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.
Status: Sold
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
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
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
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
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
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
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: Available
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
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: Available
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
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.
Status: Sold
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.
Status: Available
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.
Status: Available
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.
Status: Sold
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.
Status: Sold
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: Available
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
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: Available
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.
Status: Sold
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.
Status: Sold
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: Available
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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.
Status: Available
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.
Status: Available
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
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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Kobayashi KIYOCHIKA (1847-1915)
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Cats, one astonished by a painting on an easel of a rooster and chicken, the other pawing at the image and having upset a palette, throwing brushes and tubes of paint into the air. From a set of at least nine oban prints published by Matsuki c. 1879 – 81. These prints mimic imported lithographs and etchings and are exceptionally rare. There are also very misleading copies of this series.
Fine impression with gauffrage on the left cat. Fine colour. Slight centre fold, otherwise fine condition. Totally untrimmed. No known example has a signature, although other designs from the set are known with information running horizontally and with signature.
Status: Available
Kikugawa EIZAN (1787-1867)
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A kakemono-e ( vertical diptych ) showing a tiger peering round a giant bamboo. Although Toyohiro and Toyokuni I produced kakemono-e during the 1800-1804 period, Eizan is generally identified with the format and published many during 1804-1817. The style used borrows from Korean paintings of tigers. No publisher’s seal, c.1804-1817. Another impression illustrated in Ukiyo-e no bi, nishiki-e no keifu, Yamaguchi Prefecture Municipal Museum, n.d., p.84/85.
Good impression. Very good colour and condition with the sheets separated to join accurately. Signed Kikukawa Eizan hitsu.
Status: Available
Ichiryusai HIROSHIGE (1797-1858)
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Aji, horse-mackerel ( Caranx trachurus ) and kuruma-ebi, prawns, from the first series of fish published by Eijudo, c.mid 1830′s ( although this design always lacks publisher’s seal ). Poem by Toshinoya Tomiharu.
Very good impression. Fine colour. One small thinned area, otherwise exceptional condition with extra paper all round. Signed Ichryusai Hiroshige ga.
Status: Sold
Ichiryusai HIROSHIGE (1797-1858)
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Kani, crab, Charybois and saba, mackerel ( Scomber Japonicus ) together with morning glory. From the second series of fish published by Yamasho, c.1840-42. No publisher’s seal although later editions have the seal of Marujin who presumably bought the blocks and republished the set. Poem by Shichichintei Mampo.
Fine impression of the first edition. Fine colour. Small mark, otherwise fine impression. Full size with extra paper all round. Provenance: Ex Hayashi, Vever and Pulverer collections; the latter seal au verso. Signed Hiroshige ga.
Status: Sold