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.
Status: Available
TORII School (c. late 1750’s)
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An original painting, full colour on paper with gold additions, image size 30 x 10 in; 76 x 25.5 cms. Shows a beauty holding up a puppet of the actor Bando Hikosaburo II. Painted c. late 1750s and possibly by Torii Kiyomitsu. In good condition with seal Torii.
Status: Available
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Cho GESSHO (1772-1832)
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A large original painting of moored junks caught in a violent squall. A fine painter who studied under Tanke Gessen and Matsumura Goshun in Kyoto before moving to Nagoya in 1798 and becoming Nagasawa Rosetsu’s assistant for a short time. Also illustrated some fine ehon. Sumi and colour on silk with the currents of air painted in gold; 55.25 x 26 in; 140.25 x 66 cms. Painted c. 1810s. Provenance: Two previous owners’ seals on the exterior of mount: The Honda family library and the Ueno family. Old box with inscription which states that Gessho wanted to acquire a painting from the Owari district. Although not intrinsically valuable it was esteemed by the local people. He offered to exchange the painting offered here for their painting. There is a dig here in that the inhabitants of Owari were known to be avaricious. Written by Mizutani Okurei (1848-1926). Presumably based on the accounts of the two previous family owners.
Signed Gessho with seal: Yukisada, Genkei, Gessho. Obviously an important painting by Gessho and in very 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
Teisai HOKUBA (1771-1844)
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One of Hokusai’s best pupils. Known for his paintings of beauties but also designed some fine surimono. An original fan painting showing a reclining beauty. Sumi and light red on silvered paper, 7.25 x 17.75 in; 18.5 x 45.2 cms. Removed from a fan, so rib folds and other minor marks. Signed Hokuba ga.
Status: Available
Utagawa KUNIYOSHI (1797-1861)
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The poet Dainagon Tsunenobu (1016-97), seated at the window of his study having recited his most famous poem which speaks of the evening breeze in Autumn, is visited by an enormous ghost who screams a poem by the Chinese poet Bai Juyi (Jap: Hakuraten). From a set Hyakunin isshu no uchi, “One Hundred Poems by One Hundred Poets.” A compilation by the celebrated poet Fujiwara Teika in 1235. Only 58 of the set are known published by Ebine c 1840-42. A number of variant impressions exist of this design with the apparition printed either much darker or lighter, or the background darker and other minor differences. These all appear to be contemporaneous as the printers experimented. This impression appears to be the most successful. A fine design from an underrated set.
Fine impression, colour and condition. Signed Chooro Kuniyoshi ga.
Status: Available
Utagawa KUNIYOSHI (1797-1861)
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A poem by the celebrated poet Oe no Chisato from the series Hyakunin isshu no uchi, “One Hundred Poems for One Hundred Poets” which was compiled in 1235 by Fujiwara Teiki (1162-1241). Shows two porters with an empty palanquin beneath a haloed moon. One of the best designs from the set. Published by Ebisuya Shoshichi, Ebine, 1840-42. Only 58 of the 100 prints are known. Various translations of the poem exist, here is one:
Looking at the moon
Thoughts of a thousand things
Fill me with sadness –
But autumn’s dejection
Does not come to me alone
Fine impression and colour. Very good condition. Signed Ichiyusai Kuniyoshi ga.
Status: Available
Kobayashi KIYOCHIKA (1847-1915)
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A snow scene showing Sakura Sogoro, the leader of a peasant rebellion, kneeling to thank the ferryman Jinbei for the selfless deed of taking him across Lake Inba. Soga watashiba no zu from Choga kyoshin kai. Published by Matsuki Heikichi, 1884.
Fine impression, colour and condition with extensive splashed gofun. Signed Kiyochika ga
Status: Available
Utagawa HIROSHIGE (1797-1858)
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Nihonbashi yukibare, “The Nihon Bridge, Clear Weather After Snow.” From the set Meisho Edo hyakkei, “One Hundred Views of Edo.” The set published by Uoya Eikichi 1856-58 (this being 1856). The set comprises 118 prints by Hiroshige and another by Hiroshige II. However, three prints are dated 10/1858, the month following Hiroshige’s death and these are thought to be by Hiroshige II as well. They are: Ueno Yamashita, Ichigaya Hachiman and Bikunibashi. Number 1 from the set and a view of the Sumida River with Mt. Fuji in the distance. This is the starting point for the Tokaido Road.
Fine, early impression with gradation on the roofs and on Mt. Fuji. Fine colour. Margins trimmed a little, otherwise very good condition. Signed Hiroshige ga.
