Ichiryusai HIROSHIGE (1797-1858)
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A chuban triptych showing three beauties relaxing at Takanawa from a set of Eight Views of Edo. Published by Joshuya Kinzo c.1849-50. (Tamba no.146.)
Very good impression, colour and condition. Signed Hiroshige ga.
Status: Sold
Isoda KORYUSAI (1735-1790)
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The courtesan Matsunoi of the Matsubaya with her kamuro. From a large series Hinagata wakana no hatsu moyo, “Models for Fashion: New Year Designs as Fresh as Young Leaves.” Published by Eijudo and Juzaburo in the late 1770s. This set is the largest known bijin series (140 prints being known). However, the quality is consistent throughout. One of the great sets.
Fine impression with excellent colour. Minor soil, otherwise very good condition. Signed Buko Yagenbori inshi, Koryu ga.
Status: Sold
Kikugawa EIZAN (1787-1867)
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A complete triptych showing young girls in attendance on a court couple. An early (c.1820) design published by Nishimuraya Yohachi.
Very good impression, colour and condition. Full size with extra paper for joining. Signed Eizan fude.
Status: Sold
Ichiyusai KUNIYOSHI (1797-1861)
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An extremely rare chuban triptych from a set of the Four Seasons, this being “Winter”. Seemingly the only other illustrated example is in Kuniyoshi, Juzo Suzuki, Tokyo, 1992, which shows all four from the set, nos. 233-236. Published by Arita-ya Kiyoyemon, c.1845.
Extremely fine impression and colour. Minimal trimming, otherwise fine condition. Signed Cho-o-ro Kuniyoshi ga.
Status: Sold
Kitagawa UTAMARO (1753-1806)
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A beauty from the tea-house Suminoe in the district of Shiba from a series: “Comparing the Charms of five Beauties”. The picture-riddle (in the circular cartouche top right) gives the identity of the beauty on each design. In the second edition the riddle is replaced with a flower design. Published by Omiya Gonkuro c.1795-6.
Very good impression. Slight fading. Thinned top left and paper strengthened. Signed Shomei Utamaro hitsu.
Status: Sold
Ichiyusai KUNIYOSHI (1797-1861)
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Three bijin under Ryogoku Bridge on the Sumida River from a set of “The Four Seasons”, this being summer. Published by Iba-ya Sensaburo.
Very good impression, colour and condition. Signed Ichiyusai Kuniyoshi ga.
Status: Sold
Ichiyusai KUNIYOSHI (1797-1861)
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Cooling off on the Sumida River. Published by Ebi-ya Rinnosuke c.1843-46.
Very good impression and colour. Slight folds, otherwise very good. Signed Cho-o-ro Kuniyoshi ga.
Status: Sold
Utagawa KUNISADA (1786-1865)
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A rare nagaban series of full length bijin published by Kinrindo (Moriya Jihei) c.1835-37.
Very good impression and colour; slight soil, otherwise good condition. Signed Kochoro Kunisada ga.
Status: Sold
Suzuki HARUNOBU (1724-1778)
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A chuban print of a young girl beside a stream. A poem above, by Ono no Komachi, compares her thoughts to a floating reed. One of a series based on “The Thirty-six Poets”. Another impression illustrated in the Philadelphia Musuem of Art catalogue Suzuki Harunobu, 1970, p.141, no.79. Published c.1767/8.
Superb impression with the girl’s outline and garment folds in heavy relief. Fine colour with only the water slightly down. Signed Harunobu ga.
Status: Sold
Nishimura SHIGENOBU (fl. c.1724-35)
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A young woman with straw hat. Ex Vever collection (see part 1, page 28, lot 29, 1974). Published by Urokugata-ya Hangen. Hosoban urushi-e.
Minor marks, but good condition for a print of this period. Signed Eshi Nishimura Shigenobu hitsu.
Status: Sold
Torii KIYONAGA (1752-1815)
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One of the great Ukiyo-e artists exemplifying what is called the classical school. He was a pupil of Kiyomitsu and was adopted by the Torii family, inheritating the estate, and was the last major member of the Torii School. From a set Jittai e-fuzoku, “Ten Forms of Manners in Pictures.”A fine design showing a standing beauty looking down at another girl who is raising herself from a futon. The grey back of a screen daringly cuts the design in two. Published by Takasu Soshichi, c. 1794. Provenance: Ex Vever collection (seal bottom right), sold Sothebys, Vever sale, Part 1, 26/3/1974, lot 165. This actual impression illustrated in the seminal Kiyonaga, Chie Hirano, MFA Boston, no. 969, pl. LXI. Another unidentified collector’s seal au verso. Rare.
