Highlights of some catalogue items

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Please contact JapanesePrints-London for prices of catalogued items. We also purchase prints, paintings and books individually or as collections. Richard Kruml also appraises and values collections.

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Dealing in fine Japanese prints, paintings and books since 1968.

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Utagawa HIROSHIGE (1797-1858)



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Wakasa, Gyosen karei-ami, “Fishing Boats and Flounder Nets in Wakasa [Province]” from a set of 69 prints [Dai Nihon] Rokujuyoshi meisho zue, “Famous Places in the Sixty-odd Provinces [of Japan]” published by Koshihei between 1853 and 1856, this being 1853. Fishing in Wakasa Bay. The highway between the Wakasa ports and Kyoto was nicknamed the “Mackerel Highway” because of the quantity of fish that was transported.

 

Very fine impression and colour. Light album backing, otherwise fine condition. Signed Hiroshige ga.

 

Status: Available

 

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Utagawa HIROSHIGE (1797-1858)



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Hida, kago-watashi, “Basket Ropeway in Hida [Province]” from a set of 69 prints [Dai Nihon] Rokujuyoshi meisho zue, “Famous Places in the Sixty-odd Provinces [of Japan]” published by Koshihei between 1853 and 1856, this being 1853. Originating in China, Japan and northern India, travellers could cross deep ravines by suspending themselves in a harness which evolved into a basket.

 

Very fine impression and colour. Light album backing, otherwise fine condition. Signed Hiroshige ga.

 

Status: Available

 

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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

 
 

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Utagawa KUNIYOSHI (1797-1861)



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Shows Sasaki Saburo Moritsuna, holding a dirk in his mouth, and strangling the fisherman Fujidayu. From an untitled set published by Kawaguchi-ya Uhei, c 1825-30. The story revolves around Moritsuna bribing the fisherman to reveal the whereabouts of the shallows at Fujito, a strait separating Kojima from the mainland, and being 500 yards wide impossible for the troops to cross without boats to attack the Taira forces. The version depicted here shows Fujidayu being killed, rather than just bribed. Robinson Sia.6.

 

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

 

Status: Available

 

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Utagawa KUNIYOSHI (1797-1861)



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Koshibe no Sugaru amidst a thunderbolt and lightning captures a raiju (thunder monster) in the village of Toyora. Toyora no sato ni rai o torau. Its body was composed of lightning and usually in the form of a wolf or dog. Its cry sounded like thunder. Raiju is the companion of Raijin, the Shinto god of lightning. Although normally tranquil, during thunderstorms it became agitated and attacked trees. (Those that are struck by lightning are said to have been scratched by Raiju’s claws.) He presented it to the Emperor. Published by Nishimura-ya Yohachi, c. 1834-5. Robinson SIc.2. A wonderful design.

 

Superb impression. Very fine colour and condition. Signed Ichiyusai Kuniyoshi ga.

 

Status: Available

 

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Utagawa YOSHIKATA (Fl. 1841-1864)



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A triptych showing the second battle of Uji River on February 19th, 1184. The centre sheet shows Taira Minamoto Yoshitsune and Benkei with their horses leading the troops to defeat Minamoto no Yoshinaka. The bridge had been dismantled so the small army had to ford the river which was in spate, because of early snow melt, against volleys of arrows and abatis barriers in the river bed (a method of cutting trees down, sharpening their ends and staking them into the river bed facing the enemy). Published by Iseya Tokichi, 1863.

 

Fine impression, colour and condition. Signed Isshinsai Yoshikata ga.

 

Status: Available

 

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Tsukioka YOSHITOSHI (1812-1866)



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A diptych showing the strong woman Oiko of Takashima. The story tells how the wrestler Saeki Urinaga spies her one day fetching water from the river. He lecherously reaches for her only to have his arm pinned down by her as she nonchalantly carries on walking. She leads him home for a wrestling match. From a set Shinsen azuma nishikie, published by Tsunashima between 1885 and 1889 (this being 1889).

 

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

 

Status: Available

 

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Katsukawa SHUN’EI (1762-1819)



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Shows the half-Chinese, half-Japanese hero Watonai overcomes a man-eating tiger in China by using a charm from the Ise Shrine. He holds a post with the characters reading Daijinga, “Grand Shrine” used in the inner and outer shrines at Ise. Published by Wakasaya Yoichi (Jakurindo), c 1810. Rare.

