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
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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Utagawa HIROSHIGE (1797-1858)
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An original painting, sumi and light colour on silk, 11 x 18 in; 28 x 45.75 cms. Shows the sea off the Miura Peninsula in Sagami Province with Mount Fuji rising above mist in the distance. Hiroshige used the same view for one of his designs for the Thirty-six Views of Fuji set published in 1858. A beautiful painting with a signature dating it to the mid to late 1830s.
Minor creasing and old mount, otherwise good condition. Signed Hiroshige with Hiro seal.
Status: Available
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Suzuki HARUNOBU (1724-1770)
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A beauty standing beside a stream where wild chrysanthemums grow. A mitate-e (parody) of Kikujido, the Chrysanthemum Boy, who was the favourite of the Chinese Emperor Mu (c. 950 B.C.). However, because of court jealousy, he was banished but had his exile eased by the Emperor who gifted him the ability to read sacred Buddhist texts. He became an immortal, spending his days surrounded by chrysanthemums and inscribing words of peace on the flowers’ petals. This is the second state: The first (private edition) is a calendar print with a signature (of an amateur) Kinga Ko and seal and has the year and its cyclical signs for 1766. These Harunobu calendar prints, printed in small numbers, were commissioned by wealthy individuals between c. 1764 and 1766 and so popular that they were published commercially. Rare.
Very good impression and colour Very minor edge soil, otherwise very good condition. Signed Suzuki Harunobu ga.
Status: Available
Utagawa KUNISADA (1786-1865)
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A geisha partly illuminated by a lantern on a boat from a set Tsuki no kage shinobiau yo, “Secret Meetings by Moonlight.” Published jointly by Izumiya ichibei (as here) and Yamamoto Kyubei, c. 1836-38.
Very good impression and colour. Minor creasing, otherwise very good condition. Signed Kochoro Kunisada ga.
Status: Available
Utagawa HIROSHIGE (1797-1858)
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An original drawing, sumi and colour on thin paper laid onto Japanese paper. A preliminary design for a fan print, the outline indicated in red. Apparently never published. Shows a woman in the box on the left picking mulberry leaves (?), signed Ryusai. And in the box on the right a woman possibly in the process of spinning silk, signed Hiroshige. Good condition.
Status: Available
Utagawa HIROSHIGE (1797-1858)
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Spring moon at the shore of Tsukudajima . One of a set of chu-tanzaku prints published by Shogendo, c. 1837. Tsukudajima was one of two islands at the mouth of the Sumida River. Originally a sanbar, it was reclaimed with earth and rocks and given its name by the first Tokugawa Shogun, Ieyasu, who invited thirty-three fishermen to live there in 1613 in order to provide fish for the rapidly expanding city of Edo. The fishermen came from Tsukudama near Osaka and it was they who became the proprietors of what would become the Tsukiji fish market. It must have been popular during the late Edo period as a place to visit and view the boats from teahouses on the shore because there are many prints depicting the area, especially under a full moon.
Fine impression, colour and condition. Signed Hiroshige ga. n.
Status: Available
Utagawa HIROSHIGE (1797-1858)
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Shimotsuke Nikkosan urami no taki, “Back-viewed Waterfall on Mt. Nikko in Shimotsuke [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. Figures gaze up at the back of the waterfall which thunders over the path. It is also known with variant colour schemes. Fine design.
Very fine impression with strong blind-printing on the fall. Fine colour and condition. Full size. Signed Hiroshige ga.
Status: Available
Tsukioka YOSHITOSHI (1839-1892)
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Looking Itchy: the appearance of a kept woman of the Kaei era [1848-1854]. Shows a beauty emerging from a mosquito net that has apparently not been entirely successful. 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 with strong blind-printing on the fall. Fine colour and condition. Full size. Signed Hiroshige ga.
Status: Available
Tsukioka YOSHITOSHI (1839-1892)
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Uesugi Kenshin Nyudo Terutora. Shows Uesugi no Terutora (aka Kenshin) riding into battle through clouds of smoke against his long-standing adversary Takeda Shingen. From a set of 33 prints Yoshitoshi musha burui, “Yoshitoshi’s Courageous Warriors.” Published by Kobayashi Tetsujiro between 1883 and 1886, this being 1883. A fine design.
Very fine impression of the first edition. (Which should have a three-colour cartouche; two red seals and the publisher’s address in blue in the left margin.) It was reprinted by Tsunajima Kamekichi in 1886 and there are many late printings of the set. Fine colour and condition. Full size with extra paper at left. Signed Taiso Yoshitoshi ga.
