/category/paintings/page/3/

 

Mori SOSEN (1747-1821)




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An original fan painting of a baby tanuki amongst autumn grasses and beneath a full moon. Sosen was a close observer of nature (even, it is said, living for a while in the woods to closely observe the animals). He is best known for his monkey paintings, of which there are many copies. The tanuki, or Japanese raccoon dog, is frequently depicted in Japanese art and mentioned in the folklore. It was reputed to be a mischievous creature and a master of disguise. Sumi and colour on a gold-flecked paper ground; 8 x 20.5 in; 20.5 x 52 cms. Mounted as a scroll. Old mount and box. An inscription on the inside of the box reads: Kokou Souryo shintei, “Judged by Kokou Souryo.” On the outside the inscription reads: Shunsou-tanuki-senmen, “Autumn grass tanuki fan.”

 

Sosen hitsu. Painted c. 1800. Signed Sosen with seals Shusho. Good overall condition.

 

Status: Sold

 




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Hishikawa MOROSHIGE (Fl. 1684-1704)




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An original painting showing a go game being watched by beautifully attired ladies. Moroshige was the senior pupil of Hishikawa Moronobu, and, it is said, was the father of Furuyama Moromasa. Sumi and full colour with extensive gold on silk; 10.75 x 15 in; 27.5 x 38 cms. Newly remounted with futomaki and box. Provenance: Ex William Sturgis Bigelow collection. He was one of the first Americans to live in Japan and much of his extensive collection went to the Museum of Fine Arts, Boston. His original seal has been affixed to the side of the box.

 

Painted c. 1700. In very good condition. Rare: A fine painting and nice subject.

 

Status: Sold

 




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Watanabe SEITEI (1852-1918)




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Seitei ( Shotei ) specialised in kachoga; was famous in this area, and regarded as the leading exponent. Technically brilliant. A complete set of three paintings showing, right, Hana shobu, “ Iris Flower; centre, Matsu ni koi, “Pine Tree and Carp”; and left, Shobu, “Iris.” Each painting in full colour on silk, image size 47.5 x 20 inches; 120.75 x 51 cms. Signed Seitei. Fine condition. With original double box, signed and sealed.



Status: Sold




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Kikukawa EIZAN (1787-1867)




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An original painting by Eizan who was the leading exponent of bijinga in the early 1800s producing many fine oban, triptych and shunga designs. He founded the Kikukawa School. Surprisingly, given his output of prints, his paintings are rare. This beautiful example, full colour on silk, 35 x 14.5 in; 88.9 x 36.8 cms, shows a courtesan reading a letter. Her sumptuous clothes are restrained in pattern and colour before the excesses of later years and other artists. Another example, not as fine as offered here, is in the Tokyo National Museum and is illustrated in their catalogue Ukiyo-e Painting Exhibition, 1993, no. 72, p. 64. The British Museum has a very slight painting of a beauty by Eizan illustrated in Ukiyo-e Paintings in the British Museum, Timothy Clark, Smithsonian Institution, 1992, no. 148, p. 195. One other fine example is illustrated in Masterpieces of ukiyo-e paintings from the Weston collection, various authors, 2015, no. 106, p. 161. Painted c. 1815-25. Signed Kikukawa Eizan hitsu with seals Kikukawa and Toshinobu. In very good condition having been recently remounted.

 

Status: Sold

 




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Teisai HOKUBA (1771-1844)




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One of the outstanding pupils of Hokusai, his paintings rated next below the master’s, and also one of the earliest, together with Hokkei and Shinsai. Designed some fine surimono, also kyoka books. But best known for his highly accomplished kakemono of bijin, often set against well known places in Edo. This pair of paintings shows, right, a beauty beneath a cherry tree, Sakura; and, left, a beauty on a small jetty beneath a maple tree, Momiji. Beautifully presented with old mounts and box. Full colour on silk. Image sizes 39.75 x 13.5 in; 101 x 34.5 cms. In extremely good condition with beautiful details on the costumes of the two bijin. Each painting signed Teisai with seals Tei Sai. Probably c 1830’s when his finest work is considered to have been made.

