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Hishikawa SORI (Active 1797-1813)
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An original painting, full colour on silk, 43.25 x 14 in; 109.8 x 35.6 cms. An early pupil of Hokusai (who gave him his name Hishikawa Sori in 1798, it previously being Tawaraya). Generally referred to as Sori III. Produced a considerable number of small surimono – some of which can be confused with Hokusai’s work. Shows a beauty with a monkey at her feet. There is a print closely following the painting published in 1906. Illustrated in Nihon ukiyoe hakubutsukan, ed., Nikuhitsu ukiyoe senshu gekan (Selected Painting of Ukiyo-e, second vol.) Tokyo: Gakushu kenkyusha, 1985, plate 193.
In very good condition. Signed Hyakurin Sori ga with seal Sori.
Status: Available
Mori SOSEN (1747-1821)
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A fine surimono-sized painting, light colour on silk, 7.75 x 7 in; 19.5 x 17.8 cms. Shows a female sika deer. His life is not well documented but he is known to have studied under the Kano artist Yamamoto Joshunsai (?-1781) before being drawn into Maruyama Okyo’s (1735-1795) artistic circle and his style is more Shijo than anything else. His animal paintings were evidently highly valued by Okyo. He was an immediate favourite with eastern collectors because of his monkey paintings at which he excelled, although he was more versatile than literature implies and highly accomplished at painting other animals. But his images of monkeys take precedence and he is considered the pre-eminent painter, east or west, on this subject. It is alleged that he lived in the woods for three years eating fruit and nuts to study the monkeys and other animals, and is also supposed to have had a cage of monkeys at the back of his house to better observe them.
Very good condition, unmounted. Signed Sosen hitsu with seals So, Sen.
Status: Available
Suzuki HARUTSUGI (HARUJI) (Active 1760-1770)
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A large koban print, 8.75 x 6 in; 22.25 x 15.25 cms, showing a samurai with two attendants. Aki, “Autumn” from a set of the four seasons, Shiki. A rare artist and most likely a follower of Harunobu. Produced a number of pillar prints. Provenance: Ex Javal, sold 3/3/1926, lot 50.
Very good impression, colour and condition. Signed Harutsugi ga.
Status: Available
Utagawa KUNISADA (1786-1864)
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A fan print showing the actor Bando Shuka I as Shirai Gonpachi from a set Mitate gonin otoko, go-hiiki no omoizashi, “A Parody of the Five Chivalrous Commoners: A Cup of Sake From Their fans.” Omoizashi means to pour sake for one’s loved one and indicates the adoration of the fans for their actors. Published by Yama-Ta, 2/1852.
Very good impression, colour and condition. Signed Toyokuni ga.
Status: Available
Katsushika HOKUSAI (1760-1849)
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A sheet of original studies, sumi on thin paper, 10.5 x 15 in; 26.6 x 38 cms. Of particular interest and importance is the self-portrait in the upper right, This is another version of the famous self-portrait at the age of 83 (1842) sent to his publisher. Illustrated in Hokusai Drawings, J. Hiller, Phaidon, 1966, ill. No. 110 from the Rijksmuseum voor Volkenkunde, Leiden, Netherlands. Provenance: Ex Henri Vever collection, seal bottom right.
One small wormhole, otherwise in very good condition.
Status: Available
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Utagawa KUNIYOSHI (1797-1861)
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A fine large original drawing, sumi on thin paper, 12 x 18.5 in; 30.4 x 47 cms. Shows battling women holding what appear to be wooden swords. Two seals at the bottom which appear to be the publisher Honmo who published 1855-56. Provenance: Ex collection Dr. Julius Kurth (1870-1949), an eminent scholar who wrote extensively on Japanese and Chinese art.
Sold “as is” but in good condition.
Status: Available
Utagawa KUNIYOSHI (1797-1861)
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A fine large original drawing, sumi on thin paper, 12 x 18 in; 30.4 x 45,7 cms. Shows two awabi divers surrounded by crabs kneeling before a figure – possibly Empress Jingu – seated behind a dragon and surrounded by samurai. Provenance: Ex collection Dr. Julius Kurth (1870-1949), an eminent scholar who wrote extensively on Japanese and Chinese art.
Sold “as is” but in good condition.
Status: Available
Ichirakutei EISUI (Active 1790-1823)
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A fine okubi-e (“large head”) portrait of the courtesan Shizuka of the Tama-ya House. Eisui, like the other main pupils of Eishi, produced some of the finest bust-portraits in Ukiyo-e. Published by Maruya Bunemon c late 1790’s. Other impressions illustrated in Klaus J. Brandt, Hosoda Eishi, page 72, 524, no. C35, catalogued p. 231, and the Library of Congress, FP2-JPD, no. 1912. Extremely Rare.
