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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Nagasawa ROSETSU (1754-1799)



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An original fan painting, sumi on treated paper, 17 x 6.25 in; 43 x 16 cms. Shows two needlefish (family Belonidae).Rosetsu is considered one of the most important artists of the late Edo period but little is known of his short life – he died at forty-five, apart from the fact that he studied and was one of the top disciples of Maruyama Okyo. He is labelled an “eccentric” painter as he defies easy classification. His brushwork is a tour de force and he is known for his expressive depictions of animals. Signed Rosetsu with his Gyo (fish) seal. Framed and glazed with the fan mounted onto Japanese paper. Good condition, apart from the obvious fan folds.

 
 

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KYOJINSAI (Fl. c 1789-1801)



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A large and fine original painting by an artist whom I am unable to find in the literature; possibly a pseudonym. Shows a high-ranking courtesan wearing a sumptuous kimono under cherry blossom. Full colour on paper, 49.25 x 20 in; 125 x 51 cms. The calligraphy above is by Kan’watei Onitake, best known as the author of a series of yomihon entitled Katakiuchi kidan Jiraiya setsuwa , “The Tale of the Gallant Jiraiya,” also known as the Jiraiya monogatari published in 11 volumes from 1806-7. The protagonist was a thief-come-wizard who is usually depicted astride a giant toad. Onitake was a pupil of Tani Buncho, Kyokutei Bakin and Santo Kyoden. It translates as a courtesan musing on the fact that customers’ attention in the spring turns to buying many things and, as the sun sets, will there be many clients in the Yoshiwara gathering as thickly as the cherry blossom. Signed Kan’watei Onitake san with a kakihan of an octopus. On the right the signature and seal of Kyojinsai. On the lid of the box is an inscription reading Kansei-ki Kyojinsai-hitsu oka no tayu sugata gasan, “A Kansai period inscribed painting of a high-class courtesan under cherry blossoms brushed by Kyojinsai.” And a repeat of the Onitake inscription. On the inside of lid: Showa shinyu Yayoi chukan, “Mid-March of the metal rooster [Showa 56/1981].” Appraised by Kimura Suetsuke ((a dealer and Ukiyo-e expert). Very good condition.

 
 

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Kawanabe KYOSAI (1831-1889)



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Shows the professional swordsman Kaibara Kenkichi travelling in the mountains from a set Kyosai rakuga, “Kyosai’s Drawings for Pleasure.” A satirical take on current events and mores. Generally considered the father of kendo. At the age of 13 he came under the tutelage of Seiichiro Odani to learn the art of swordplay and master its secrets. Became assistant instructor at the Kobusho in 1856. Famous for inventing the yamatozue, a wooden sword, and the ganko ogi, a wooden fan substitute for the wakizashi (short sword) when the decrees abolishing the wearing of swords in public was issued in 1876. Here he is surrounded by wild beasts and a skeleton. Published by Sawamuraya Seikichi in 1874. A set of 15 prints was planned but only 12 are known.

 
 

Very fine impression. Fine colour and condition. Signed Kyosai.

 
 

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Tsukioka YOSHITOSHI (1839-1892)



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A design from the set Azuma no nishiki ukiyo kodan, “Tales of the Floating World on Eastern Brocade.” Kodan (traditional storytelling) raconteurs narrated Japanese folk stories, sometimes accompanying themselves with wooden blocks clapped together or a fan giving rhythm. The Kodan text is shown above. Having been popular from around 1700 (and known as Koshaku), these performances gained renewed popularity in the 1850s with the classic standards augmented by contemporary stories of heroes and villains. Here, the wounded and blood-smeared chief of the Edo otokodate, Banzuin Chobei, is seen drinking water in a bathhouse where he is treacherously murdered by Mizuno Jurozaemon. Various publishers from 1867-68, here Sekiguchi Gyokumeido, 10/1867.

 
 

Fine impression. Very good colour. Slight trimming, otherwise very good condtion. Signed Ikkaisai Yoshitoshi hitsu.

