Ichiryusai HIROSHIGE (1797-1858)
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An original painting showing the old lighthouse at Tempozan, Osaka. To the left is the mount which was formed by earth dredged from the Ajigawa in 1831 to allow easier access for ships. In the foreground masts of moored vessels. There appear to be few images of this lighthouse. It was replaced by a lighthouse designed by the British engineer Richard Henry Brunton, the “Father of Japanese Lighthouses” in 1872. Sumi and light colour on paper, 12.75 x 20.25 in ; 32.4 x 51.4 cms.
Signed Hiroshige ga with Ichiryusai seal. Very good condition.
Status: Available
Uragami GYOKUDO (1745-1820)
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An original painting, sumi with light touches of pink on paper. Image size 10.4 x 14.2 in; 26 x 36 cms. Shows a hilly landscape with a small figure crossing a bridge bottom left. Gyokudo is now considered the leading exponent of Nanga painting. An artist whose spontaneous paintings often appear as though executed under deep emotion or when partially intoxicated. Now greatly admired in Japan and the West with many fakes. His father was of samurai rank and Gyokudo initially served a nobleman, Ikeda Masake, in Bizen. However, his passion for music, painting and verse composition caused him to become a wanderer in 1794. His bohemian life eventually leading him to Kyoto where he joined the literati circles of Mokubei and Chikuden. Most paintings done after 1794 and this example probably dates to around 1800-1810.
Signed Gyokudo with two indistinct seals. Good condition.
Status: Available
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Oda KAISEN (1785-1862)
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A concertina painting album, full colour on paper, 11 x 6.5 in; 28 x 16.5 cms folding out to 11 x 13 in; 28 x 33 cms. Twenty six paintings in the Shijo manner. Kaisen moved to Kyoto when he was 22 years old and studied under Matsumura Goshun but later switched from the Maruyama Shijo school to study Nanga painting with Rai San’yo.
Minor wormage, otherwise good condition. Complete with original covers and wooden box. seal.
Status: Available
Katsukawa SHUNJO (?-1787)
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An hosoban showing the actor Onoe Matsusuke I in a Shibaraku role holding a lantern. (Possibly as Sakata no Kintoki). Shunjo was a pupil of Katsukawa Shunsho. Published c 1780.
Fine impression. Very fine colour and condition. Signed Shunjo ga.
Status: Available
Katsukawa SHUNSHO (1726-1792)
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An hosoban showing the actor Nakamura Utaemon I as a samurai in nagabakama and kamishimo ceremonial dress as worn during the Muromachi period (1336-1392). He holds a fan and a globe. Shunsho was the pre-eminent exponent of the hosoban format. Published c 1770.
Fine impression. Unusual blue ground found on a few Shunsho designs. Slight discolouration on verso showing through, otherwise good condition. Signed Shunsho ga with the jar-shaped (tsubo) seal.
Status: Available
Utagawa HIROSHIGE (1797-1858)
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Kozuke, Harunasan setchu, “Kozuke [Province], Mount Haruna Under Snow.” 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. A red bridge spans a gorge leading to the Buddhist Haruna shrine. Below is a fast flowing river with precipitous cliffs. Fantastic crags point upwards into the sky and in the distance is the dormant volcano Mount Haruna.
Good impression and colour. Slight soil on bottom left margin, otherwise good condition. Signed Hiroshige ga.
Status: Available
Utagawa HIROSHIGE (1797-1858)
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Mimasaka, Yamabushidani, “Mimasaka [Province], Yamabushi Valley.”A high wind and rain in the valley with a man on a raft on the Yoshi River. Other figures in the foreground, one having lost his hat. 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.
Fine, early impression. Fine colour and condition with large margins. Signed Hiroshige ga.
Status: Available
Utagawa HIROSHIGE (1797-1858)
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Shinano, Sarashina tagoto no tsuki, Kyodaisan, “Shinano [Province], the Moon Reflected in the Sarashina Paddy-fields, Mount Kyodai.” This was a popular destination for outings to view the multiple reflections. 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.