Fine impression. Very good colour with yellow ground. Some expert restoration around edge, otherwise very good condition. Signed Kiyonaga ga.
Status: Sold
Kitagawa UTAMARO (1753-1806)
An aiban showing a mother and daughter from a set Tosei fuzoku hakkei, “Eight Views of Manners of Today.” This design probably referring to Mother’s Day. Another from the set is illustrated in Ukiyoe Zuten, no. 13, Utamaro, Kiyoshi Shibui, p. 107. Published by Izumiya Ichibei, c 1803.
Fine impression and colour. Minor mark au verso at top, otherwise fine condition. Signed Utamaro hitsu.
Status: Sold
Kitagawa KIKUMARO (c. 1753-1830)
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A bust portrait of the courtesan Agemaki of the Miuraya House compared to the poet Fun’ya no Yasuhide, one of the Six Immortal Poets (and shown in the roundel above). Obviously a set of six prints published by Maruya Bun’emon. It can be dated to 1802-4 because the character for kiku was changed from reading “chrysanthemum” (before 1802) to meaning “joy eternal” from 1802 to 1804 when he changed his signature to Tsukimaro. Yasuhide’s famous poem (no 22 in the Ogura Hyakunin Isshu) about the autumn wind blowing the leaves and grasses is at the top.
Very good impression, colour and condition. Signed Kikumaro fude.
Status: Sold
Kitagawa UTAMARO (1753-1806)
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An aiban showing an elegant couple holding falcons. Takagari, Japanese falconry, is said – as so much else in Japan – to have come from China around the 4th century. A symbol of nobility and a status symbol. Published C 1803.
Fine impression with excellent colour. Minor mark extreme bottom right, otherwise fine condition. Signed Utamaro hitsu.
Status: Sold
Utagawa KUNISADA (1786-1864)
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A stone lantern strongly illuminating a beauty reading a missive from a set Tsuki no kage shinobiau yoru, “Secret Meetings by Moonlight.” Published by Yamamotoya Heikichi c. 1836-38 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 and colour. Small wormhole at right edge, otherwise very good condition. Signed Kochoro Kunisada ga.
Status: Sold
Utagawa KUNISADA (1786-1864)
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A woman putting out a floor lamp from a set Tsuki no kage shinobiau yoru, “Secret Meetings by Moonlight.” Published by Yamamotoya Heikichi c. 1836-38 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 Kochoro Kunisada ga.
Status: Sold
Utagawa KUNIYOSHI (1797-1861)
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A vertical oban diptych showing the poetess Kagano Chiyo (1703-1775). The story relates how Chiyo goes to her well to draw water only to find that a morning-glory vine has overgrown her bucket. Rather than disturb it, she goes to a neighbour for water. This is the subject of a famous poem by Chiyo. Published by Izumiya Ichibei mid 1840s.
Very good impression and colour. Paper slightly toned and one light crease. Ample room for joining. Signed Chooro Kuniyoshi ga.
Status: Sold
Chobunsai EISHI (1756-1829)
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The parading courtesan Yosooi of Matsubaya with her kamuro Tomeki and Nioi. Published by Nishimuraya Yohachi c. 1800. She must have been a popular courtesan as she is depicted on many prints by various artists around this date.
Fine impression. Very good colour: Pale yellow ground. Very slight centre fold, otherwise very good condition. Signed Eishi zu.
Status: Sold
Suzuki HARUNOBU (1724-1770)
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A pillar print showing a beauty after a bath walking past a pot of morning glory. Published c. 1768. The morning glory is a precursor of hot summer. Some 40 or 50 years later there was a craze for these plants almost akin to Dutch tulip fever. Other (faded) impressions are in MFA, Boston, Spaulding Collection, nr. 21.4552; Honolulu Museum of Art, nr. 06108; and illustrated in Waterhouse, The Harunobu Decade, 20013, nr. 545. Harunobu produced some of the most sublime Ukiyo-e images and he and his publishers were at the forefront of experimentation in the 1760s using multiple blocks, new pigments and combing pigments to create new hues that were not see again in Ukiyo-e. Unfortunately, the pigments – most often of vegetable origin – were very susceptible to fading and most Harunobu prints are ghosts of their former selves. Harunobu was a master of this hashira-e format: Jacob Pins found 111 to illustrate in The Japanese Pillar Print, 1982. Rare.