Status: Available
Utagawa KUNIYASU (1794-1832)
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Shows a beauty after a bath. The poem above compares her to the young green shoots of the willow tree in spring. Published by Omiya Heihachi, c. 1820.
Very good impression, colour and condition. Signed Kuniyasu ga.
Status: Available
Toyohara KUNICHIKA (1835-1900)
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A diptych showing the actor Ichikawa Danjuro IX as Kamakura Gongoro Kagemasa in the drama Shibaraku, “Just a moment.” The large sansho (three square) motif was the symbol of the Danjuro clan and is repeated around the border. In the background are peonies, also associated with the Danjuro clan. Published by Tanaka Katsuzo, 1878.
Fine impression, colour and condition. Signed Oju Toyohara Kunchika hitsu.
Status: Available
Isoda KORYUSAI (1735-1790)
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A pillar print, hashira-e, of a beauty after a bath cooling herself with a fan. A cat looks up adoringly from below. Above her is a temple bell wind chime, often hung in the summer. Masanobu laid claim to have invented the pillar print format. Roger Keyes has suggested that, because many large format prints from the 1740s were printed using two blocks of wood, there was a tendency for the blocks to separate during use, giving rise to the hashira-e shape. Probably the most interesting format in that the restrictions often led to creative compositions. And figures sometimes partially exit or enter from the side, giving weight to the theory of separating blocks of wood. Certainly, these prints were hung on pillars in houses, and because of this they often come browned, faded or damaged. Koryusai was the artist par excellence when it comes to pillar prints. Rare.
Very good impression and colour. Slight toning, but in very good condition for such a print. Signed Koryusai ga.
Status: Available
Utagawa YOSHITORA (1836-1887)
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A triptych showing the warrior Inukai Genpachi (the famous character from the Hakkenden) confronting a cat monster which has emanated from a horse on Mount Koshin. Other cat monsters stare in amazement. Published by Kojimaya Jubei, 1850.
Very fine impression. Fine colour. Imperceptible small binding holes, otherwise fine condition. Signed Ichimosai Yoshitora ga.
Status: Available
Tsukioka YOSHITOSHI (1839-1892)
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A triptych from a set Bidan musha hakkei, “Eight Views of Warriors’ Fine Tales.” This design Togakushi no seiran, “Clearing Weather of the Togakushi Mountains.” Princess Sarashina, who is actually a female oni called Momji, “Maple Leaves,” having transformed herself, is seen screaming from behind a giant drum and raising a high wind scattering maple leaves against Taira no Koremori Ason who draws his sword to kill her. Published by Sanoya Tomigoro, 1868.
Extremely fine impression of the earliest state. Fine colour. Slight marks on first sheet, otherwise very good condition. Signed Gekko Yoshitoshi hitsu.
Status: Available
Utagawa KUNISADA (1786-1865)
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An untitled triptych showing two beauties and a maidservant lighting their way with a lantern and carrying a shamisen box. The beam of light from the lantern illuminates the foreground figures and a leaping dog but leaves the background figures in silhouette. Published by Mikawaya Seimon, c. mid 1820s. A fine design.
Fine impression and colour. Imperceptible fold, otherwise very good condition. Signed Gototei Kunisada ga.
Status: Available
Utagawa YOSHITSUYA (1822-1866)
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A triptych with title Taiheike Yakiyama-Goye no zue, “Picture of the Slope of Burning Mountain in the Taiheiki.” Shows the Japanese Daimyo Sato Masakiyo (Kato Kiyomasa), who was a leading general in Toyotomi Hideyoshi’s invasion of Korea, far left, and his men encountering a monstrous serpent surrounded by bats, tengu and flying goblins on a haunted mountain. Published by Kagaya Kichibei, 1861.
Fine impression, colour and condition. A lovely copy of this triptych. Signed Ichieisai Yoshitsuya ga.
Status: Available
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
Status: Available
Utagawa KUNISADA (1786-1864)
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An original hanshita-e (preparatory drawing) for a triptych showing, from the left, the actor Bando Takesaburo I as Nagoya Sanza, Ichimura Uzaemon XIII as the Shinzo (“courtesan’s apprentice”), and Nakamura Fukusuke I as Fuwa Banzaemon. This is actually from the dance Sanpukutsui Kabuki no irodori performed at the Ichimura-za theatre, 5/1855. The publisher was Sanoki. These first drafts by the artist themselves survive because a more detailed drawing was needed by the blockcutter, and this was normally given to an assistant to execute. Or the drawing was never taken up by the publisher, for whatever reason. Sumi and touches of red with some pentimenti. Signed Toyokuni ga on the three sheets. Sold “as is” with all imperfections.