 

Fine impression and colour. One small backed edge wormhole, otherwise very good condition. Signed Shun’ei ga

 

Status: Available

 

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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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Ryuryukyo SHINSAI (1764-1820)


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An original painting, sumi and light colour on silk, 32 x 11 in; 81.3 x 28 csms. Shows three classes in Japanese society: Farmer’s wife, Priest and a Samurai, forced to shelter together at the entrance to a Shinto shrine from a sudden downpour of rain. Above, a rooster and hen also shelter. These birds were allowed to roam freely around Shinto Temples. Shinsai was one of Hokusai’s best pupils. Known for his fine surimono and paintings. Signed Ryuryukyo Shinsai with Ryuryukyo seal. In good condition.

 
 

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Utagawa KUNISADA (1786-1865)



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A courtesan biting on a tissue about to write a love letter from the set Ukiyoe jinsei tengankyo, “Types of the Floating World Seen Through a Physiognomist’s Glass.” The glass top right. These professionals who purported to look at people’s features and give counsel based on their countenance were called Ninsomi or simply Somi. This set of ten prints showing different female personalities have their characteristics written up above. Utamaro produced two fine sets based on this theme in 1792-4 and c 1802: Fuji ninso jupon and Bijin gomenso. The clenching of the tissue is always an indication of arousal. Published c 1830 by Moriya Jihei (Kinshindo).

 

Fine impression with blind-printing. Fine colour. Small repaired binding holes and very slight trimming, otherwise very good condition. Signed Gototei Kunisada ga.

 

Status: Available

 

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Kikugawa EIZAN (1787-1867)



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A triptych Furyu onna ryoushi, “Fashionable Fishing Women.” Shows beauties on the seashore collecting fish and loading them onto a boat for market. In the background, fishermen with nets. Published by Iwatoya Kisaburo (Eirindo), c 1817. The Japanese love seafood and, being surrounded by water, there is an abundance of fish and crustaceans as anyone who has visited the central fish market in Tokyo can attest to.

 

Fine impression. Very good colour. Small areas of expertly repaired wormholes, otherwise very good condition. Signed Eizan hitsu.

 

Status: Available

 

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Kawanabe KYOSAI (1831-1889)




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A large original painting, full colour on silk, image size 48 x 21.75 in; 122 x 55.25 cms. A draughtsman of great dexterity with a wild, often bizzare , imagination. Loved sake, sometimes painting under its influence. At an early stage studied under Kuniyoshi, then Maemura Towa and later Kano Chinshin before becoming an independent painter at 27. Adept at highly finshed paintings but also produced a large corpus of spontaneous paintings. Shows a standing courtesan with her kamuro. An homage to Hokusai whom he obviously admired.

 

Highly finished in places but also incorporating quirky elements of Hokusai’s style. Signed Hokusai hitsu-i (“Imitating Hokusai’s brush”) Shojo Kyosai. In very good condition with old double box with an untranslatable annotation on inside of lid comparing him to Hokusai. An important new discovery.

 

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Utagawa HIROSHIGE (1797-1858)



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Kisoji no Yamagawa, “Mountain River on the Kiso Road.” One of Hiroshige’s most iconic images: Snow from an untitled set of three Setsugekka (“Snow, Moon, Flowers”) triptychs. The other two being Moon at Kanazawa and Whirlpools at Awa. The Setsugekka theme was taken from a poem by Tang dynasty poet Bai Juyi (Haku Rakuten). It’s a metonym for beautiful views, etc. This part of the Kiso Road was particularly treacherous but it’s not possible to identify the exact location and Hiroshige most likely used a certain amount of artist’s license. Published by Okasawaya Taheiji, 1857, a year before his death.

 
 

Fine impression and colour. Centre sheet lightly backed and slightly trimmed, otherwise very good condition. Signed Hiroshige hitsu with Bokurin Shokoku seal.