 
 

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Utagawa HIROSHIGE (1797-1858)



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Izumo, taisha Hotohoto no zu, “Izuma [Province], Hotohoto Festival at Izumo Shrine.” Shows pilgrims to the oldest Shinto shrine in Japan. A heavy mist scene with the torii gate seen to the right. Every year from the 11th to the 17th day of the 10th lunar month (usually November) all Shinto’s deities from around Japan supposedly assembled here. It is also the shrine to visit in the hope of finding a partner. 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. Light album backing and very small wormhole at extreme edge of margin, top left, otherwise fine condition. Signed Hiroshige ga.

 
 

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Utagawa HIROSHIGE (1797-1858)



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Tosa, kaijo katsuo tsuri, “Tosa [Province], Bonito Fishing at Sea.” Fishermen used fishing rods, rather than nets, to reduce the stress on the fish and maximise taste. Tosa, located on the southern coast of the island of Shikoku, was famous for its bonito. 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 1855.

 
 

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

 
 

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Utagawa KUNIYOSHI (1797-1861)



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The actor Onoye Kikugoro III as the ghost of Oiwa from a production of Yotsuya kaidan at the Morita Theatre, 1836. Probably the most famous Japanese ghost story. It was adapted by the playwright Tsuruya Nanboku IV for his friend Kikugoro in 1825. The left panel of a diptych (the right panel being boring and usually ignored). A scene on Snake Mountain showing Oiwa, disfigured by poison, emerging from a burning lantern to haunt her husband, Tamiya Lemon, who had murdered her father. Published by Kawaguchi-ya Chozo, 1836.

 
 

Very good impression, colour and condition. Signed Ichiyusai Kuniyoshi ga.

 
 

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Kobayashi KIYOCHIKA (1847-1915)



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Taira no Tadamori Mido hoshi o toraen zu. The story relates how the Emperor Shirakawa was perturbed by a monster in the precincts of the Mido Temple at night. He commands the samurai Taira no Tadamori to kill it. The triptych shows Tadamori discovering that the monster is, in fact, the bedraggled old priest of Mido Temple who steals oil from the stone lanterns. Published by Hara Taneaki, c 1883.

 
 

Very fine impression with particularly fine gradation and printing. Fine colour. Minor edge damage, otherwise fine condition. Full margins: This design often comes with the title and or publisher’s seal trimmed. Signed Hoensha Kiyochika hitsu.

 
 

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Utagawa HIROSHIGE (1797-1858)




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Shimadai, grouper (probably Chilodactylus zonatus) and ainame, greenling (Hexagrammus otakii) together with red-berried nanten. Poem by Kanshunro Nushibito. Probably the first edition (Kruml 18a). From the second series of fish published by Yamasho c. 1840-42.

 

 

Fine impression, colour and condition. Signed Hiroshige ga.

 

 

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Utagawa HIROSHIGE (1797-1858)




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A snow scene: Fukagawa kiba, “Fukagawa Timber Yards.” The yards date back and are the result of the Meireki fire of 1657. Large amounts of wood was required for expanding Edo and the wood yards were moved to this area of swampland east of the Sumida River. 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.

 

 

Fine impression, colour and condition. Signed Hiroshige hitsu.

 

 

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Utagawa HIROSHIGE II (1826-1869)



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Enshu Akiba enkei Fukuroi tako. Fukuroi, Enshu (Totomi) Province from the “Hundred Views of Famous Places in the Provinces.” An uncompleted set of 81 prints published by Uoya Eikichi between 1859 – 1861 (this being 1859). Shows kite flying with a distant view of Mount Akiba. It has been suggested that the release of confetti was to bring good luck for the forthcoming harvest.

 

 

Very fine impression of the first edition. Fine colour. Very slight soil, otherwise fine condition. Signed Hiroshige ga.

 

 

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Kawanabe KYOSAI (1831-1889)




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An important collection of original drawings by Kyosai laid into two accordion albums, opening horizontally, 13.5 x 10 inches. Approx 157 drawings ( one signed and sealed; one signed and dated [ 6th October Meiji 3,1870 ]; and one signed ). After the date is the place: Shinobazu keidai Mikawatei, the garden of a temple ( Bentendo Hall ( ?) at Shinobazu pond, Ueno Park; Mikawatei being a restaurant. And the signature: Seisei Kyosai sui butsu rei hitsu, the drawing of Amida painted when drunk. Some drawings are from life, others seem to be memory drawings of his work, but most are preliminary ideas for books, prints or paintings. Many of Kyosai’s favourite subjects are represented including: skeletons, onis and cats. Drawings on this scale, spontaneous and with no need to impress, give a better insight into the mind of an artist, and on almost every page Kyosai’s humour shines through. Of particular delight are a group of drawings showing men on horseback playing some Japanese variation of polo, and a sheet recording new-born, still blind rats.