Very good impression. Good colour. Slight soil, otherwise good condition. Full sze. Signed Ichirakutei Eisui ga.
Status: Available
Ichiryusai HIROSHIGE (1797-1858)
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Kai Otsuki no hara, “Otsuki [“Great Moon”] Plain in Kai Province.” The most popular print from Fuji sanjurokkei, “The Thirty-six Views of Fuji.”Published by Tsutaya Kichizo, 4/1858. A distant view of Fuji with a stream meandering amongst wild flowers. Some of them are from the Seven Herbs (Nanakusa) of Autumn, being: pampas grass, susuki, yellow patrinia, ominaeshi, bellflowers, kikyo, and wild carnations, tokonatsu.
Fine impression, colour and condition. Signed Hiroshige ga.
Status: Available
Ichiryusai HIROSHIGE (1797-1858)
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Hara from The Fifty-three Stations of the Tokaido published by Marusei, Maruya Seijiro, 1847-52. Called the Reisho Tokaido because of the angular style of Kanji used. Shows Fuji towering over the landscape with miniscule figures on the road at the bottom. One of the best designs from the set.
Fine impression and colour. Very slight centre fold, otherwise very good condition. Signed Hiroshige ga.
Status: Available
Ichiryusai HIROSHIGE (1797-1858)
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Fujieda from The Fifty-three Stations of the Tokaido published by Marusei, Maruya Seijiro, 1847-52. Called the Reisho Tokaido because of the angular style of Kanji used. Travellers huddled against the rain on a narrow path. One of the best designs from the set.
Fine impression and colour. Very good condition. Signed Hiroshige ga.
Status: Available
Ichiryusai HIROSHIGE (1797-1858)
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Fuchu from The Fifty-three Stations of the Tokaido published by Marusei, Maruya Seijiro, 1847-52. Called the Reisho Tokaido because of the angular style of Kanji used. Travellers coming and going at the entrance to the station. One of the best designs from the set. Provenance: Ex Hayashi collection with seal below title cartouche.
Fine impression and colour. Very good condition. Signed Hiroshige ga.
Status: Available
Ichiryusai HIROSHIGE (1797-1858)
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Wada from the Sixty-nine Stations f the Kisokaido. The set was started by Eisen and published by Hoeido in 1835, but in 1837 Hiroshige took over and completed the series with the publisher Iseiri (Kinjudo). Wada is the highest point on the Kisokaido and Hiroshige shows travellers traversing the snow covered pass.
Very good impression and colour. Minimal edge soil and trimming, otherwise very good condition. Signed Hiroshige ga.
Status: Available
Utagawa KUNIYOSHI (1797-1861)
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A poem by the celebrated poet Minamoto no Shigeyuki from the series Hyakunin isshu no uchi, “One Hundred Poems for One Hundred Poets” which was compiled in 1235 by Fujiwara Teika (1162-1241). Shows the poet on a craggy outcrop with waves crashing around him; Fuji in the distance. One of the best designs in the set published by Ebisuya Shoshichi, Ebine, 1840-42. Only 58 of the 100 are known. Various translations of the poem exist, here is one:
Waves that beat against the rocks
Fanned by a fierce wind –
It is I alone
Who breaks, those times
When I think of her
Very fine impression. Fine colour and condition. Signed Ichiyusai Kuniyoshi ga. Hiroshige ga.
Status: Available
Utagawa KUNIYOSHI (1797-1861)
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A poem by the celebrated poet Bunya no Yasuhide from the series Hyakunin isshu no uchi, “One Hundred Poems for One Hundred Poets” which was compiled in 1235 by Fujiwara Teika (1162-1241). The poet in the background watches as a fierce wind blows away some of the umbrellas that are being made. One of the best designs in the set published by Ebisuya Shoshichi, Ebine, 1840-42. Only 58 of the 100 are known. Various translations of the poem exist, here is one:
The mountain wind in autumn time
Is well called “hurricane”;
It hurries canes and twigs along,
And whirls them o’er the plain
To scatter them again
Very fine impression. Fine colour. Slight nibbling of border but otherwise fine condition. Signed Ichiyusai Kuniyoshi ga.
Status: Available
Utagawa KUNIYOSHI (1797-1861)
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A poem by the celebrated poet and monk Noin-hoshi from the series Hyakunin isshu no uchi, “One Hundred Poems for One Hundred Poets” which was compiled in 1235 by Fujiwara Teika (1162-1241). A group of travellers are caught in a torrential downpour. One of the best designs in the set published by Ebisuya Shoshichi, Ebine, 1840-42. Only 58 of the 100 are known. Various translations of the poem exist, here is one:
The maples and leaves
Of Mount Mimura –
Making the Tatsuta River
A fine brocade
Very fine impression. Fine colour. Slight nibbling on one margin, otherwise fine condition. Signed Ichiyusai Kuniyoshi ga.