Status: Available
Utagawa KUNIYOSHI (1797-1861)
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A fine large original drawing, sumi on thin paper, 12 x 18.5 in; 30.4 x 47 cms. Shows battling women holding what appear to be wooden swords. Two seals at the bottom which appear to be the publisher Honmo who published 1855-56. Provenance: Ex collection Dr. Julius Kurth (1870-1949), an eminent scholar who wrote extensively on Japanese and Chinese art.
Sold “as is” but in good condition.
Status: Available
Shunbaisai HOKUEI (Active 1824-1837)
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Shows the actor Arashi Rikan II as the yako Koman holding a shakuhachi and posed within a wooden frame in the play Sugata kurabe deiri no minato, “Comparison of Fighting Figures at the Harbour.” Performed in 1834 at the Naka Theatre, Osaka. A yako was a chivalrous servant, usually of a samurai. Rare: Another impression is in the MIA, acc. no P.75.51.188.
Fine impression with the woodgrain enhanced on the background. Fine colour and condition. Signed Shunbaisai Hokuei ga with the carver’s seal bottom right Kasuke.
Status: Available
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.
Status: Available
Utagawa HIROSHIGE II (1826-1869)
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A view of a smoking Mt Asama, Shinano Province, from Shokoku meisho hyakkei, the “One Hundred Views of Famous Places in the Provinces.” Mt Asama is an active volcano which violently erupted in 1108. Subsequently there was another eruption in 1783 and since then there have been minor tremors. Published by Uoya Eikichi between 1859 and 1861 (this being 1859).
Fine impression, colour and condition. Signed Hiroshige ga.
Status: Available
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.
Status: Available
ANONYMOUS (Mid to late 19th century)
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A fine original painting in muted tones on silk, 43.75 x 16.5 in; 111.2 x 41.9 cms. Shows a vengeful female ghost (yurei) emanating from a ball of fire. She wears a plain white kyokatabira (funeral robe), has long unkept hair and her claw-like hand clutches her skeletal chest. Yurei-zu reached a peak of popularity in the 19th century, there being a seemingly insatiable demand from the public for stories of ghosts, demons and the supernatural reflected in popular fiction, Kabuki drama and art in general. These ghost paintings were often not signed: This one bears two seals reading “surpassing lotus” and “happy and heaven.” In very good condition with the surrounding mount: hashira and ichimonji areas painted in imitation of silk (kaki byoso) and the image overlapping these areas.
Status: Available
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Hishikawa MOROSHIGE (FL. 1684-1704)
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An original painting showing a high-ranking samurai household at leisure. Moroshige was the senior pupil of Hishikawa Moronobu, and, it is said, was the father of Furuyama Moromasa. Sumi and full colour with gold additions on paper. 11.5 x 19 in; 29 x 48.25 cms. This is most likely from a handscroll as the height is correct, and the slight vertical striations indicate it has been rolled at some time. Painted c. 1700. Some slight loss of pigments, especially the verdigris and minor marks, but all commensurate with the age of the painting. The details on the costumes of the two main figures are exquisite.
Status: Available
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.
Status: Available
Ichiryusai HIROSHIGE (1797-1858)
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Fuchu from The Fifty-three Stations of the Tokaido published by Marusei, Maruya Seijiro, 1847-52. Called the Reisho Tokaido because of the angular style of Kanji used. Travellers coming and going at the entrance to the station. One of the best designs from the set. Provenance: Ex Hayashi collection with seal below title cartouche.
Fine impression and colour. Very good condition. Signed Hiroshige ga.
Status: Available
Utagawa HIROSHIGE (1797-1858)
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Omi, Biwako Ishiyamadera, “Ishiyama Temple and Lake Biwa in Omi [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. Moonlight on Lake Biwa is one of the iconic Eight Views of Omi.
Very fine impression and colour. Light album backing, otherwise fine condition. Signed Hiroshige ga.