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Kawanabe KYOSAI (GYOSAI) (1831-1889)




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A draughtsman of great dexterity with a wild, often bizarre, imagination. Loved sake, sometimes painting under its influence. At an early age studied under Kuniyoshi, then Maemura Towa and later Kano Tohaku Chinshin before becoming an independent painter at 27. Was famous for his crow paintings but also loved skeletons. This newly discovered painting shows a full-length skeleton humorously hiding its genital area – not with a fig-leaf – but a large lotus leaf. Sumi and light green on silk, 38.75 x 13 in; 98.5 x 33 cms. Interestingly, a very faint under-drawing can be seen where he first thought of placing the figure.

 

 

Many copies of his work. In very good condition. Signed Seisai Kyosai with bell seal.

 

 

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Kitagawa UTAMARO II (Fl. c 1807-1830s)



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A courtesan and her Shinzo from a set Edo murasaki edoru hinagata, “Models Designed in the Purple of Edo.” A bluish purple as opposed to the more reddish purple from Kyoto. A pigment that had been extremely expensive and reserved for the elite few, but became cheaper and more accessible during the Edo period, fuelled by leading actors – such as Danjuro – wearing an Edo murasaki headband. Published 11/1807. Publisher unread.

 

Very good impression, colour and condition. Signed Utamaro hitsu.

 

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Torii KIYONOBU II (Fl. c 1720s-1760)



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An early print showing the actor Sawamura Harugoro as Soga no Goro. Another impression is in MFA, Boston, acc. no. 21.5656. Published by Hiranoya Kohachi c early 1740s. Ex collection Dr E.F. (1969). Rare.

 

Very good impression. Urushi beni-e with signs of hand-colouring (faded) and lacquered sumi. Paper toned and signs of mounting au verso. Signed Torii Kiyonobu hitsu.

 

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Adachi GINKO (Fl. 1874-1897)



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The actor Onoe Kikugoro V in the role of the evil Asao no Tsubone in a story by Murai Teikichi from a set Kodan isseki; yomikiri tsuika, “Storytelling Complete in One; More Stories.” Published by Gusokuya Kahei, 1874. Shows Tsubone encircled by snakes who force her to reveal her true identity – the Fox Spirit. Kodan (traditional storytelling) raconteurs narrated Japanese folk stories, sometimes accompanying themselves with wooden blocks clapped together or a fan giving rhythm. (The open Kodan text is shown top right.) Having been popular from around 1700 (and known as Koshaku), these performances gained renewed popularity in the 1850s with the classic standards augmented by contemporary stories of heroes and vigilantes.

 

Very good impression and colour. Minimal trimming, otherwise very good condition. Signed Oju Ginko hitsu.

 

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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.

 

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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.

 

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Utagawa KUNIYOSHI (1797-1861)




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The fifteen year old Otani Furuinosuke killing a giant boar with his bare hands. From a set Honcho Suikoden goyu happyakunin no hitori, “One of the Eight Hundred Heroes of the Water Margin of Japan.” Published by Kagaya Kichiemon c 1831. This is the first edition: It was republished by Ibaya Sensaburo in 1845. Robinson S4a.14.

 

 

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

 

 

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Utagawa HIROSHIGE II (1826-1869)



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The Dragon’s Maw Mountain, Bizen Province, Bizen tatsu-no-kuchiyama from an unfinished set Shokoku meisho hyakkei, “One Hundred Views of Famous Places in the Provinces” published by Uoya Eikichi between 1859 and 1861 (this being 1860). Shows a lone figure battling a heavy rainstorm in a steep-sided canyon.

 

Fine impression, colour and condition. Signed Hiroshige ga.