Fine, early impression. Fine colour and condition with large margins. 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 YOSHITORA (Fl. c 1850-1880)
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An okubi-e of the onnagata actor Bando Mitsugoro V in the role of Shindo Saemon’s daughter Yushide. From a set of large heads of actors past and present which were to be the pinnacle of Kunisada’s career. The set was intended to have one hundred and fifty prints but only seventy-two were completed (with Yoshitora designing twelve). Only the most expensive materials and the finest printers and engravers were employed. Shows Yushide in the play Karukaya doshin tsukushi no iezuto who, in a fit of remorse, stabs herself in the throat with an arrow (seen here used as a hair pin). Published by Ebisuya Shoshichi, 1862.
Very fine impression and colour. Fine condition. Signed Yoshitora ga.
Status: Available
Utagawa KUNISADA (1786-1865)
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The actor Ichikawa Danjuro VIII as Shibuya Konnomaru Masatoshi from a set Edo meisho zue, “Famous Places of Edo.” This being Shibuya. Published by Iseya Chusuke 1852.
Very good impression. Good colour and condition. Signed Toyokuni ga.
Status: Available
Utagawa KUNISADA (1786-1865)
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A triptych of a probably imaginary performance showing the actor Ichimura Uzaemon XII as Hachiman Taro Yoshiie (far left) with an actor dressed as a lion who shines a strong beam from a lantern across the other two sheets; the centre one showing the actor Ichikawa Danjuro III as Abe Sadato with an actor dressed as a lion, and the right sheet showing the actor Bando Shuka I as Sadato’s wife Sodehagi with an actor dressed as an elephant. Published by Miyakozawa 1847-52.
Very good impression, colour and condition. Signed Hanmoto no oujyu Toyokuni ga, “By the request of the publisher, painted by Toyokuni.”
Status: Available
Ichiyusai KUNIYOSHI (1797-1861)
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A triptych showing the legendary swordsman Miyamoto Musashi (centre) battling Shirakura Dengoemon (left) and his henchmen. The story usually relates how a jealous Dengoemon plots to kill Musashi by inebriating him and locking him in a bath house without his sword. However, Musashi, wielding a huge broken beam, slays Dengoemon and his followers aided by Dengoemon’s daughter Itohagi (right) who has fallen in love with Musashi. Kuniyoshi, however, depicts the event beside a mill-stream and a large waterwheel. Seiran, “Clearing Weather” from a set Mitate hakkei, “Selection for the Eight Views.” Published by Joshuya Juzo, 1846.
Very good impression, colour and condition. Signed Ichiyusai Kuniyoshi ga.
Status: Available
Toyohara KUNICHIKA (1835-1900)
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A vertical diptych showing the actor Onoe Kikugoro V as the archvillain and sorcerer Nikki Danjo emanating in a cloud of smoke from his alter ego – the giant rat. He holds in his mouth the scroll containing the names of the conspirators given to Masaoka which he has purloined. This is one of the great scenes in Kabuki from the play Meibuku Sendai hagi, “Precious Incense and the Bush Clover of Sendai.” Kikugoro rises through a trapdoor (suppon) which is on the hanamachi leading out from the Kabuki stage. Published by Fukuda Kumajiro, 1887. Rare.
Very good impression and colour. Heavy oxidation, otherwise very good condition. Signed Toyohara Kunichika fude.
Status: Available
Sakai HOITSU (1761-1828)
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One volume complete Oson gafu, “Drawing Book of Oson.” (This being one of the artist’s names taken from the village Uguisu-mura where he lived in retirement.) The Rimpa artist Hoitsu revived the work of Ogata Korin (1658-1716). Dated on the first preface Bunka 13 (1816) and was originally published by Izumiya Shojiro, but this is an early reissue published by Tohekido (Eirakuya Toshiro in Nagoya). Another impression is in the BM, 1942,0918,0.2. Twenty-five double-page illustrations in muted tones of birds, flowers, figures, etc. Original yellow covers with title slip. Bound in Japanese brocade boards. This was a method used by the leading French collectors of Japanese books such as Javal, Duret, Haviland, Gonse, etc, hence, this will have come from one of those collectors. A very nice copy with only minimal marks.