 
 

Status: Available

 
 

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Kubo SHUNMAN (1757-1820)



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Chobu, Province of Musashi from an exquisite set of six prints showing graceful young women, girls and, in two instances, young men representing the Six Crystal (Tama) Rivers. These streams were noted for the purity of their water. The prints are in benigirai style, “red avoiding,” a technique pioneered by Shunman, Eishi and Shuncho.Shows a girl washing stripes of cloth in the stream. In fact, this design conjoins with the previous print in the set of six prints. Shunman, a man of great sophistication, designed only a few prints before concentrating on surimono and printing and issuing some of the finest in this format. (See The Japanese Print: A New Approach, J. Hillier, pp. 102-104 where he says “Probably no artist except Choki has achieved so high a reputation on such a small number of prints.”) He also excelled at painting, book illustration and light verse. Published by Fushimiya Zenroku, c 1787. (A later edition was published by Tsutaya with less harmonious colours.) One of the most beautiful 18th century sets, and together with a night triptych showing people returning from a poetry reading, is considered his masterpiece. The complete set (trimmed) is illustrated in the Gale Catalogue Of Japanese Paintings & Prints, J. Hillier, Routledge, 1970, number 133 (a) – (f). Provenance: Originally purchased from me in 2008. Rare.

 

Fine impression with some blind-printing. Very good colour: printed only in tones of grey, light yellow and light pink, with touches of light red on the tree. Very small repaired wormhole, otherwise extremely good condition with extra paper at left. Probably untrimmed (whereas illustrated examples all seem to be trimmed somewhere). Signed Shunman with seal Shunman.

 

Status: Available

 

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Utagawa HIROSHIGE II (1826-1869)



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Bikunibashi setchu, “Bikuni Bridge in Snow.” From the set Meisho Edo hyakkei, “One Hundred Views of Edo.” The set published by Uoya Eikichi 1856-58 (this being 1858). Bikuni Bridge was known for its cheap restaurants. On the right is a sign advertising that imo are roasted whole. (Yakimono were roasted sweet potatoes.) On the left is another sign advertising yama kujiri, “mountain whale.” (In fact wild boar meat. Whale was considered a fish and therefore not forbidden.)

 

Superb impression of the rare first edition.Very fine colour. Imperceptible centre fold, otherwise fine condition. Signed Hiroshige ga.

 

Status: Available

 

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Okumura MASANOBU (1686-1764)



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One of the most influential and innovative print designers, publishers and painters. He is also credited with inventing the hashira-e as well as being the first to use multiple-block printing. A wide hashira-e (habahiro hashira-e, 24 x 6 in; 61 x 15 cms) showing the actor Sanogawa Ichimatsu I. Masanobu designed a number of prints showing this popular actor who started the fashion for the hisobi pattern on his costume which is now called the Ichimatsu moyo. Published by Masanobu c 1741. Rare.

 
 

Fine impression. Hand-applied colour: yellow, light red and light orange. Slight fading, otherwise very good condition. Signed Hogetsudo shomei Okumura Bunkaku Masanobu shohitsu, “Truly published by Hogetsudo and true brush by Okumura Masanobu” with seal Tanchosai.

 
 

Status: Available

 
 

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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.

 

 

Status: Available

 

 

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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.

 

 

Status: Available

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Utagawa HIROSHIGE (1797-1858)



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Omi, Biwako Ishiyamadera, “Ishiyama Temple and Lake Biwa in Omi [Province].”From a set of 69 prints [Dai Nihon] Rokujuyoshi meisho zue, “Famous Places in the Sixty-odd Provinces [of Japan]” published by Koshihei between 1853 and 1856, this being 1853. Moonlight on Lake Biwa is one of the iconic Eight Views of Omi.

 

Very fine impression and colour. Light album backing, otherwise fine condition. Signed Hiroshige ga.

 

Status: Available

 

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Utagawa HIROSHIGE (1797-1858)



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Kozuke, Harunasan setchu, “Kozuke [Province], Mount Haruna Under Snow.” From a set of 69 prints [Dai Nihon] Rokujuyoshi meisho zue, “Famous Places in the Sixty-odd Provinces [of Japan]” published by Koshihei between 1853 and 1856, this being 1853. A red bridge spans a gorge with precipitous cliffs and a fast flowing river. Fantastic crags point upwards into the sky. In the distance is Mount Haruna – a sleeping volcano.

 

Very fine impression and colour. Light album backing, otherwise fine condition. Signed Hiroshige ga.