Status: Available
Utagawa KUNIYOSHI (1797-1861)
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Inuyama Dosetsu, one of the eight dog heroes, enveloped in a conflagration. The heroes represent a Confucian ideal or Buddhist regulation and meet various adversaries in the epic Nanso satomi hakkenden, “Biography of the Eight Dogs” written by Takizawa Bakin between 1814 and 1842. Dosetsu is gifted with magic fire and is seen here with pine sprigs wrapped in paper clenched between his teeth. The subject represents Warabi Station (seen top left) from a set Kisokaido rokujuku tsugi, “Sixty-nine Stations along the Kisokaido.” In fact, a pun on the word warabi which can also mean “straw fire.” The bales can be seen bottom right. Published by Izutsuya Shokichi 1852. The best design from the set.
ga.
Fine impression and colour. Lightly backed and very slight vertical fold, otherwise very good condition. Signed Ichiyusai Kuniyoshi
Status: Available
Tsukioka YOSHITOSHI (1839-1892)
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Samu-so: Tempo nenkan Fukagawa Nakamachi geisha fuzoku, “Looking Frozen: The Appearance of a Fukagawa Nakamachi Geisha in the Tempo Era [1830-1844].” Shows a beauty caught in a snowstorm, her umbrella laden with snow from a set Thirty-two Aspects of Women published by Tsunashima Kamekichi, 1888. The set depicts women of different backgrounds and occupations from the Kansei era through to the Meiji era with punning allusions to their situation or mood.
Very fine impression of the true first edition. Fine colour and condition. Signed Yoshitoshi ga.
Status: Available
Tsukioka YOSHITOSHI (1839-1892)
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Omota-so: Tempo nenkan Fukagawa karuko no fuzoku, “Looking Weighed-Down: The Appearance of a Waitress at Fukagawa in the Tempo Era [1830-1844].” Shows the waitress carrying a portable wooden table with food to a geisha party from a set Thirty-two Aspects of Women published by Tsunashima Kamekichi, 1888. The set depicts women of different backgrounds and occupations from the Kansei era through to the Meiji era with punning allusions to their situation or mood.
Very fine impression of the true first edition. Fine colour and condition. Signed Yoshitoshi ga.
Status: Available
Toyohara KUNICHIKA (1835-1900)
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The actor Otani Tomoemon V playing the role of Ono no Michikaze (also read as Ono no Tofu) in the play Ono no Tofu Aoyagi Suzuri performed at the Ichimura-za Theatre, 5/1869. From a set of at least 22 prints published by Gusokuya Kahei, 1869. Kunichika produced some fine triptychs (horizontal and vertical) as well as this fine set.
Fine impression and colour. Very good condition. Signed Kunichika ga.
Status: Available
Toyohara KUNICHIKA (1835-1900)
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The actor Kawarasaki Sansho (later Ichikawa Danjuro IX) in the role of Sato Masakiyo in the Momoyama Goten Ohiroma scene from Momoyama Monogatari performed at the Ichimura-za Theatre, 8/1869. From a set of at least 22 prints published by Gusokuya Kahei, 1869. Kunichika produced some fine triptychs (horizontal and vertical) as well as this fine set.
Fine impression and colour. Slightly trimmed, otherwise very good condition. Signed Kunichika hitsu.
Status: Available
Torii KIYOHIRO (Active 1737-1776)
Torii KIYOHIRO
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A large oban, 17.25 x 12.25 in; 44 x 35.2 cms, sumizuri-e with hand-applied colour. Shows two ama, abalone divers, on the seashore with nets in the background , abalone shells at their feet and an octopus in the waves below them. The poem above speaks of the salty sea breeze wafting across the shore. Published by Maruya Kuzaemon (Gyokeido) c late 1730s. Extremely rare: Another impression is in the Ritsumeikan University, https://www.dh-jac.net/db/nishikie/Z0164-003/portal/
Very good impression. Light soil, and lightly laid down. Faint fold marks, but generally good condition for its size and date. Signed Torii Kiyohiro hitsu.
Status: Available
Keisai EISEN (1790-1848)
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A vertical double oban showing a falcon on a pine branch with a large red sun above. This was a very popular subject and many artists produced versions in different formats. However, I cannot, at the moment, locate another impression of this design. Published by Kawaguchiya Uhei, c 1830s. Extremely rare.