 

 

Status: Sold

 

 




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Ichiryusai HIROSHIGE (1797-1858)




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A newly discovered painting of a three-clawed Kano-style dragon amongst clouds. Although a subject popular with Japanese artists (and especially Chinese artists where the subject derives from), this appears to be the only such painting by Hiroshige extant. He did, however, produce two prints of the subject – a surimono and a large panel, both of around the same date. The signature indicates a date after 1840 and it was most likely painted for the Dragon Year 1844. Blue and brown ink on paper with extensive splashed ink. Image size 34.5 x 10.5 in; 87.7 x 26.7 cm. The mount uses a ryu-mon (dragon pattern) motif to match the subject. Very good condition. Signed Ichiryusai Hiroshige hitsu with Ichiryusai seal.

 

Status: Sold

 




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Isoda KORYUSAI (FL c 1764-1788)




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A superb original painting, full colour on silk, showing a beauty running in a late snowfall. Cherry blossom above. A leading artist of his time who produced some of the best bijin and kacho prints of the 1770s before concentrating on painting. Image size 40.25 x 14.25 in; 102.5 x 36 cm. Good condition. Painted c 1778. Signed Koryusai ga with seal Masakatsu, no in.

 

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Utagawa KUNINAO (1793-1854)




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An original painting showing a sumptuously attired parading courtesan. Kuninao was a pupil of Toyokuni, then a follower of Hokusai. Above is a lengthy inscription on the Yoshiwara by Shikitei Sanba ( 1776-1822 ). Together with Santo Kyoden, a professional writer of gesaku fiction. Famous for one of the best known works of the late Edo period; Ukiyoburo or “Bathhouse of the Floating World” ( 1809 ). Full colour on silk, 33.25 x 12.25 in; 84.5 x 31 cms. Slight browning, otherwise good condition. Old mount in good condition. Painting signed Utagawa Kuninao with Utagawa seal. Inscription signed and sealed Shikitei Sanba with date Bunka 9 ( 1812 ).


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Ichiryusai HIROSHIGE (1797-1858)



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Mitake from Kisokaido rokujukyu-tsugi no uchi, “Sixty-nine Stations of the Kisokaido.” The set of seventy prints was first published by Hoeido in 1835 with Eisen, but in 1837 Hiroshige took over and completed the series with the publisher Iseya Rihei (Kinjudo). The conjecture is that Hiroshige was the better known and more commercial artist, reinforced by the fact that Eisen’s name was removed from the designs already published. Hence, only the first editions have his signature on those prints. Shows a post station near to the famous Gankoji Temple. The inn and teahouse is advertising lodging.

 

Fine, very early impression. Fine colour and condition. Signed Hiroshige ga.

 

Status: Sold

 

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Mori SOSEN (1747-1821)




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A large original painting of one hundred monkeys. Sumi and light red on silk. Image size 57.5 x 32.25 in; 146 x 82 cms. The monkeys – some being white – are painted with great finesse and are shown perched on and scrambling over a large peach tree. Others are seated on rocky ledges around the tree in a mountainous landscape with a waterfall top left. Sosen is considered the best painter of monkeys in Japan, although he also depicted other animals. He is supposed to have lived for a while in the woods to better observe the monkeys. There are many copies of his work. Sosen produced several other one hundred monkey paintings and they are his masterpieces.

 

In very good condition. Signed Sosen utsusu with seal Morizo. A superb painting and extremely rare.

 

Status: Sold

 




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Kochoro KUNISADA (1786-1865)




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An original painted fan showing the actor Danjuro VIII. The fan has been used and dismounted from the frame and laid onto Japanese paper, hence the rib marks. Signed Toyokuni fude with red toshidama seal. Painted c 1858. Sold “as is.” Extremely rare.


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Kawanabe KYOSAI (1831-1889)




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A fine painting showing Oishi Yoshio (Kuranosuke) with his fellow servants cavorting in a Bon-Odori dance behind him. The famous Chushingura story relates how Yoshio, the principle retainer and counsellor of Asano Takumi no Kami (Yenya), and his colleagues became ronin to avenge the death of their insulted master by eventually decapitating Kotsuke no Suke (Moronao). Kyosai shows Yoshio trying to mislead anyone who thinks they are planning such a revenge by holding a party. Full colour on silk. Image size 46 x 16 in; 116.8 x 40.7 cms. Exceptional condition. Signed Seisei Kyosai ga with seals Joku Kyosai and Kyosai. The former seal is on the fine painting showing Ushiwaka-maru playing the flute for Princess Joruri which is in the Kumamoto Prefectural Museum of Art and dated to c 1888.