 

Status: Available

 

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Utagawa KUNIYOSHI (1797-1861)



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Kyusempo Sakucho (Chin: Suo Chao) at the battle of Peking from Tsuzoku Suikoden goketsu hyaku-hachi-nin no hitori, “The Hundred and Eight Heroes of the Popular Suikoden, One by One.” Based on the Chinese novel Shui Hu Zhuan, attributed to Shi’Nai’an, which tells of a band of 108 brigands who operated from Liangshan Marsh. Shows the warrior wielding a huge axe and plunging through deep snow on his horse. He was renowned for being seven chi tall (just over seven and a half feet) and impetuous in battle, often charging ahead of his men – hence his nickname “Impatient Vanguard.” Published by Kaga-ya Kichiyemon, c 1827-30. Provenance: Ex B.W. Robinson collection. Robinson S2.44.

 

Fine impression, colour and condition. Full size (rare with designs from this set). Signed Ichiyusai Kuniyoshi ga.

 

Status: Available

 

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Utagawa KUNIYOSHI (1797-1861)



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Shows the fearsome female warrior, Fujinoye, defending Takadachi Castle in 1189. In a rain of arrows she attacks Yemoto Juro and Nagasawa Uyemon-taro on the castle steps. From the set Honcho Suikoden goyu happyaku-nin no hitori, “Eight Hundred Heroes of our Country’s Suikoden, One by One.” Published by Kaga-ya Kichiyemon, c 1831. Robinson S4a.1.

 

Fine impression and colour. Slight trimming at bottom, otherwise very good condition. Signed Ichiyusai Kuniyoshi ga.

 

Status: Available

 

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Utagawa KUNIYOSHI (1797-1861)



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A triptych showing the famous battle on Gojo Bridge. 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. He meets Ushiwaka Maru (Minamoto no Yoshitsune’s childhood name) and challenges him to a fight on the bridge. Yoshitsune is aided by Sojobo, King of the Tengu (white-bearded in the centre) and other yamabushi tengu. Benkei loses the fight and becomes Yoshitsune’s loyal retainer. Published by Enshuya Hikobei, 1847-50. Robinson T194.

 

Fine impression, colour and condition. A lovely copy of this triptych. Signed Ichiyusai Kuniyoshi ga.

 

Status: Available

 

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Toyohara CHIKANOBU (1838-1912)



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A triptych showing the Shinto Storm God Susanoo about to slay the eight-headed dragon, Yamata no Orochi, at the head of the Hi River in pouring rain. The dragon devoured virgins and had eaten the seven daughters of two earthly deities, seen top right. The eighth, Kushi-inada-hime, also on the right, is saved by Susanoo who encourages the dragon to drink eight-times brewed sake from eight vats which intoxicates it enough to be killed. Rare: Chikanobu is not known for this type of subject. Published c 1870s.

 

Fine impression, colour and condition. Mica applied to sky and the rain printed in silver. Full size. Signed Yoshu Chikanobu hitsu.

 

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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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.

 

 

Status: Available

 

 




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Utagawa HIROSHIGE (1797-1858)




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A pheasant on a snow-covered pine. Published by Kawaguchi Shozo, c. 1830s (seal top left).

 

 

Fine impression and colour. Minimal trimming, otherwise very good condition. Signed Hiroshige hitsu.

 

 

Status: Available

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Utagawa KUNISADA (1786-1864)



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A woman peering through a gap in a shoji from a set Arigataki miyo no kage e “Shadow Pictures for Our Blessed Times.” Published by Maruya Seijiro c. 1845-6 and is based on strong light sources shining on beauties. This chiaroscuro technique was pioneered by Shumman and used by Utamaro and Toyokuni I.

 

Fine impression, colour and condition. Signed Ichiyosai Toyokuni ga.

 

Status: Available

 

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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

 

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Utagawa HIROSHIGE (1797-1858)



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Hoki, ono Daisen enbo, “Hoki [Province], Distant View of Mount Daisen.” Shows rice-planting in the rain, with the volcanic mountain in the background. From a set of 69 prints [Dai Nihon] Rokujuyoshi meisho zue, “Famous Places in the Sixty-odd Provinces [of Japan]” published by Koshimuraya Heisuke between 1853 and 1856, this being 1853.

 
 

Very fine impression and colour. The rain printed with gofun. Light album backing, otherwise fine condition. Signed Hiroshige ga.