Status: Available
Utagawa HIROSHIGE (1797-1858)
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Sumidagawa hazakura no kei, “Cherry Trees along the Sumida River” from a Toto meisho “Famous Places in the Eastern Capital” set of ten prints published c 1831-2 by Kawaguchiya Shozo. Hiroshige’s first landscape set. The first editions, as here, have decorative borders adding a western element into the design. These were removed on later editions. There are also variant states with different shading. Rare.
Fine impression and colour. Backed, otherwise very good condition. Prints from this set are often missing or have the publisher’s name and address on the right border trimmed. Signed Ichiyusai Hiroshige ga. (The last set to be signed like this.)
Status: Available
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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Tsukioka YOSHITOSHI (1839-1892)
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Okigatsuki-so: Meiji nenken saikyo nakai no fuzoku, “Looking Capable: The Appearance of a Kyoto Waitress in the Meiji Era [1867-1912].” Shows the waitress of a Kyoto geisha house whose job was to act as a go-between for customer and geisha. 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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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
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
Utagawa KUNISADA (1786-1865)
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The actor Segawa Kikunojo III as the Spirit of the Komachi Cherry Tree from a set Mitate sanjurokkasen no uchi, “An Imaginary Thirty-six Poets.” A famous early compilation; in this case the image is inspired by a poem of Fujiwara no Motozane. The spirit is the courtesan Kurozome who appears to combat the evil plans of Sekibei (actually Otomo no Kuronushi) to cut the tree down. Published by Iseya Kanekichi, 1852.
Fine impression. Fine colour. Very small binding holes otherwise very good condition. Signed Toyokuni ga.
Status: Available
Shunkosai HOKUEI (FL. 1829-1837)
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A dramatic diptych showing the actor Iwai Shijaku I as Lady Osuma shining her lantern on the actor Bando Jutaro as Sasaya Hanbei from the play Honobonoto ura no asagiri, “Daybreak Hidden on the Bay by Morning Fog.” A revenge drama performed at the Naka no Shibai, Osaka, 9/1832. Hanbei is an accomplice of the villain in the play, Karahashi Daisuke. The confrontation takes place immediately after he has murdered the fiancée of the play’s hero, Kowari Dennai, by throwing her off a cliff. He makes his escape by throwing shuriken (star-shaped throwing blades) at Osuma.
Very fine impression. This is a de-luxe edition of the first state “surimono-style.” The hand-stamped block cutter’s seal “surimono cut by Kasuke” bottom left of second sheet. A later edition missing seal was published by Iden. Fine colour with burnished pattern on Osuma’s costume and the poem above is written in metallic pigment. Fine condition. Signed Shunkosai Hokuei ga with seal fumoto no yuki.
Status: Available
Utagawa TOYOMARU (SHUNRO II) (Act. 1785-1797)
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The actor Onoe Matsusuke, probably in the role of Matsuo-maru in the play Sugawara denju tenarai kagami. Published c 1780s by Igaya Kan’emon (Bunkido).
Fine impression, colour, and condition. Signed Toyomaru 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
Kikugawa EIZAN (1787-1867)
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An aiban print showing the courtesan Segawa of the Matsubaya drinking ayamezake (a sake soaked with iris root) from a set Seiro gosekku, “Beauties of the Yoshiwara Compared to the Five Festivals.” In this case the Boys’ Festival held on the 5th May. Published by Iseya Soemon, c 1810.
Fine impression, very good colour and condition. Signed Kikugawa Eizan fude.
Status: Available
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
Tsukioka YOSHITOSHI (1839-1892)
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A triptych showing the priest Iwakura Sogen in a snowy garden. “Snow” from a set of three half-length portraits of actors with title: Setsugekka no uchi, “Snow, Moon, and Flowers.” Sogen was infatuated with the beautiful courtesan Irokotohime. He broke his vow of chastity and was expelled from his temple. Unfortunately, Irokotohime dies and Sogen is left with just his memories. There are other versions of this story and a play with the actor Onoe Baiko V. Published by Akiyama Buemon, 1890.
Fine impression of the first edition with variegated and unaltered sub-cartouche. Fine colour and condition. Signed Yoshitoshi ga.
Status: Available
Utagawa KUNISADA (1786-1865)
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The actor Onoe Kikugoro III as the ghost of Yasukata from a set Mitate sanjurokkasen no uchi, “An Imaginary Thirty-six Poets.” A famous early compilation; in this case the image is inspired by a poem of Nakatsukasa.The ghost haunted the ruined palace of Soma at Sashima. Published by Iseya Kanekichi, 1852.