 

Status: Sold

 




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Tsukioka YOSHITOSHI (1839-1892)




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An original painting showing what is probably the most famous encounter in Japanese mythology: The scene is evening on Gojo Bridge in Kyoto where the twenty year old Benkei ambushes samurai to steal their swords. He is shown approaching the flute-playing Yoshitsune. A fight ensues which Yoshitsune wins due to his leaping ability taught to him by the mountain tengu. Yoshitsune pardons Benkei and they become loyal friends. This painting, in shades of sumi, beautifully evokes the crepuscular gloom. On silk, 7 x 9.5 in; 17.75 x 24.1 cms. Painted c late 1870s. Signed Yoshitoshi with Taiso seal.


Status: Sold




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Tsukioka SETTEI (1710-1786)




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An interesting large painting, full colour on paper mounted on a wooden frame, 25.5 in; 62cms in diameter showing a bust portrait of a beauty with elaborate coiffure and a white mouse. Although not signed, the attribution is unquestionable, painted between 1767-1773 in Osaka. It appears to have been commissioned to hang in a hairdresser’s or cosmetic shop and has metal eyes at the top. The oxidised silver leaf background was meant to resemble a mirror and the idea of busts reflected in mirrors and silver grounds was later employed by Utamaro and Sharaku. Besides silver, gum and raised painting is applied. Such signboards appear in an illustrated book by Hasegawa Mitsunobu published in Osaka in 1752. This new discovery has been written about by Dr. Yamamoto Yukari in vol.27 of Minzoku Geijutsu (Ethno-Arts) in 2011. Minor surface marks all over but astonishingly good condition given their age and use. Extremely rare.


Status: Sold




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Utagawa YOSHIHIDE (1832-1902)




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A painting in full colour on silk, 33.75 x 14.4 in; 85.6 x 36.6 cms. Shows a beauty after a bath looking down at her mirror. Yoshihide was a pupil of Kuniyoshi. In extremely good condition. Signed and sealed Sesso. Inscription guarantee on inside of box: “Late February in the 56th Year of the Showa era (1981).” Appraised, signed and sealed by Mr Tosuke Kimura.


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Tsukioka SETTEI (1710-1786)




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An interesting large painting, full colour on paper mounted on a wooden frame, 25.5 in; 62cms in diameter showing a bust portrait of a beauty with elaborate coiffure hanging paper acrobats. Although not signed, the attribution is unquestionable, painted between 1767-1773 in Osaka. It appears to have been commissioned to hang in a hairdresser’s or cosmetic shop and has metal eyes at the top. The oxidised silver leaf background was meant to resemble a mirror and the idea of busts reflected in mirrors and silver grounds was later employed by Utamaro and Sharaku. Besides silver, gum and raised painting is applied. Such signboards appear in an illustrated book by Hasegawa Mitsunobu published in Osaka in 1752. This new discovery has been written about by Dr. Yamamoto Yukari in vol.27 of Minzoku Geijutsu (Ethno-Arts) in 2011. Minor surface marks all over but astonishingly good condition given their age and use. Extremely rare.


Status: Sold




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Ichiryusai HIROSHIGE ( 1797-1858 )




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An original painting of the Sumida riverbank at Mimeguri, Toto ( Edo ). A full moon rises above a tori and is reflected in the river. Possibly originally from a makemono. Sumi and light colour on paper, 7.9 x 21.9 in; 20 x 55.5 cms. Sealed with a Ryusai seal used in his later years.



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Tsukioka SETTEI ( 1710-1786 )




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An original painting showing a beauty sitting on an engawa having picked flowers which she is placing in a wooden bucket beside her. Settei produced many illustrated books but after around 1765 turned towards painting beauties, courtesans and geishas. They are of the utmost refinement – the faces and limbs picked out in red, their costumes often having areas of gold, and invariably have the wide lantern-locks ( toro-bin ) hairstyle. Settei also excelled at shunga painting. Sumi and full colour with details picked out in gold on silk. 30.75 x 11.5 in; 78.1 x 29.2 cms. Minor creasing but otherwise very good condition. An elaborately embroidered mount. Painted c 1770. Signed Tsukioka Settei with seals Shinten’o and Tsukioka shi.