 
 

Status: Available

 
 

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Utagawa HIROSHIGE (1797-1858)



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Kameido Tenmangu keidai no yuki, “The Compound of the Tenman Shrine at Kameido in Snow.” From a set of twenty-one prints Toto meisho, “Famous Views in the Eastern Capital” published by Sanoya Kihei, c 1834-5. The series was extended to fifty-five in c 1839-42. One of the most famous places in Edo. Known for its pergola, two drum bridges, koi ponds and the wisteria which flowered in the fifth month. The main shrine is dedicated to the memory of Sugawara no Michizane (Tenjin), the father of Japanese learning and built in 1662. The design comes in various states: Late editions have a black sky and the red publisher’s seal on right margin is replaced with an abbreviated Sanoki seal in black. Even later editions show a slipping plug becoming evident on the edge of the water, centre left.

 
 

Fine impression and colour. Probably the earliest printing. Slight trimming on right margin, otherwise very good condition. Signed Hiroshige ga.

 
 

Status: Available

 
 

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Utagawa HIROSHIGE (1797-1858)



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Tango Province, Amanohashidate (“Bridge to Heaven”). One of Japan’s three scenic views. The sandbar, located in Miyazu Bay, is said to resemble a pathway connecting heaven and earth. Also known for its fine pine trees. 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, otherwise fine condition. Signed Hiroshige ga.

 
 

Status: Available

 
 

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Utagawa KUNIYOSHI (1797-1861)




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An original fan painting, 6.5 x 17.5 in; 16.5 x 44.5 cms. Sumi and colour on treated paper. Shows a kappa appearing from the Sumidagawa and terrifying a man who runs for his life. Kappa were amphibious creatures found in rivers and ponds. Their bodies were covered with a horny carapace like a tortoise, with scaly legs and four frog-like webbed feet. They loved to wrestle and were known to attack humans – especially children, and horses. However, they could be tricked as they were very polite. If you bowed to a kappa he invariably bowed back, and as their source of power lay in a pool of water contained in a depression in the head, this would be spilt and they became immobilized. Laid around the edge onto Japanese board with the ribmarks evident as it has been dismounted from an ogi or folding fan. Signed Ichiyusai Kuniyoshi ga with hand-painted toshidama seal. Good condition.

 

 

Status: Available

 

 

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Hishikawa MOROSHIGE (FL. 1684-1704)




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An original painting showing a high-ranking samurai household at leisure. Moroshige was the senior pupil of Hishikawa Moronobu, and, it is said, was the father of Furuyama Moromasa. Sumi and full colour with gold additions on paper. 11.5 x 19 in; 29 x 48.25 cms. This is most likely from a handscroll as the height is correct, and the slight vertical striations indicate it has been rolled at some time. Painted c. 1700. Some slight loss of pigments, especially the verdigris and minor marks, but all commensurate with the age of the painting. The details on the costumes of the two main figures are exquisite.

 

 

Status: Available

 

 




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Taiso YOSHITOSHI (1839 – 1892)




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Watanabe no Tsuna on horseback in the rain. One of the finest designs from Wakan hyaku monogatari. Published by Daikin, 1865/2.

 

Fine impression and colour. Minor wormage otherwise very good condition. Signed Ikkaisai Yoshitoshi ga.

Status: Available

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Utagawa KUNIYOSHI (1797-1861)



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The warrior Hitentaisei Rikon (Chin: Li Gun) in armour and holding a hand spear (nage-yari) the use of which he excelled at. He scans the horizon from a craggy outcrop. From the set Tsuzoku Suikoden goketsu hyaku-hachi-nin no hitori, “The Hundred and Eight Heroes of the Popular Suikoden, One by One.” Based on the Chinese novel Shui Hu Zhuan, attributed to Shi’Nai’an, which tells of a band of 108 brigands who operated from Liangshan Marsh. Published by Kaga-ya Kichiyemon, c 1827-30. Robinson S2.21.

 

Fine impression, colour and condition. Full size (rare with designs from this set). Signed Ichiyusai Kuniyoshi ga.

 

Status: Available

 

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Utagawa YOSHITSUYA (1822-1866)



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A triptych with title Taiheike Yakiyama-Goye no zue, “Picture of the Slope of Burning Mountain in the Taiheiki.” Shows the Japanese Daimyo Sato Masakiyo (Kato Kiyomasa), who was a leading general in Toyotomi Hideyoshi’s invasion of Korea, far left, and his men encountering a monstrous serpent surrounded by bats, tengu and flying goblins on a haunted mountain. Published by Kagaya Kichibei, 1861.

 

Fine impression, colour and condition. A lovely copy of this triptych. Signed Ichieisai Yoshitsuya ga.

 

Status: Available

 

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