular design and later impressions are common. Signed Keisai hitsu with large red artist’s seal Eisen.


Status: Sold

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Ichiryusai HIROSHIGE (1797-1858)




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Awabe or tokobushi, abalone or “sea-ear” ( Haliotus tuberculata ) and sayori, Japanese half-beak or snioe-fish ( Hemirhamphus sayori ), Together with peach blossom. Poems by Kumogaki Fujimi and Miwagaki Mimiki. 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 never come onto the market. Extremely rare early state before the kiwame and large Eijudo seal. Kruml a/b


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


Status: Sold

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Ichiryusai 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 never come onto the market.


Fine, early impression before the grey block defect on the tail of the black sea bream. Full size. Kruml 10b. Signed Ichiyusai Hiroshige.


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Ichiryusai HIROSHIGE (1797-1858)




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Ise-ebi, spiny lobster or crawfish ( family Panulirus ) and shiba-ebi, shrimps. Poems by Ryokujuen Motoari and Toshihiro Machikado. 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 never come onto the market.


Very good impression and colour. Full size. Kruml 4c. Signed Hiroshige ga.


Status: Sold

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Tsukioka YOSHITOSHI (1839-1892)




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A triptych showing koi, “carp” swimming beneath hanging wisteria. One of Yoshitoshi’s finest and most popular designs. Published by Akiyama Buemon, 5/1889. See Beauty and Violence, Society for Japanese Arts, 1992, no. 66, p. 144 for another impression plus the original drawing by Yoshitoshi ( from the British Museum ). Also see this website in Brush Drawings and Hanshita-e for another two original drawings of koi by Yoshitoshi, possibly preliminary working ideas for the British Museum drawing. Yoshitoshi only produced one other carp print, a large surimono. Common carp were first bred for colour in Japan in the 1820s. Their name is a homophone for another word meaning “love” or “fidelity” and they are symbols of love and friendship in Japan.


Very fine impression and colour. Slight oxidation although not as much as is usually found on this design. Slight signs of mounting au verso, otherwise very good condition.


Status: Sold

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Ichiryusai HIROSHIGE (1797-1858)




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Koi, carp ( Cyprinus carpio ), swimming amongst reeds. Poem by Makuzu. From the second series of ten fish prints published by Yamasho, c 1840-42. The first series was issued privately for a poetry group ( probably the Shingyoku Cicle ) with judges’ names and extra poems. These prints are of the utmost rarity as probably only enough for the Cirle were made and they never come onto the market. Due to their popularity this second set was commissioned.This is the very rare first edition with the reeds printed. Block defect showing but with gradation still on belly. One of the finest designs from the two series. Very rare. Kruml 12a/b.


Fine impression. Very slight fading and thinning, oltherwise very good condition. Full size and without centre fold ( in itself rare as they invariably have them ). Signed Hiroshige hitsu.


Status: Sold

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Ichiryusai HIROSHIGE (1797-1858)




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Bora, the grey mullet ( Mugil cephalus ). Together with camellia and Japanese asparagusudo. Poems by Higaki Kunifune and Toshinoto Haruki. 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 Cicle ) with judges’ names and extra poems. These prints are of the utmost rarity as probably only enough for the Cirle were made and they never come onto the market. This is the very rare first edition with gradation on the asparagus and mica on the mullet. Kruml 9b.


Fine impression, colour and condition. Full size and without centre fold ( in itself rare as they invariably have them ). Signed Ichiryusai Hiroshige ga.


Status: Sold

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Ichiryusai HIROSHIGE (1797-1858)




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Kani, crab, Charybois and saba, mackerel ( Scomber Japonicus ) together with morning glory. Poem by Shichichintei Mampo. From the second series of ten fish prints published by Yamasho, c1840-42.The first series was issued privately for a poetry group ( probably the Shingyoku Cicle ) with judges’ names and extra poems. These prints are of the utmost rarity as probably only enough for the Cirle were made and they never come onto the market. Due to their popularity this second set was commissioned.This is the very rare first edition with Ichiryusai seal printed over the ground colour and the names of the crab and mackerel crisp. Kruml 19a.


Very fine impression and colour. Slight soil top left corner, otherwise very good condition. Full size and without centre fold ( in itself rare as they invariably have them ). Signed Hiroshige ga.