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Tsukioka YOSHITOSHI ( 1839-1892 )




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An original painting showing Fukurokugu – the God of Happiness, Wealth and Longevity and one of the Seven Gods of Good Luck, Shichi-fuku-ji, teasing a cat with the tassle on his fan.  The Seven Gods theme  comes from China, and possibly India as well, apart from Ebisu. Sumi on paper. Light creasing and rubbing at top otherwise good condition. Image size  47.75 x 22.5 in; 121.5 x 57 cms. Painted c 1880s.


Signed Yoshitoshi with seals Taiso Yoshitoshi.


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Katsushika HOKUSAI ( 1760-1849 )




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Hotei with a karako puppet doll. Hotei, the God of abundance and good health, was one of the Seven Gods of Good Luck. The concept originated in India ( except Ebisu ) and came to Japan via China. He is usually shown as a shaven-headed priest in loose Chinese garments, holding a fan and reclining against a large bag. He is often surrounded by children trying to discover what is in the bag. Karako is a Chinese child who is usually depicted with a partly shaven head. These “treasures” were auspicious symbols of prosperity. Sumi and light colour on paper, image size 20.75 in x 13.5 in; 52.6 cms x 34.4 cms. The calligraphy is by Shotochinjin. Signed Gakyo Rojin Manji yowai hachi-go, “From the brush of Manji, old man mad with painting, aged eighty-five. With Katsushika seal. Exhibited in Masterpieces of Paintings by Hokusai School at the Itabashi Art Museum, 2008. . New mount and box with a futo-maki ( a thick wooden roll to preserve the painting from damage ). In fine condition.


Status: Sold




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Kitagawa SHIKIMARO ( active c 1810 )




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An original painting, full colour on silk, image size 37.75 in x 15 in; 96 cms x 38 cms.
This pupil of Kitagawa Tsukimaro is known for his prints of full length beauties. Paintings by him are extremely rare and this is possibly the finest example. Shows a Kagi-zu, a geisha who entertained by playing the shamisen. Her attendant is seen behind her holding the three-stringed instrument. The shamisen came originally from China via Okinawa and underwent certain changes. It was adopted by the geisha culture in 1750 and took a number of years to master. New mount and box with a futo-maki ( a thick wooden roll to preserve the painting from damage ). In fine condition. An exceptional painting – especially the rendering of the acolyte’s face. Signed Toto ( Eastern Capital ) Shikimaro ga with red kakihan.


Status: Sold




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Ichiryusai HIROSHIGE (1797-1858)




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A fine original Hiroshige painting showing ayu or ai, river trout, swimming in a stream or lake. The rocky bank overhangs and is reflected in the water. The ayu ( Plecoglossus altivelis ), or Japanese sweet fish, is synonymous with Gunma Prefecture. Although Hiroshige made other paintings of ayu, this is a rare subject. Also the subject of the best print from the first fish series published by Eijudo c 1832-4. Sumi and light colour on the ubiquitous grey silk Hiroshige liked to use, 15.25 x 21 in; 38.75 x 53.25 cms. Signed Hiroshige ga with Ichiryusai seal.


Status: Sold




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Ichiryusai HIROSHIGE (1797-1858)




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An important and fine original Hiroshige painting showing a view of Mount Fuji from Kisarazu in Chiba Prefecture. Minimalist and very subtle, this is one of the best Hiroshige paintings I have had. The near trees float above bands of mist and clouds hang at the base of Fuji. This is the same view that he used for the design Kazusa Kuroto no ura from the Thirty-Six Views of Fuji published 1858. There is also a drawing in a Hiroshige sketch book in the British Museum. Sumi and very light colour on paper, 49 x 17.75 in; 124.5 x 45 cms. Newly remounted and in fine condition. New box and futo-maki ( thick wooden roll to preserve the painting from damage ). Signed: Kamiusa Kurotonoura no zu Hiroshige ga with Ichiryusai seal.


Status: Sold




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Katsushika HOKUGA (Fl. c 1820s to 1830)




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An original fan painting showing a seated beauty holding a fan. Full colour on mica- covered paper. 6.5 x 18.5 in; 16.5 x 47 cms. Hokuga was a pupil of Hokusai and produced paintings and surimono. Good condition. Laid onto Japanese paper. Signed Hokuga hitsu.