Fine early impression. Fine colour. Very small binding holes and slight discolouration at left edge, otherwise very good condition. Signed Toyokuni ga.
Status: Available
Watanabe SEITEI (SHOTEI) (1851-1918)
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A large original painting, full colour on silk. Image size 47.25 x 20 in; 120 x 51 cms. Shows Japanese water iris with water striders. Seitei is best known as a kachoga (“bird and flower”) artist. He was technically brilliant showing realistic detail in a Japanese style but with Western sensibilities absorbed while living in Paris and he was, in fact, the first Nihonga artist to reside in Europe. A winner of many prizes during his life. Also published Seitei kacho gafu, 1890-91; Kacho gafu, 1903; Seitei kacho, 1916.
Signed and sealed Shotei. Very good condition. (This painting makes an excellent pair with the following offering although the mount sizes are slightly different.)
Status: Available
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Watanabe SEITEI (SHOTEI) (1851-1918)
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A large original painting, full colour on silk. Image size 47.25 x 20 in; 120 x 51 cms. Shows Japanese water iris with a snail. Seitei is best known as a kachoga (“bird and flower”) artist. He was technically brilliant showing realistic detail in a Japanese style but with Western sensibilities absorbed while living in Paris and he was, in fact, the first Nihonga artist to reside in Europe. A winner of many prizes during his life. Also published Seitei kacho gafu, 1890-91; Kacho gafu, 1903; Seitei kacho, 1916.
Signed and sealed Shotei. Very good condition. (This painting makes an excellent pair with the above offering although the mount sizes are slightly different.)
Status: Available
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Utagawa KUNIYOSHI (1797-1861)
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A poem by the celebrated poet Sutoku-in from the series Hyakunin isshu no uchi, “One Hundred Poems for One Hundred Poets” which was compiled in 1235 by Fujiwara Teiki (1162-1241). Shows the exiled Emperor Sutoku (1119-64) standing on a rocky outcrop above turbulent rapids. His wrath causes a thunderstorm with lightening. One of the very best designs from the set. Published by Ebisuya Shoshichi, Ebine, 1840-42. Only 58 of the 100 prints are known. Various translations of the poem exist, here is one:
Because the current is swift
Even though the rapids
Blocked by a boulder
Are divided, like them, in the end
We will surely meet, I know
Very fine impression. Fine colour. Very good condition. Signed Ichiyusai Kuniyoshi ga.
Status: Available
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
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
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
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 KUNIYASU (1794-1832)
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A triptych Soshu Enoshima Benzaiten Iwaya narabi sairei no zu, “Picture of Iwaya, the Main Shrine, Pilgrims to the Display of Benzaiten at Enoshima.” Enoshima island was a popular place to visit with the Iwaya caves and the shrine of the Buddhist goddess Benzaiten (Benten), goddess of the arts, entertainment and wealth, and one of the Seven Gods of Good Fortune. A fascinating print showing a multitude of various visitors. Published by Kawaguchiya Uhei, late 1820s. Rare.
Fine impression, colour and condition. Signed Kuniyasu ga.
Status: Available
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
Utagawa KUNIYOSHI (1797-1861)
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Chapter 32: Umegaye, “Plum brach” from an o-tanzaku set: Buyu nazorae Genji, “Heroic Comparisons for the Chapters of Genji.” Shows the Minamoto samurai Kajiwara Genda Kagesuye (1162-1200) fighting at Ikura-no-mori during the Genpai wars between the Taira and Minomoto clans. He has a plum branch stuck in his utsubo “quiver” in honour of his love Umegaye. The branch makes him an easy target for his enemies but he fights on regardless. Published by Ibaya Sensaburo, c 1843.
Very fine impression. Fine colour. Slightly trimmed at bottom, otherwise fine condition. Signed Cho-o-ro Kuniyoshi ga.
Status: Available
Kitagawa UTAMARO (1753-1806)
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A scene taken from the Chinese 14th century heroic novel San guo zhi yanyi, “Romance of the Three Kingdoms” attributed to Luo Guanzhong. Shows in the centre Liu Bei (Jap. Ryubei), the founder of the Kingdom of Shu, and the two warriors, Guan Yu (Kan U) on the right and Zhang Fei (Cho Hi) on the left. The three swore pledges of brotherhood in a peach orchard. Toen gikei no zu, “Picture of the Oath in the Peach Orchard. “ Published by Tsutaya Juzaburo with early signature c 1782-3. Rare.