Status: Available
Utagawa KUNIYOSHI (1797-1861)
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A poem by the celebrated poet Bunya no Yasuhide from the series Hyakunin isshu no uchi, “One Hundred Poems for One Hundred Poets” which was compiled in 1235 by Fujiwara Teika (1162-1241). The poet in the background watches as a fierce wind blows away some of the umbrellas that are being made. 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 mountain wind in autumn time
Is well called “hurricane”;
It hurries canes and twigs along,
And whirls them o’er the plain
To scatter them again
Very fine impression. Fine colour. Slight nibbling of border but otherwise fine condition. Signed Ichiyusai Kuniyoshi ga.
Status: Available
Utagawa KUNISADA (1786-1864)
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A sheet of original drawings being hanshita-e for an ehon. Shows, above, a seated samurai and a female figure to the right holding a mirror. Below, actors in a garden setting. Sumi with touches of red on thin paper laid onto thicker Japanese paper, 14 x 10 in; 36 x 25 cms. Sold “as is” with all imperfections.
Status: Available
Mori SOSEN (1747-1821)
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An original painting, sumi and light colour on silk, 42.5 x 16 in; 108 x 40.5 cms. His life is not well documented but he is known to have studied under the Kano artist Yamamoto Joshunsai (?-1781) before being drawn into Maruyama Okyo’s (1735-1795) artistic circle and his style is more Shijo than anything else. His animal paintings were evidently highly valued by Okyo. He was an immediate favourite with eastern collectors because of his monkey paintings at which he excelled, although he was more versatile than literature implies and highly accomplished at painting other animals. But his images of monkeys take precedence and he is considered the pre-eminent painter, east or west, on this subject. It is alleged that he lived in the woods for three years eating fruit and nuts to study the monkeys and other animals, and is also supposed to have had a cage of monkeys at the back of his house to better observe them. This high quality painting shows two monkeys sitting on the branch of a cherry tree. Signed Sosen with two Sosen seals. In good condition.
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.
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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Torii KIYOHIRO (Active 1737-1776)
Torii KIYOHIRO
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A large oban, 17.25 x 12.25 in; 44 x 35.2 cms, sumizuri-e with hand-applied colour. Shows two ama, abalone divers, on the seashore with nets in the background , abalone shells at their feet and an octopus in the waves below them. The poem above speaks of the salty sea breeze wafting across the shore. Published by Maruya Kuzaemon (Gyokeido) c late 1730s. Extremely rare: Another impression is in the Ritsumeikan University, https://www.dh-jac.net/db/nishikie/Z0164-003/portal/
Very good impression. Light soil, and lightly laid down. Faint fold marks, but generally good condition for its size and date. Signed Torii Kiyohiro hitsu.
Status: Available
Tsukioka YOSHITOSHI (1839-1892)
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A triptych from a set of ten: Dai Nippon shiryaku zue, “Short Illustrated History of Great Japan.” Each print is in the form of an unrolled makimono. This design shows the third son of the twelfth century Emperor Keiko, Yamato Takeru no mikoto (Wo-usu). His father was constantly sending him on dangerous missions making him suspect that he wished his death. One such journey was to the Emishi in northeast Japan. On complaining about this to his high-priestess aunt, Yamatohime, she gave him the famous sword Ame no murakumo no hoken to aid him. On his arrival, the ruler of the Emishi lured him onto open grassland which he set on fire. Wo-usu used his sword to cut the grass, evade death, and start new fires to kill his enemy. Published by Kobayashi, 1880. A fine design.
Fine impression of first edition. Fine colour. Very slight crease bottom margin of centre sheet, otherwise fine condition. Signed Taiso Yoshitoshi.
Status: Available
Taiso YOSHITOSHI (1839-1892)
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A triptych showing an exploding land-mine throwing bodies and horses into the ether. Taiheiki Masakiyo nansen no zu, “Masakiyo’s Difficult Battle from the Taiheiki.” Figures identified in the print are the 14th century warriors Sato Shukei no Kami Masakiyo and Shimura Masazo Katsutoyo, but by way of avoiding censorship, it is actually showing Kato Kiyomasa (1562-1611) and Kimura Matazo Shigekatsu. It may also be that the design alludes to the rogue samurai in Choshu Province during the summer of 1866. Published by Yamashiroya Jinbei, 1866. One of Yoshitoshi’s great designs. In fact, this is a reworking of a similar composition in a book early in his career, Ehon jitsugokyo dojikyo yoshu of 1853.