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Katsukawa SHUNCHO (Fl. c 1780-1801)




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An original painting showing a standing beauty inserting a hairpin. An important print artist who produced many fine diptychs and triptychs. Paintings by him are rare. Studied under Shunsho, then Kiyonaga and Shumman. Full colour on silk, 30.75 x 10.5 in; 78 x 26.5 cms. Signed Shien Shuncho with unread seals.



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Katsushika HOKUGA (Fl. c 1820s to 1830)




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A fine original painting showing a beauty on the snow-covered dock used by boats to the Yoshiwara. Hokuga was a pupil of Hokusai and produced paintings and surimono. Full colour on silk, 37.5 x 11.25 in; 92.75 x 28.5 cms. Two repaired wormholes, otherwise very good condition. Box with title “Beauty Standing on Dock” with painting guaranteed on the underside of lid by Narasaki Muneshige. Illustrated in Ukiyo-e Paintings in Japanese Collections, vol. 7: the Manno Art Museum, edited by Kobayashi Tadashi. The inscription above is by Ota Nampo – Shokusanjin ( 1749-1823 ). Signed Karyosai Hokuga fude.


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Gessai GABIMARU (Fl. c 1810)




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A beautiful painting of a parading courtesan. A follower of Chobunsai Eishi in the Bunka period. There are works by him signed Chobunsai, so he may have been related to Eishi. Full colour on silk, 29.5 x 5.75 in; 75 x 14.5 cms. Painting in good condition. Mount is old and the painting should either be framed or remounted. Signed Gessai Gabimaru ga.


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Shiokawa BUNRIN et al




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A fine Kyoto gassaku painting. ( A collaborative work by a group of friends. ) Shows a lobster by Shiokawa Bunrin ( 1808-1877 ), a pupil of Toyohiko; clams by Hasegawa Gyokuho ( 1822-1879 ) a pupil of Keibun; a sea bream by Yokoyama Seiki ( 1792-1864 ) a pupil of Keibun; and a stingray by Murase Soseki ( 1822-1877 ), a pupil of Keibun and Seiki. Four masters of the Shijo school. A large painting in full colour on silk in very good condition, 52.5 x 27.5 in; 133.5 x 70 cms. Mount in very good condition.


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Ichiryusai HIROSHIGE (1797-1858)




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A large and important painting showing a view of the Sumida River through the piles of the Ryogoku Bridge. In the distance the ofunagura, “boat houses,” boats on the river and the Shogun’s official horses – goyouba – being taken out by samurai to the shoal outside the ofunagura-mae, the Shogun’s dock, to be cooled off. This masterpiece appears to be from a series of views of the Sumida as there is another – a view of Mimeguri, Sumida river bank in snow – in the Bato Hiroshige Museum of Art. The size, signature and seal is the same. Sumi and light colour on paper, 21.25 in; 54 cms. x 37 in; 94 cms. In very good condition. Old mount and box. Signed Hiroshige ga with Ichiryusai seal.


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Kono BAIREI (1844-1895)




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A fine painter of kacho-ga and landscapes. Born and lived in Kyoto. Studied under Raisho and Bunrin. Especially well known for his teaching: In 1878 he began to work towards the establishment of an art school that opened in 1880 as the Kyoto Prefectural School of Painting. Contributed to numerous books from Bairei hyakucho gafu, 1881 to Bairei kacho gafu, 1881, Bairei hyakucho gafu zoku hen, 1884, Bairei gafu, 1886 et al. Shows a shoal of red sea bream, Pagrus major, and an octopus. Full colour on silk, 42.75 in; 108.5 cms. x 14 in; 35.5 cms. Probably original mount. Several small insect marks, otherwise very good condition. Signed Bairei with seals Naotoyo and Bairei.


