ANONYMOUS (Late 18th century)




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An Uki-e, “floating picture” painting showing an interior with a puppet performance taking place. A puppeteer manipulates a female puppet in the centre, behind him two gidayu narrators and a shamisen player. A male puppet is being held behind a screen. Ladies behind a screen at right enjoy the drama. In fact, a male individual at the back seems overcome by emotion with a hanky to his face. The architecture is represented using one-point perspective, a style which made its way to Japan in the 1740’s from the West via China. (Interestingly the artist has got the perspective wrong on the screen at right.) This genre of painting – invariably unsigned – always shows interior or semi-interior views with banquets or, as here, puppet performances. Full colour on paper, 17 x 23 in; 43.2 x 58.5 cms. Minor marks, although good condition for this kind of painting.

 

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Anonymous (c. 1810)




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An uncut ukie fan print, Edo meisho Eitaibashi, “Eitai Bridge, Edo.” Published by Ibaya Sensaburo, c. early 1800s. Possibly by Utagawa Kunimitsu or Utagawa Kunitora and quite possibly the only recorded impression.

 

Very good impression and colour. Slight corner soil, otherwise good condition.

 

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Anonymous (1821)




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A still life from a set of six prints for the Iwagaki Club: Iwagaki-ren rokuhira no uchi. Shows a tobacco pouch, telescope and snake netsuke (for snake year 1821). There appear to be at least three states of this lovely surimono.


Fine impression and colour with gold and silver on the pouch. Minor rubbing, otherwise very good condition.



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Anonymous NAGASAKI-E




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A Chinese ship entering the harbour. A rare print published by Yamatoya c1810s. Other impressions illustrated in: Nagasaki Prints And Early Copperplates, Masanobu Hosono, pl.33, p.55 and A Collection Of Nagasaki Colour Prints And Paintings, H.N.Mody, pl.87.


Very good impression, colour and condition.



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Anonymous (c. early 1800’s)




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A bird’s-eye panorama of Nagasaki harbour. These views are the most remarkable of the Bunkindo productions demonstrating linear perspective and, when early impressions as here, showing the use of block and stencil printing. The only illustrated example I have catalogued is in the Tokyo National Museum illustrated in Nagasaki Prints and Early Copperplates, Masanobu Hosono, Kodansha, 1978, pl. 27, p. 51. Ex Prof. Boxer collection (his seal bottom right corner). Large oban: 13 by 17 inches; 33 by 43 cms.


Exceptional impression and condition for this genre of print, with large margins. Fine.



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