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Suzuki HARUNOBU (c 1725–1770)




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A chuban print of a pair of oxen. One of the Junishi, Twelve Zodiacal Signs ( this being Ushi ). Complemented here by a red and white plum tree. People born in the Year of the Ox are known to be difficult but, once committed, they are loyal for life. And the plum tree symbolizes conjugal loyalty. Exceptionally rare: One other impression is illustrated in Yoshida, Harunobu zenshu, p. 112. Indeed, Harunobu designed very few kachoga, unlike Koryusai who made many a few years later. This could have been intended as one of a set of twelve prints, but the likelihood is that it is a single design. Published c 1767.


Fine impression with the outlines of the oxen heavily gauffraged. Exceptional condition: The background blue is from the dayflower ( Commelina communis L. ). One of the most fugitive pigments, here completely intact. The petals were collected at dawn, squeezed, and applied to paper which was used as a carrier. Very fine colour and condition. Signed Suzuki Harunobu ga.


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Utagawa HIROSHIGE (1787-1858)




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Hirame, olive halibut ( Paralichthys olivaceus ) and mebaru, black rock-fish ( Sebastes schlegeli ). Together with cherry blossom. Poem by Osaki Koharu. From the second series of nine fish prints published c 1840 – 42 by Yamasho ( Yamadoya Shobei ). Ex collection Felix Bracquemond ( 1833 – 1914 ). Japonisme in France usually starts with Bracquemond who was a graphic artist and designer and also worked with ceramics. He discovered Hokusai’s Manga in 1856 and used it as source material. He produced a number of etchings, often of birds and some with fish, obviously partly inspired by Japanese prints, including Hiroshige’s prints. So, it’s reasonable to suppose these were the actual prints he used as inspiration. Bracquemond’s initial: “B” accompanied the prints.


Very good impression, colour and condition. Centre fold as per usual. Signed Hiroshige ga.


Status: Sold

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Utagawa HIROSHIGE (1787-1858)




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Shimadai, a grouper ( probably Chilodactylus zonatus ) and ainame, greenling ( Hexagrammus otakii ). Together with red-berried nanten. Poem by Kanshunro Nushibito. From the second series of nine fish prints published c 1840 – 42 by Yamasho ( Yamadoya Shobei ). Ex collection Felix Bracquemond ( 1833 – 1914 ). Japonisme in France usually starts with Bracquemond who was a graphic artist and designer and also worked with ceramics. He discovered Hokusai’s Manga in 1856 and used it as source material. He produced a number of etchings, often of birds and some with fish, obviously partly inspired by Japanese prints, including Hiroshige’s prints. So, it’s reasonable to suppose these were the actual prints he used as inspiration. Bracquemond’s initial: “B” accompanied the prints.


Very good impression, colour and condition. Centre fold as per usual. Signed Hiroshige ga.


Status: Sold

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Utagawa HIROSHIGE (1787-1858)




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Akodai, the rock-fish. ( Sebastes matsubarae ). Known as the medetai, good-luck fish. Together with bamboo grass. Poem by Suzugaki. From the second series of nine fish prints published c 1840 – 42 by Yamasho ( Yamadoya Shobei ). Ex collection Felix Bracquemond ( 1833 – 1914 ). Japonisme in France usually starts with Bracquemond who was a graphic artist and designer and also worked with ceramics. He discovered Hokusai’s Manga in 1856 and used it as source material. He produced a number of etchings, often of birds and some with fish, obviously partly inspired by Japanese prints, including Hiroshige’s prints. So, it’s reasonable to suppose these were the actual prints he used as inspiration. Bracquemond’s initial: “B” accompanied the prints.


Very good impression, colour and condition. Centre fold as per usual. Signed Hiroshige hitsu.


Status: Sold

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Utagawa HIROSHIGE (1787-1858)




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Inada, yellowtail or amberjack ( Seriola quinqueradiata ) and fugu, blowfish or puffer ( Fugu pardalis ). Together with plum blossom. Poem by Suzugaki. From the second series of nine fish prints published c 1840 – 42 by Yamasho ( Yamadoya Shobei ). Ex collection Felix Bracquemond ( 1833 – 1914 ). Japonisme in France usually starts with Bracquemond who was a graphic artist and designer and also worked with ceramics. He discovered Hokusai’s Manga in 1856 and used it as source material. He produced a number of etchings, often of birds and some with fish, obviously partly inspired by Japanese prints, including Hiroshige’s prints. So, it’s reasonable to suppose these were the actual prints he used as inspiration. Bracquemond’s initial: “B” accompanied the prints.


Very good impression, colour and condition. Centre fold as per usual. Signed Hiroshige hitsu.