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Taki KATEI (1830-1904)




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A fine and decorative painted silk folding hand-fan by the Meiji artist Taki Katei. He lived in Tokyo and studied painting under Araki Kankai; also studied Chinese painting in Nagasaki. A fine kacho-ga painter. He contributed a lot to the medium of books and was the principle artist on three gafu: Kokotan gato, 1883; Kacho gafu, 1883 and Tanjo ippan, 1887. Shows a Japanese lobster, sea bream and shells with various flowers on one side and a hydrangea in a Chinese basket with various lilies on the other. The fan is in very good condition; the silk flecked with gold; the ribs are bamboo, the exterior decorated with floral designs in raised lacquer. The fan is contained within what is probably the original brocade case and has the original tassles. Fully open the fan measures 20.5 in; 52 cms. across and 11.25 in; 8.5 cms. in height. Fully signed and sealed on both sides Katei Taki.


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Katsushika HOKUSAI (1760-1849)




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An important original painting showing a taro plant and balloon flowers. This statuesque plant is known as the village potato in Japan ( satoimo ) for its edible corms and “elephant ears” when grown ornamentally. Above is a poem by Ota Shokusanjin ( Ota Nampo ), a famous late Edo period poet and writer. The poem reads:


Aki chikoo saitsuru hanano koikaze ni


Kaburiwo fureru imoha arashina


Shokusanjin



Interestingly, Shokusanjin’s calligraphy is often at a slant. Why this should be I cannot say. The taro appears in other Hokusai paintings and there is another close version of this painting illustrated in the Special Exhibition, Hokusai, Nagoya City Museum, 1991.10.26 – 1991.11.24, no. 210. Hokusai often duplicated subjects as he was near to destitution many times. The painting employs the tarashi- komi – Rimpa technique of colours dripped or brushed into wet ink. Sumi and light colour on silk, 42.5 in; 108 cms x 11 in; 28 cms. Newly remounted and in fine condition with new box and futo-maki ( thick wooden roll to preserve the painting from damage ). Signed Iitsu hitsu with seal Iitsu. Sold together with what is probably the original box.


Status: Sold




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Hosoda EISHI (1756-1829)




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A fine original painting by one of the best known Ukiyo-e artists. This high ranking individual produced some of the most refined prints during the late 1780s and the 1790s. He had many pupils including Eisho, Eiri and Eisui. Shows a standing beauty painted c. late 1790s. One hand adjusts a hairpin, while the other holds a partly concealed letter. Image size 35.25 x 13 in; 89.5 x 33 cms. Exquisitely painted in full colour on silk. In very good condition with futo-maki ( thick wooden roll to preserve the painting from damage ) and fine new mount and box. Signed Chobunsai Eishi hitsu with Eishi seal.


Status: Sold




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Ichiryusai HIROSHIGE II (1826-1869)




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A free-style painting showing a basket with vegetables and a kasago, spotted rock fish or scorpion fish ( Sebasticus marmoratus ); a Japanese half-beak or snipe fish ( Hemirhamphus sayori ); shiba-ebi, shrimp, and a fugu or pufferfish ( Sphoeroides ). Hiroshige II ( Shigenobu ) was the adopted son of Hiroshige. On his death he married his daughter. Full colour on paper, image size 14 x 23 in ; 35.5 x 58.5 cms, c early1860s. Very good condition. Mounted and with box. Signed Hiroshige with Ichiryusai seal.


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Suzuki SHONEN (1849-1918)




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A large painting for the year of the Dragon 1880 ( Meiji 13 ). Suzuki Shonen was a major Kyoto-based Nihonga artist of the late Meiji period. The son of Suzuki Hyakunen, the founder of the Suzuki school of painting, whom he succeeded. He seems to have been a somewhat flamboyant character and was known as the “modern Soga Shohaku.” Shows the Dragon of the Storm descending above turbulent water. A mythological creature that dominated Chinese and Japanese art. It was a scaly four-legged serpent with dorsal spines, the head having two horns, long feelers, and flame-like streamers at the shoulders and hind quarters. Painted in sumi with light touches of red on paper. Image size 56 x 25 in; 143 x 64 cms. Newly mounted. Very good condition. Signed Suzuki Shonen with date seal.