 

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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

 

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Nagasawa ROSETSU ( 1754-1799 )




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An original painting showing a white mouse and a spiny lobster on a tray. Rosetsu is considered one of the most important artists of the late Edo period but little is known of his short life ( he died at forty-five ) apart from the fact that he studied, and was one of the top disciples, of Maruyama Okyo. He is labelled an “eccentric” painter as he defies easy classification. His brushwork is a tour de force and he is known for his expressive depictions of animals. The Chinese-style inscription above is by Rosetsu’s friend Minagawa Kien who was a painter and scholar of Confucianism. It implies that the lobster and mouse are both signs of good fortune. Ink and light colour on paper. Image size 44.75 x 11.25 in; 113.75 x 28.5 cms.

 

Signed Rosetsu with seal Gyo. Painted 1790s. Inscription signed and sealed Kyosai. Slight foxing, otherwise in very good condition. One of the most copied painters. See Kono, Exhibition of Nagasawa Rosetsu, Chiba City Art Museum, 2000, pl. 42 for identical seals. Tsuji Nobu, Nagasawa Rosetsu: the Fanciful Painter, Miho Museum, 2011, pls. 19, 58-60, 67,87, 90, 91, 93 and 94.

 

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Utagawa KUNISADA (1797-1861)




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A fine and interesting original painting, full colour on silk, 11.25 x 20.25 in; 28.5 x 51.5 cms. Shows a reclining beauty looking up at a cuckoo (hototogisu) flying in clouds. The cuckoo is the harbinger of the summer months. This painting, made c 1830, reflects Kunisada’s study, together with Ikkei, of the work of Hanabusa Itcho (1652-1724). Indeed, Ikkei gave Kunisada the name Hanabusa Ittai and this painting is signed Hanabusa Itcho Kunisada ga with seal Hanabusa Ittai Kunisada no in. To the bottom left is an inscription reading “A disciple of Utagawa Kunisada drawn on request [the cuckoo].” There is a small seal but it is undecipherable.

 

 

Minor marks but in generally very good condition. Touches of gold and the gofun on the face well retained. Newly mounted with new box.

 

 

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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Utagawa TOYOKUNI I (1769-1825)


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An original painting, sumi and colour on silk, 10.5 x 8.75 in; 26.7 x 22.2 cms. A beauty after a bath. Signed Toyokuni ga with his kakihan. In very good condition.

 

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Utagawa KUNISADA (1786-1865)



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Four koban surimono-style prints from a set Hyakunin bijo, “One Hundred Beauties.” No publisher’s seal but published by Mikawaya Seiemon (who specialised in these prints), c late 1820s. Kunisada designed a number of such sets in this format.

 

Fine impressions, colour and condition.

 

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Utagawa YOSHIKAZU (Active c 1849-1867)




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A five-sheet original drawing (hanshita-e) showing a parade of beauties before a wicker fence and blossom. Bigyoku imayo hanazoroi, “An Assortment of Modern Beautiful Gems as Flowers.” Nice brushwork on the sumptuous kimonos. Sumi with sumi wash and light touches of red on thin Japanese paper laid onto further thin Japanese paper. Each sheet signed Ichikawa Yoshikazu ga. Sold “as is” with all imperfections, but in good condition.

 

 

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Imao KEINEN (1845-1924)




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An original painting, sumi on paper, image size 54 x 19.5 in; 137 x 49.5 cms. A pupil of Umegawa Tokyo and Suzuki Hyakunen. Keinen was an important figure in Kyoto art circles and considered the pre-eminent kachoga (bird and flower) artist at the end of the 19th century winning many prizes at home and abroad. Best known for his 4 volume Keinen kacho gafu, “Album of Bird and Flower Pictures by Keinen” published 1891-2. Shows two peacocks standing on a rocky outcrop. Peacocks were a popular subject for artists who could display their prowess at painting, the results often being sumptuously rendered. However, Keinen opts for a freer style in sumi only. Keinen was also known as a keen horticulturist and a bonsai expert. Original kiri wood box inscribed by him on the inside of the lid and guaranteeing the painting as being genuine. Outer lacquer box. In very good condition. Signed Keinen with seal.

 

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Utagawa HIROSHIGE (1797-1858)



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Asakusa Kinryuzan, “The Kinryuzan Temple at Asakusa” from Meisho Edo hyakkei, “One Hundred Famous Views of Edo.” The set published by Uoya Eikichi between 1856 and 1859 (this being 1856). A snow scene showing the oldest Buddhist temple in the city, the Sensoji or Asakusa Kannon, built on the low hill of Kinryuzan. Shows the Kaminarimon gate with the huge lantern with one character of the name shinbashi (a donor’s organisation).