Fine impression and colour. Lovely oxidation of the orange pigment. Fine condition. Signed Ikkaisai Yoshitoshi hitsu.
Status: Available
Tsukioka YOSHITOSHI (1839-1892)
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A triptych Taira Kiyomori hi no yamai no zu, “The Fever of Taira no Kiyomori.” Kiyomori’s wife, Niidono, dreams that the King of Hell, Ema, is coming for Kiyomori for his crime of burning the Rushana Buddha. His family gather around him and pray but to no avail. He dies on the 4/2/1181. Shows Niidono and her son beside a convulsed Kiyomori. Behind are visions of hell with Ema and figures who may have been Kiyomori’s victims. Published by Akiyama Buemon, 1883.
Fine impression, colour and condition. A lovely copy of this triptych. Signed Yoshitoshi ga.
Status: Available
Utagawa HIROSHIGE (1797-1858)
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One of a set: Edo Murasaki meisho Genji, “Murasaki’s Genji in Famous Places of Edo.” Mitate Ukifune Sumidagawa no watashi, “A Parody of Ukifune Crossing the Sumida River.” Shows a beauty on a ferry crossing the Sumida River in heavy snow, representing Ukifune, one of the court ladies of the Genji Monogatari. Stylised clouds above and below copying the traditional kiri-gane gold found on Yamato-e scrolls. These Genji pictures were popular at this time to circumvent the reforms of 1842. Published by Kinseido (his seal also appearing on the umbrella bottom right). Rare.
Fine impression. Very good colour. Lower margin trimmed close, otherwise very good condition. Signed Hiroshige ga.
Status: Available
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.
Status: Available
Shotei HOKUJU (Active 1787-1818)
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Kai no kuni Saruhashi no shinsha no zu, “A True View of the Monkey Bridge in the Province of Kai.” An impressive wooden bridge spans a deep chasm. It was called the “Monkey Bridge” because the original rickety plank structure was so precarious that only an agile monkey could cross it. Hokuju produced a number of these westernised landscapes and this is one of the best designs. Published by Nishimuraya Yohachi, c 1815. It is also known with variant colour schemes.
Very good impression and colour. Slightly trimmed around and imperceptible centre fold. Signed Shotei Hokuju ga.
Status: Available
Katsukawa SHUNSHO (1726-1793)
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The actor Otani Hiroji III as a samurai, one sword drawn and facing an adversary. Shunsho was the founder of the Katsukawa school and had many pupils (including Hokusai [Shunro]). He was a prolific designer of hosoban actor prints and produced some of the finest designs in this format. Published c 1775.
Fine impression. Very good colour. Fine condition. Signed Shunsho ga.
Status: Available
Utagawa KUNIYOSHI (1797-1861)
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Ichikawa Kodanji IV as the ghost of Asakura Togo in the play Higashiyama Sakura zoshi, “The Story of Sakura of Higashiyama.” Based on historical events in 1653 with the characters’ names changed (Asakura Togo was actually Sakura Sogoro). The story tells of a village chief who was forced to witness the beheading of his sons before being crucified by the cruel samurai Lord Hotta Kozuki, after he had protested at the levy of unfair taxes. Sakura’s ghost returns to haunt Hotta’s castle. In fact the left sheet of a diptych. However, nearly always sold as a single sheet as the other side does not marry up, is undistinguished and was probably sold separately. Published by Sumiyoshi Masagoro, 1851. Beside the signature is the seal shita-uri, “low sale” meaning it was sold “under the counter” due to censorship laws prevalent at the time. This is the very rare first edition with the carver’s seal Hori Take, Yokokawa Takejiro, to the right of the publisher’s seal on the left. This was removed on later editions. One of the great ghost prints.