Fine impression. Very good colour: yellow ground. Slight crease down right edge and very small wormage near top right, otherwise very good condition. Signed Utamaro ga.
Status: Available
Hosoda EISHI (1756-1829)
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Two beauties examining tanzaku poetry cards from a set Ukiyo Genji hakkei, “Eight Views of Genji in the Floating World.” The designs stand alone but also form diptychs. This series compares scenes from the famous Tale of Genji novel written by the Lady Murasaki in the early 11th century with the Eight Views of Omi [Lake Biwa]. In the present case, Maboroshi rakugan (viz Katata rakugan, “Descending Geese at Katata”) is compared to chapter 41, Spirit Summoner, of the Tale of Genji where a poem composed by the Akashi Lady is in response to the grieving Genji’s poem after the nocturnal encounter with Murasaki which refers to the wild goose (aka Genji) having flown away. Published by Eijudo c 1797-99. Another impression is in the B.M., reg. no. 1931, 0427,0.8 and an impression is illustrated in Klaus J. Brandt, Hosoda Eishi, 1977, 119, no. 301. Provenance: Sold Sothebys, New York, 28/10/1980, lot 866.
Fine impression. Very good colour with yellow ground. Slight centre fold and very slight trimming, otherwise very good condition. Signed Eishi zu.
Status: Available
Kikugawa EIZAN (1787-1867)
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An early complete 5-sheet (pentaptych) design being a mitate-e of a daimyo’s procession along Kugenuma beach with Enoshima island and Mt. Fuji in the background. Harugasumi hana iki retsu, “Journey in the Spring Mist.” The regional feudal lords (daimyo) were required every alternative year to travel to the capital of Edo. This was a deliberately costly affair and secured their loyalty as they had to leave their families in Edo. In this design young women replace the daimyo’s retinue. Published by Kawaguchiya Uhei, 1811-14. Its rare to find 5 or 6-sheet prints complete.
Fine impression and colour. Light album backing, otherwise very good condition. Signed Kikugawa Eizan hitsu.
Status: Available
Katsushika HOKUSAI (1760-1849)
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Volume 11 from the Manga. Front cover with original pink title slip: (Denshin kaishu) Hokusai manga juichihen, (“Transmitted from the Gods.”) “Hokusai’s Sketches, Vol. 11.” Original grey covers with burnished wave and diamond pattern. Inside front cover catalogue of newly published books; 2 pages preface and 29 numbered pages comprising 56 illustrations , 36 single page and 10 double page. 2 pages block-holders catalogue and inside back cover catalogue of newly published books. The extremely rare first edition published by Eirakuya Toshiro, Nagoya, c. 1834. The Manga was eventually completed in 15 volumes (the last two posthumously). The first 10 volumes published by Kadomaruya Jinsuke, Edo and Eirakuya Toshiro, Nagoya, 1814-1819; vols. 11 and 12 by Eirakuya only, c. 1834; vol. 13 by Eirakuya only, c. 1849; vol. 14 by Eirakuya only, c. 1850s; vol. 15 by Eirakuya only, 1878. Initially based on sketches produced on a visit to his friend and pupil Maki Bokusen in Nagoya in 1812. These sketches were collated by Bokusen and Katsushika Hoku’un and published in 1814. Other pupils collected sketches and so the set expanded. The books were enormously influential and popular, not just in Japan, but in the West and were endlessly reprinted giving rise to a plethora of late editions. In 1831, the German Phillip Franz von Siebold, reproduced images from the Manga in lithograph in his Archiv zur Beschreibung von Japon. They were also highly admired by the Impressionists, especially Manet and Bracquemond.
Fine impressions of the first edition. Some minor defects but otherwise in very good condition.
Status: Available
Maruyama OKYO (1733-1795)
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One volume complete Okyo gafu, “Book of Paintings by Okyo.” Original covers and title slip. A large book, 11.5 x 7.5 in; 28.4 x 19.2 cms folding out to 11.5 x 15 in; 28.4 x 38 cms. Published by Hishiya Magobe. Dated 1833 but first published 1850 (dated Kaei 3 [1850] at end). Twenty-four pages of sumi illustrations based on Okyo’s paintings. Arguably the most important Maruyama-Shijo painter. A tour de force of the block-cutters’ art replicating Okyo’s brush strokes. Minor imperfections but otherwise a very nice example of this work. Mitchell, p.441, example “A.”
Status: Available
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.
Status: Available
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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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.
Status: Available
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