Status: Sold

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Utagawa HIROSHIGE (1787-1858)




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Suzuki, Japanese sea perch ( Lateolabrax japonicus ) and kaneme-tai, red bream ( possibly Beryx splendens ). With shiso or beefsteak plant. Poem by Atsugaki. From the second series of nine fish prints published c 1840 – 42 by Yamasho ( Yamadoya Shobei ). Ex collection Felix Bracquemond ( 1833 – 1914 ). Japonisme in France usually starts with Bracquemond who was a graphic artist and designer and also worked with ceramics. He discovered Hokusai’s Manga in 1856 and used it as source material. He produced a number of etchings, often of birds and some with fish, obviously partly inspired by Japanese prints, including Hiroshige’s prints. So, it’s reasonable to suppose these were the actual prints he used as inspiration. Bracquemond’s initial: “B” accompanied the prints.


Very good impression, colour and condition. Centre fold as per usual. Signed Hiroshige ga.


Status: Sold

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Utagawa HIROSHIGE (1787-1858)




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Katsuo, bonito ( Katsuwonus pelamis ). Also called ocean bonito, stripe-bellied bonito and striped tuna. Together with three sprigs of cherry ( sakura ). Poems by Toshinoto Haruki and Toshihiro Machikado. From the first series of eleven fish prints published c 1840 – 42 by Yamasho ( Yamadoya Shobei ). Ex collection Felix Bracquemond ( 1833 – 1914 ). Japonisme in France usually starts with Bracquemond who was a graphic artist and designer and also worked with ceramics. He discovered Hokusai’s Manga in 1856 and used it as source material. He produced a number of etchings, often of birds and some with fish, obviously partly inspired by Japanese prints, including Hiroshige’s prints. So, it’s reasonable to suppose these were the actual prints he used as inspiration. Bracquemond’s initial: “B” accompanied the prints.


Very good impression, colour and condition. Centre fold as per usual. Signed Hiroshige ga.


Status: Sold

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Utagawa HIROSHIGE (1787-1858)




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Tobiuo, flying fish ( probably Prognichthys ) and ishimochi also called guchi or shiroguchi, white croaker ( probably Argyrosomus argenatus ). Together with a single lily. Poem by Toshigaki Maharu. From the second series of nine fish prints published c 1840 – 42 by Yamasho ( Yamadoya Shobei ). Ex collection Felix Bracquemond ( 1833 – 1914 ). Japonisme in France usually starts with Bracquemond who was a graphic artist and designer and also worked with ceramics. He discovered Hokusai’s Manga in 1856 and used it as source material. He produced a number of etchings, often of birds and some with fish, obviously partly inspired by Japanese prints, including Hiroshige’s prints. So, it’s reasonable to suppose these were the actual prints he used as inspiration. Bracquemond’s initial: “B” accompanied the prints.


Very good impression, colour and condition. Centre fold as per usual. Signed Hiroshige ga.


Status: Sold

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Utagawa HIROSHIGE (1787-1858)




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Shiroamadai, white horsehead ( Latilus argentatus ) and omonhata, rock cod ( Epinephalus areolatus ). Together with Japanese horse radish, wasabi. Poem by Atsugaki. From the second series of nine fish prints published c 1840 – 42 by Yamasho ( Yamadoya Shobei ). Ex collection Felix Bracquemond ( 1833 – 1914 ). Japonisme in France usually starts with Bracquemond who was a graphic artist and designer and also worked with ceramics. He discovered Hokusai’s Manga in 1856 and used it as source material. He produced a number of etchings, often of birds and some with fish, obviously partly inspired by Japanese prints, including Hiroshige’s prints. So, it’s reasonable to suppose these were the actual prints he used as inspiration. Bracquemond’s initial: “B” accompanied the prints.


Very good impression, colour and condition. Centre fold as per usual. Signed Hiroshige hitsu.

Status: Sold

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Shibata ZESHIN (1807-1891)




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An uchiwa-e showing a pair of mandarin ducks amongst bulrushes. Extremely rare and possibly unique.


Very good impression and colour. The fan has been dismounted from its bamboo frame, hence the rib marks show. Slight soil. Signed Zeshin with Tairyukyo seal ( referring to his home near the Kanda River. Used after 1832 ).