Status: Available
Utagawa KUNIYOSHI (1797-1861)
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Oiwa and her ghost: Yondaime Ichikawa Kodanji IV no Oiwa bokon, “The Spirit of Oiwa Performed by Ichikawa Kodanji IV.” Probably in the play Atari mimasu yotsuya no kikigaki, performed at the Kawarasaki Theatre, 1848. The popular story has many versions, the gist being that Oiwa’s husband, Kamiya Lemon, falls in love with Oume, the daughter of a rich neighbour. Oume’s family poison Oiwa so that Lemon can marry the daughter. The poison hideously disfigures Oiwa who comes back to haunt Lemon. Published by Ebiya Rinnosuke, 1848.
Fine impression, colour and condition. Signed Ichiyusai Kuniyoshi ga.
Status: Reserved
Utagawa KUNIYOSHI (1797-1861)
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Inuyama Dosetsu, one of the eight dog heroes, enveloped in a conflagration. The heroes represent a Confucian ideal or Buddhist regulation and meet various adversaries in the epic Nanso satomi hakkenden, “Biography of the Eight Dogs” written by Takizawa Bakin between 1814 and 1842. Dosetsu is gifted with magic fire and is seen here with pine sprigs wrapped in paper clenched between his teeth. The subject represents Warabi Station (seen top left) from a set Kisokaido rokujuku tsugi, “Sixty-nine Stations along the Kisokaido.” In fact, a pun on the word warabi which can also mean “straw fire.” The bales can be seen bottom right. Published by Izutsuya Shokichi 1852. The best design from the set.
ga.
Fine impression and colour. Lightly backed and very slight vertical fold, otherwise very good condition. Signed Ichiyusai Kuniyoshi
Status: Available
Utagawa KUNIYOSHI (1797-1861)
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A triptych showing the famous battle on Gojo Bridge. 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. He meets Ushiwaka Maru (Minamoto no Yoshitsune’s childhood name) and challenges him to a fight on the bridge. Yoshitsune is aided by Sojobo, King of the Tengu (white-bearded in the centre) and other yamabushi tengu. Benkei loses the fight and becomes Yoshitsune’s loyal retainer. Published by Enshuya Hikobei, 1847-50. Robinson T194.
Fine impression, colour and condition. A lovely copy of this triptych. Signed Ichiyusai Kuniyoshi ga.
Status: Available
Toyohara KUNICHIKA (1835-1900)
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The actor Nakamura Shikan IV as Ishikawa Hachizaemon in the play Chuko musashi no abumi staged at the Nakamura-za Theatre in 4/1869. From a set of at least 22 prints published by Gusokuya Kahei, 1869. Kunichika was a hack artist who nevertheless produced some fine triptychs (horizontal and vertical) and this fine set of actor bust portaits.
Fine impression and colour. Minor edge soil, otherwise very good condition. Signed Kunichika hitsu.
Status: Available
Shunchosai HOKUSHU (Active 1822-32)
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Onoe Kikugoro III as the ghost of Oiwa in Irohagana yotsuya kaidan, “Ghost Story of Yotsuya.” Performed at the Kado Theatre, 1/1826. Probably the best known Japanese ghost story and has been made into a number of films. Tamiya Iemon, a masterless samurai, murders the wife he has disfigured who comes back to haunt him until he is driven mad and subsequently killed by Oiwa’s brother. Evidently, Kikugoro’s performance was something of a sensation at the time as he gave a bravura performance playing both the ghost of Oiwa and Koheiji who were nailed on opposite sides of a panel dropped into the river. There are at least five states of this print. The first appears to be that illustrated in Roger Keyes, The Theatrical World Of Osaka Prints, Philadelphia Museum Of Art, 1973, no. 34, p. 108 with the engraver and two printers and the writing printed in silver. The example offered here appears to be a second state without the engraver and printers’ seal but with the writing still printed in silver. Other impressions with different seals and lacking the first three lines of writing and the silver are known. See The Tsubouchi Memorial Theatre Museum of Waseda University catalogue, Kamigata Prints in the former period: part 1, nos. 279 and 280. Also BM impression 1962,0210,0.2 which may be the last state.
Fine impression and colour with calligraphy in silver. Very good condition; full size. Signed Shunchosai Hokushu ga.
Status: Available
Utagawa HIROSHIGE (1797-1858)
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Iyo Province, Saijo. From a set of 69 prints [Dai Nihon] Rokujuyoshu meisho zue, “Famous Places in the Sixty-odd Provinces [of Japan]” published by Koshihei between 1853 and 1856, this being 1853. A large furled sail in the foreground with Saiju village on the water’s edge. Beyond is Mt. Ishizuchi.
Fine impression and colour. Light album backing, otherwise very good condition. Signed Hiroshige ga.
Status: Available