 

Very good early impression and colour. Before the square plug becomes evident on the bottom left. Very good condition. Signed Hiroshige ga.

 

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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.

 

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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.

 

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Utagawa KUNIYOSHI (1797-1861)



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An o-tanzaku print, Yugao chapter from the fifty-four chapters of Genji, the Genji Monogatari. A tenth century romance written by Murasaki Shikibu. From a set Buyu nazoraye Genji, “Heroic Comparisons for the Chapters of Genji.” In this case showing Benkei creeping up on Ushiwaka on Gojo Bridge in Kyoto. 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. Benkei loses the fight and becomes Yoshitsune’s loyal retainer. Published by Ibaya Sensaburo, c. 1843.

 

Fine impression and colour. Very good condition. Signed Cho-o-ro Kuniyoshi ga.

 

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Utagawa KUNIYOSHI (1797-1861)



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Saginoike Heikuro from Honcho Suikoden goyu happyaku-nin no hitori, “Eight Hundred Heroes of our Country’s Suikoden, One by One.” Shows the brigand wrestling with a huge serpent at the Lake of Sayama (or Hazama) at Tondabayashi in the Province of Kawachi. Published by Ibaya Sensaburo, c 1845. (First issued by Kaga-ya Kichiyemon, c 1831, his seal just visible lower right corner.) Robinson S4b.4. A fine design.

 

Very good impression and colour. Full size. Slightly soiled bottom left, otherwise very good condition. Signed Ichiyusai Kuniyoshi ga.

 

Status: Available

 

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Utagawa KUNIYOSHI (1797-1861)



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Shows the warrior Chinsanzan Koshin (Chin: Huang Xin) holding the “Sword of Death.” His nickname was the “Guardian of the Three Mountains” because of his boast that he could easily eradicate the bandits from the three mountains in the Qingzhou region. . 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 S2.10.

 

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 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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A triptych showing beauties carrying brine in yoked buckets to be made into salt. From a set Mu Tamagawa, Mutsu no kuni chidori no Tamagawa, “Six Jewel Rivers, Plover Jewel River in Mutsu Province.” Also known as the Noda Jewel River. Above, a flock of chidori. The Mu Tamagawa theme was popular in Japanese art. Published by Sanoya Kihei, 1847-8.
Very good impression. Slight fading, otherwise good colour. Very good condition. Signed Ichiyusai Kuniyoshi ga.

 

Status: Available

 

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Utagawa KUNIYOSHI (1797-1861)



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A rare early Kuniyoshi triptych, Minamoto no Yorimitsu no Shitenno tsuchigumo taiji no dzu, showing Minamoto no Yorimitsu (Raiko) and his loyal retainers: Watanabe no Tsuna, Usui no Sadamitsu, Sakata no Kintoki and Urabe no Suetake killing the giant “Earth Spider.” Numerous versions exist of this story but basically Raiko and his followers have to tackle various horrendous apparitions in a cave within the hill Kagura ga oka near Kyoto, eventually to be faced by a beautiful woman who envelops Raiko in cobwebs. He slays her and her body turns into a spider, the head being twenty-five feet long and eyes shining like the sun and moon. He cuts off the beast’s head and the carcase reveals the many bodies devoured by it. Published by Maru-ya Seijiro, c 1838. Robinson T46 and illustrated in colour, Kuniyoshi, B.W.Robinson, Phaidon 1982, plate 37.

 

Very good impression and colour. Minor creasing, otherwise very good condition. Signed Ichiyusai Kuniyoshi ga.Very good impression. Slight fading, otherwise good colour. Very good condition. Signed Ichiyusai Kuniyoshi ga.

 

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Utagawa KUNIYOSHI (1797-1861)



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The brigand Saginoike Heikuro Masatora plunging a short sword into a giant boar. He is usually depicted battling a giant snake. Published c 1834-5 by Sanoya Kihei. Republished by Uedaya Kyujiro. Robinson S1c.17.

 

Very good impression and colour. The title label at extreme left edge trimmed and slight centre fold, otherwise good condition. Signed Ichiyusai Kuniyoshi 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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