Status: Sold

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Utagawa HIROSHIGE (1787-1858)




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A vertical diptych showing a multitude of cranes flying up from a cresting wave to a large red sun. In fact this diptych was used by an Edo publisher as end sheets to albums – usually sets of Hiroshige landscapes. Rare: Invariably it is impossible to match the two sheets as the bottom design is always graded blue at the top. Another matching impression is illustrated pl. 143 in Four Hundred Ukiyoe Woodblock Prints From The Museum Of Art, Rhode Island School Of Design, Abby Aldrich Rockefeller Collection Of Japanese Prints, 1990. Published 5/1858.


Fine impression and colour. Small expertly repaired binding holes, otherwise good condition. Collector’s seal bottom right on each sheet. Signed Hiroshige fude.



Status: Sold

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Utagawa HIROSHIGE (1787-1858)




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Awabi or tokobushi, abalone or “sea-ear” and sayori, Japanese half-beak or snipe-fish, together with peach blossom from the first series of ten prints published by Eijudo, c. 1832-4.


Good impression. Very good colour. Slight creasing, otherwise good condition. Signed Ichiyusai Hiroshige ga.


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Utagawa YOSHIIKU (1833-1904)




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A rare print with title in a fishing net: Mitate nitaka kingyo, “A Parody of Goldfish with Actor’s Expressions.” The public would, of course, have recognised these actors, and Kuniyoshi and several pupils had a penchant for them. Indeed, Yoshiiku went on to be a cartoonist for the Tokyo Eiri Shimbun [ newspaper ]. Published 1863.


Very good impression and colour. Minor soil, otherwise very good condition. Signed Ikkeisai Yoshiiku giga.


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Utagawa HIROSHIGE (1797-1858)




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A chu-tanzaku showing a wild boar beside a waterfall. This was probably designed for a set of twelve zodiacal signs set. Other known prints from this group are: Ox, Dog, Hare, Tiger, Monkey and Horse. All are extremely rare. Indeed, I cannot locate another impression of this print. Published c 1830 by Fujihiro.


Fine impression. Restored wormhole centre right and slight centre fold. Otherwise good condition. Signed Hiroshige ga.



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Utagawa HIROSHIGE (1797-1858)




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Evening with full moon and bats flying over irregular wood stacked in a timberyard. A well known print. One third block, 9.75 x 5 in; 25 x 12.5 cms. The only complete uncut example seems to be that illustrated in Four Hundred Ukiyoe Woodblock Prints From The Museum Of Art, Rhode Island School Of Design, 1990, no. 167, which shows the companion prints to be butterflies and wild grasses and tuna and white radish. Hiroshige designed another bat print, otherwise it?s a rare subject for ukiyoe. Ex collection Paul-Louis de la Noe, 1879-1919, ( an acquaintance of the Goncourt brothers, Bing and Hayashi ). Published c late 1830s.


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



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Utagawa HIROSHIGE II ( SHIGENOBU ) (1826-1869)




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A quarter-block, 6.5 x 4.25 in; 16.5 x 11 cms, print showing two tree sparrows flying in snow over snow-covered bushes. Published by Yamashiroya Kambei (?) c late 1840s. Ex collection Paul-Louis de la Noe, 1879-1919, ( an acquaintance of the Goncourt brothers, Bing and Hayashi ). Possibly unique.


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



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Utagawa HIROSHIGE (1797-1858)




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A quarter-block, 6.5 x 4.25 in; 16.5 x 11 cms, print showing a titmouse perched on a cherry blossom branch. Published c late 1830s. Ex collection Paul-Louis de la Noe, 1879-1919, ( an acquaintance of the Goncourt brothers, Bing and Hayashi ). Probably unique.


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



Status: Sold

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Utagawa HIROSHIGE (1797-1858)




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A quarter-block, 6.5 x 4.25 in; 16.5 x 11 cms, print showing two horse-mackerel and baby aubergines. Published c late 1830s. Ex collection Paul-Louis de la Noe, 1879-1919, ( an acquaintance of the Goncourt brothers, Bing and Hayashi ). Probably unique.


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



Status: Sold

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Utagawa HIROSHIGE (1797-1858)




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A quarter-block, 4.25 x 6.5 in; 11 x 16.5 cms, print showing a cuckoo flying against a full moon. This bird is usually associated with the moon and is a harbinger of spring. Published late 1830s. Ex collection Paul-Louis de la Noe, 1879-1919, ( an acquaintance of the Goncourt brothers, Bing and Hayashi ). Probably unique.