Fine impression and colour. Slight soil and several expertly repaired wormholes, but otherwise very good condition. Signed Keisai Eisen ga.
Status: Available
Isoda KORYUSAI (1735-1790)
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A hashira-e, “pillar print” showing two women washing clothes at a well. Koryusai cleverly uses the ropes of the pulley to emphasize the narrow format. Koryusai was the master of this sort of print. Pillar prints were introduced to hang, when mounted, on the pillars of a Japanese house. Consequently, they often come browned, creased or faded and finding good examples is difficult. Rare: Other examples in MFA Boston, acc. no. 21.8379 (ex Metzgar sale 1/12/1921); TNM, catalogue 1, (1960), no. 742; and illustrated in Pins, The Japanese Pillar Print, 1982, no. 396.
Very good impression. Good colour. Slight toning and small repair bottom right corner, but otherwise a nice example. Signed Koryusai ga.
Status: Available
Tamagawa SHUNSUI (Active 1772-1781)
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A hashira-e, “pillar print” by a rare artist, a pupil of Choshun who went on to teach Katsukawa Shunsho. Produced a few chuban, hosoban, and pillar prints. Shows the Minamoto (Genji) warrior Kumagai Naozane ,above, attacking the Taira (Heike) warrior Taira no Atsumori, below, at the battle of Ichi-no-Tani in 1184 during the Genpei war. Pillar prints were introduced to hang, when mounted, on the pillars of a Japanese house. Consequently, they often come browned, creased or faded and finding good examples is difficult. Rare: Another impression is in MFA, Boston, acc. no. 28.500.
Very good impression and colour. Light toning but otherwise very good condition. Signed Tamagawa Shunsui ga.
Status: Available
Ichiryusai HIROSHIGE (1797-1858)
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Fujieda from Tokaido gojusan tsugi, “The Fifty-three Stations of the Tokaido.” The set of fifty-five prints was published jointly by Hoeido and Senkakdo in 1834. Shows porters unpacking at the relay station. It was here that fresh horses could be obtained, luggage weighed, labour arranged, and payments made. Hiroshige’s most famous set that was reprinted many times.
Fine early impression: The porter just off-centre rubbing his back with a towel has a small area on his head that does not print on the earliest impressions, which was later corrected. Fine colour. Very slight centre fold, otherwise fine condition. Signed Hiroshige ga.
Status: Sold
Suzuki HARUNOBU (1724-1770)
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The left sheet of a rare diptych which was originally produced as an egoyomi (picture calendar) in 1766. A mitate (parody) of Chapter 4, Yugao, from the Genji Monogatari, “Tale of Genji.” This chapter relates how a mysterious beauty living in a mansion covered in vines with flowering yugao blossom (shown here covering the fence) enraptures Genji and they consummate their passion in a remote villa. However, one of Genji’s former lovers discovers the tryst and takes the life of “Yugao.” The right sheet shows a fashionably dressed young wakashu and a boy holding a miniature ox cart cricket cage. Other impressions in: Margaret O. Gentles, The Clarence Buckingham Collection, volume II, AIC, 1965, p. 26, no. 44; Tokyo National Museum, acc. no. A-10569_1274 (diptych) (inv. No. 10-5006); David Waterhouse, The Harunobu Decade, Museum of Fine Arts, Boston, 2013, vol. 1, pp. 88-89, cat. No. 100, acc. nos. 54.348-9 (diptych) and 21.4969 (left sheet); and Ukiyo-e Shuka, vol. 8, 1980, listed p. 116, no. 114. Rare.
Fine impression with the woodgrain showing strongly in the background as though it were blind-printed. Very good colour and condition.
Status: Sold
Chokosai EISHO (Active 1780-1800)
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The courtesans Hinazuru, Origiku and Misayama of the Chojiya House. The most prolific of Eishi’s pupils who produced some outstanding bust portraits. Published by Yamaguchiya Chusuke, c late 1790’s. Another impression is in the Chazen Museum of Art, Madison, acc. no. 1984.215.
Very good impression and colour. There is a variant impression with different colours. Slight soil, otherwise good condition. Signed Eisho ga.
Status: Sold
Tsukioka YOSHITOSHI (1839-1892)
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Megasame-so: Koka nenkan musume no fuzoku, “Looking as if She is Waking Up: The Appearance of a Maiden of the Koka Era [1844-1848].” Shows a beauty cleaning her teeth from a set Thirty-two Aspects of Women published by Tsunashima Kamekichi, 1888. The set depicts women of different backgrounds and occupations from the Kansei era through to the Meiji era with punning allusions to their situation or mood.
Very fine impression of the true first edition. Fine colour and condition. Signed Yoshitoshi ga.
ga.
Status: Sold