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Okumura MASANOBU (1686-1764)




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A newly discovered painting by one of the most influential artist in Ukiyo-e. His long life covered hand-coloured prints through to full colour printing in the mid 1760s and he was one of the first to use the block-printing process after 1740 and pioneer the benizuri-e picture. Extremely innovative: he pioneered the uki-e print, pillar prints and ishizuri-e. Not only was he a print artist, he also illustrated books, albums and produced paintings. He started his own publishing house, Okumuraya, which gave him greater control over the printing process. The popularity of his work led to many copies by other publishers, and he had to certify his work as “genuine.” Shows a standing beauty, Tachi bijin-zu. She carries a cherry branch and her gorgeous costume is decorated with grasses and flowers with cages for collecting insects and above various colourful butterflies. Full colour on paper, image size 35.75 x 12.25 in; 91 x 31 cms. Fine new mount with futo-maki ( thick wooden roll to preserve the painting from damage ) and box. Fine condition. Ex collection Raizou Kanda. Signed Hogetsudo Tanchosai Okumura Masanobu with seals Masanobu and Okumura. Although long lived, genuine paintings by him are rare.



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Kubo SHUMMAN (1757-1820)




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A fine painting showing a seated girl fulling cloth ( a process of beating which eliminated the dirt and other impurities ) with another standing beauty holding beaten cloth in a wooden tray on her head. This scene represents Mishima, or Toi, Province of Settsu. One of the Six Crystal ( Tama ) Rivers. ( Toi is the alternative name of the river and the word for beating cloth. ) This was probably Shumman’s most celebrated subject. He produced a set of six prints on this theme published by Fushimiya Zenroku, c 1787. 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 prints and the known paintings of this subject use the benigirai style, “red avoiding” pioneered by Shumman, Eishi and Shuncho. Shumman, 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: “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. Painted on silk in tones of sumi, very light green, gofun and a small touch of red on the girls’ lips. Image size: 36 x 12 in; 91.5 x 30.5 cms. Other versions of this subject are in the BM ( 1922.2-13.01 ) and the Freer Gallery of Art ( FI903.62 ), gift of Charles Freer. Painted c early 1790s. Slight loss of gofun and very minor spotting, but otherwise in very good condition. Interesting old mount. Exhibited in 1995 at Shunsen Museum in Nanamashi prefecture, Nikushitsu ukiyoe meisaku ten, hosted by Mr Keizaburou Yamaguchi, p. 40, no, 37. Painting guaranteed by Mr Narazaki, the box being signed and dated 1988 by him. Signed Shosado Shumman, with circular Shumman seal.



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Katsushika HOKUSAI (1760-1849)




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A wonderfully delicate study using light washes showing a Japanese carrot, mushrooms, a Japanese cucumber ( which have knobbles or spikes as opposed to our smooth-skinned varieties ), aubergines and long beans ( possibly yardlong beans ). Obviously from a large album of such studies ( it has a light centre fold ) which would have been signed and/or sealed at the end.


Full colour on paper. Fine condition. 11.5 x 18.5 in; 29.5 x 47 cms.


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Ichiryusai HIROSHIGE (1797-1858)




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A fascinating specially commissioned painting by Hiroshige showing a large carp windsock ( koinoburi ) and Boys’ Day banners. Fuji is seen in the distance. The centre banner shows Shoki, the Demon Quellor, exorcising an oni. Shoki images were popular in houses to ward off evil during the Boys’ Day Festival, Tango no sekku, held on the 5th May. The carp was displayed outside homes of families with boys and their strength and character was symbolised by the determination of the carp swimming upstream. See also the print Suido-bashi, Surugadai from the Meisho Edo hyakkei, “One Hundred Famous Views of Edo,” published 1857 where Hiroshige uses the same large carp windsock. Sumi and full colour on silk. Extensive use of gold on the banners, the clouds below and the carp. The eye of the carp lacquered. 28.25 x 11.62 in x 72 x 29.5 cms. Original mount removed. The painting can either be framed and glazed or remounted. Very good condition. Signed Ojyu ( “commissioned” work ) Hiroshige fude. Seal Ichiryusai.


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Kubo SHUMMAN (1757-1820)




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A fine painter and renowned for his surimono, and for supervising the design and carving of them for fellow poets. Produced some refined prints and contributed to kyoka anthologies. Changed the character with which he wrote “Shun” of Shunman from”Spring” to “Excel” in 1782. Shows a Botangesyohaku ( poet ) holding a peony and riding an ox. The kyoka poem above is by Ota Nampo ( 1749-1823 ), a leading light of popular literature who often collaborated with Shumman. Sumi and light colour on silk. 36 x 12 in; 91.5 x 30.5 cms. Old mount and box. In very good condition. Signed and sealed Shumman.


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