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



Status: Sold

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Utagawa HIROSHIGE (1797-1858)




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Sakana zukushi, A Fish Series, this design showing Ise-ebi, Kuruma-ebi and Shima-ebi, Lobster [ with roe ], Prawn and Shrimp. A half-block set of the utmost rarity. Indeed, this might be the only recorded example. One other design from the same set is illustrated in Hiroshige, The Albuquerque Museum, 1983, no. 327. Published c late 1830s. Ex collection Paul-Louis de la Noe, 1879-1919, ( an acquaintance of the Goncourt brothers, Bing and Hayashi ).


Fine impression and colour. Slight edge soil with small repairs to to top left and right corners, otherwise very good condition. Signed Hiroshige ga.



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Utagawa HIROSHIGE II ( SHIGENOBU ) (1826-1869)




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A half block, 8.5 x 6.5 in; 22 x 16 cms, print showing a tree sparrow and hibiscus. From a series of prints by the same publisher, Yamashiroya Kambei (?) published 1851-53 ( Kunugasa and Murata seals ). Probably Hiroshige IIs best set in this genre. Ex collection Paul-Louis de la Noe, 1879-1919, ( an acquaintance of the Goncourt brothers, Bing and Hayashi ).


Very good impression and colour. Very minor soil. Signed Shigenobu hitsu.



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Isoda KORYUSAI (1735-1790)




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An hashira-e showing nine cranes, a pine tree and the rising sun. A triple talisman of good luck. The tancho ( “red crest” ) Japanese Crane, Grus japonensis, is the second rarest crane in the world, migrating to East Asia in the fall to spend the winter. There is also a resident flock in Hokkaido. Much loved by the Japanese, the crane was a symbol of luck, longevity and fidelity. Rare: Another impression is illustrated in Jacob Pins, The Japanese Pillar Print, V & A, 1982, no. 518 ( which is also illustrated in the V & A Museum catalogue, The Floating World Japanese Popular Prints 1700-1900, 1973, no. IV8 ). Published c. 1770. Koryusai was probably the most prolific designer of pillar prints, although he designed few kacho-e. Ex collection Seisuke Ikeda, 11 -12th April, 1910.


Very good impression. Good colour. Slight fold marks ( as usual ) but generally good condition for a pillar print. Signed Koryusai ga.


Status: Sold




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Utagawa KUNIYOSHI (1797-1861)




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A tiger and dragon from a rare series Kinju zue, “Drawings of Birds and Beasts.” The set of at least five prints published by Joshuya Kinzo, 1837. Although rare, there are different states of the prints from this set, some having yellow cartouches, others red and uncoloured ( as here ). This design is also known with other colour variations.


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



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Katsushika TAITO II (act. c. 1810-1853)




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A carp swimming upwards amongst water plants. Taito designed a number of prints, of which this is one, with an ishizuri-e panel at the left. This is normally cut off ( as here ) and certainly adds nothing to the composition. This design must have been popular as there are a number of different states with different blocks for the water: As here and V & I, Estampes Japonaises, Tomes IV, VI, 1973, pl. LXIX, p. 222; Eight Hundred Years of Japanese Printmaking, Carnegie Institute, 1977, no. 346, p. 87 ( with ishizuri panel ), and there is a copy from completely new blocks. Published by Echigoya Chohachi, c. 1848.


Very good impression and colour. Minor soil. Signed Katsushika Taito fude.



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Watanabe SEITEI ( SHOTEI ) (1851-1918)




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A crow in flight with falling ginko leaves from a set of 22 prints Nijuni kacho published 1916 by Okuro Yasugoro. This being the best design from the set.


Fine impression, colour and condition. These prints were published on heavy paper and the early printings must have the large seal bottom right corner. Signed Seitei.



Status: Sold

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Kakemono-e ISHIZURI-E (c. late 18th century)




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A falcon perched on a tree trunk above flowering camellias and a stream. These kakemono-e lie somewhere between prints and paintings. The actual technique employed seems to have involved pressing dampened paper into engraved wood. The pigment is then applied to the raised areas; the print then being laid onto thicker paper and pressed home giving a crinckley surface. They have traditionally been ascribed to Koryusai although examples are known with other signatures. Another example of this design was in the Vever collection, Sothebys, Part 1, 26/3/1974, no. 88, p. 69 where Jack Hillier states: ?The kakemono-e are however extraordinary technical and artistic creations, and the present specimen is one of the finest of the designs, comparable to the famous ?White Falcon? in the AIC ( Harunobu, etc., No. 181, p. 271 ).? ( That example appears to have been badly cut at the bottom. ) 35.5 x 11.5 inches, 90 x 29 cms. Mounted as a painting with rollers and box. Excessively rare.


Status: Sold




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