Fine impression, colour and condition with gum applied to the eyes (only found on the first edition).Signed Ichiyusai 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
Toyohara KUNICHIKA (1835-1900)
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The actor Otani Tomoemon V as Danshichi Kurobei, a fishmonger and an Osaka otokodate, in the drama Natsu matsuri Naniwa kagami, “Summer Festival: Mirror of Osaka.” From an untitled set of large-head actor portraits published by Gusokuya Kahei, 1869. Based on actual events, the scene depicted here is from Act VII of the play where the heavily tattooed Danshichi has murdered his wife’s father, the untrustworthy Mikawaya Giheiji, and is pouring water from a bucket over himself to wash off the mud from the murder scene. Probably the best design from the set.
Fine impression and colour. Very good condition. Signed Kunichika hitsu.
Status: Available
Tsukioka YOSHITOSHI (1839-1892)
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Jiki-tsuki-so: Kaei nenkan anego no fuzoku, “Looking as if Somebody is About to Arrive: The Appearance of a Fireman’s Wife in the Kaei Era [1848-1854].” A fireman’s wife waits for the return of the head of the household. 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
Isoda KORYUSAI (1735-1790)
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An hashira-e, “pillar print.” A night scene showing a beauty on the shoulders of her lover reaching up to a branch of plum blossom beneath a spring moon. From a set Furyu Rokkasen, “Fashionable Six Poetic Immortals,” this being a poem by Ariwara no Narihira (825-880) where the poet composes a poem inspired by a beauty he has seen. Koryusai was the master of this format. Pillar prints were introduced to hang, when mounted, on the pillars of a Japanese house. Consequently, they often come browned, creased or faded and finding good examples is difficult. Rare: Not in Pins.
Very good impression and colour. Slightly toned, otherwise very good condition. Signed Koryusai 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 KUNIYOSHI (1797-1861)
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A large original drawing, sumi on thin paper, 12 x 20.5 in; 30.5 x 52 cms. Shows a battle between two armies. Provenance: Ex collection Dr. Julius Kurth (1870-1949), an eminent scholar who wrote extensively on Japanese and Chinese art. Sold “as is” with all imperfections.
Status: Available
Utagawa KUNIYOSHI (1797-1861)
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A large original drawing, sumi on thin paper, 15 x 20 in; 38 x 51 cms. Shows a large group of actors in front of a theatre. Most likely two sheets for an intended triptych. There appears to be the publisher’s seal Kiya Sojuro brushed-in at the bottom who was active c 1851-1904. Provenance: Ex collection Dr. Julius Kurth (1870-1949), an eminent scholar who wrote extensively on Japanese and Chinese art. Sold “as is” with all imperfections.
Status: Available
Toyohara KUNICHIKA (1835-1900)
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The actor Kawarasaki Sansho (later Ichikawa Danjuro IX) in the role of Sato Masakiyo in the Momoyama Goten Ohiroma scene from Momoyama Monogatari performed at the Ichimura-za Theatre, 8/1869. From a set of at least 22 prints published by Gusokuya Kahei, 1869. Kunichika produced some fine triptychs (horizontal and vertical) as well as this fine set.
Fine impression and colour. Slightly trimmed, otherwise very good condition. Signed Kunichika hitsu.
Status: Available
Katsukawa SHUNCHO(Fl. c 1780-1801
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The first sheet of a triptych showing travellers on a mountain path – possibly the Tokaido Road. Published by Eijudo (Nishimuraya Yohachi), c 1790. Other impressions in the MFA Boston, acc. no. 21.5953 and the BM, 1910, 0212, 0.439. Little is known of Shuncho’s life. He was a pupil of Shunsho and heavily influenced by Kiyonaga. Probably the greatest exponent of the triptych format and a master of the pillar print format.
Fine impression. Extremely good colour. Fine condition. Signed Shuncho ga.
Status: Available
Utagawa KUNISADA (1786-1864)
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A fan print showing the actor Bando Shuka I as Shirai Gonpachi from a set Mitate gonin otoko, go-hiiki no omoizashi, “A Parody of the Five Chivalrous Commoners: A Cup of Sake From Their fans.” Omoizashi means to pour sake for one’s loved one and indicates the adoration of the fans for their actors. Published by Yama-Ta, 2/1852.
Very good impression, colour and condition. Signed Toyokuni ga.
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