Fine impression. Exceptionally good colour. Minor soil but in very good condition for a print in this format and of this period. (These prints were hung in alcoves or on pillars and they consequently often come browned or faded as well as getting creased by being rolled.) Signed Harunobu ga.
Status: Sold
Keisai EISEN (1790-1848)
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A high-ranking courtesan ( oiran ) looking over her shoulder. From a set of six prints: Bijin kaichu kagami – Jisei rokkassen: Ariwara no Narihira, “ A Pocket Mirror of Beauties – Six Immortal Poets of the Era: Ariwara no Narihira.” The set compares the beauties to the six “immortal” waka poets of the 9th/10th centuries. The maple leaves on the oiran’s collar identify the subject as compared to the poet Ariwara no Narihira ( 825-880 A.D. ). The set published by Senichi, c 1826-28.
Fine early impression. Fine colour. Very slight soil, otherwise fine condition. Full size. Signed Keisai Eisen ga.
Status: Sold
Yushido SHUNCHO (Fl. c. 1780-1795)
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A chuban print showing beauties sight-seeing on the Sumida River. From a set of ten prints of views of Koto (an area of Edo bounded by the Sumidagawa to the west and Arakawa River to the east with many canals). Published by Enomoto, c. 1790.
Very good impression. Exceptionally well preserved colour: the fugitive pigments intact. Very slight soil, otherwise very good condition. Full size.
Status: Sold
Katsukawa SHUNSHO (1726-1792)
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A chuban print from a set of three: Sanseki waka, “Three Evening Poems.” In this case interpreting a poem by Jakuren hoshi (1139-1202). The poem reads: Sabishisa wa / sono iro to shimo / nakarikeri / makitatsu yama no / aki no yugare, Loneliness / is not / any particular colour – / a mountain of black pines / on an autumn evening. The other two prints probably have poems by Teika and Saigyo. Shows beauties on a balcony admiring the pines in the distance. Published c. early 1770s. Ex collection Erik Holmberg. Rare.
Very good impression. Particularly good colour with pigments that have usually turned. Very good condition. Signed Shunsho ga.
Status: Sold
Katsukawa SHUNCHO (Active 1780-1795)
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A chuban print from a set of five designs: Imoseyama gomai tsuzuki, “Imoseyama, a Set of Five Prints.” Shows two court beauties and an attendant. Based on the Bunraku play Imoseyama onna teikin, “Husband and Wife Mountain: An Exemplary Tale of Womanly Virtue” which was performed for the first time in 1771. It was then adapted for the Kabuki theatre. The play is in five acts.
Very good impression, colour and condition. Signed Shuncho ga.
Status: Sold
Utagawa SADAHIDE (1807-1873)
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A triptych, Shin Yoshiwara karitaku no zu, “Temporary Lodgings of the New Yoshiwara.” Shows the courtesans Shiratama, Masanagi, and Tamakazura of the Tamaya House before a latticed window overlooking the Ryogoku River. The Tamaya was one of the best known brothels. Their kamuro are listed beside their names. Published c. 1843-7 by Yamaguchiya Tobei. Rare: I cannot locate another impression.
Very fine impression, colour and condition.Signed Gountei Sadahide ga.
Status: Sold
Kikugawa EIZAN (1787-1867)
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The courtesan Biso of the Ogi House holding a brush up to a snow sculpture of Daruma. Snow from a Snow, Moon, Flowers set: Seiro bijin setsugekka. Published by Kawaguchiya Uhei, c late 1810s.
Fine impression. Very good colour. Fine condition: Full size with extra paper. Signed Eizan hitsu.
Status: Sold
Kikugawa EIZAN (1787-1867)
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Winter from a set Furyu bijin kodakara awase, “Elegant Beauties and Precious Children.” Shows a beauty carrying one child and looking down at another with a large snowball. Published by Matsumura Yahei, c late 1810s.
Fine impression. Very good colour. Fine condition: Full size with extra paper. Signed Eizan hitsu.
Status: Sold
Tsukioka YOSHITOSHI (1839-1892)
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Kemu-so: Kyowa nenkan naishitsu no fuzoku, “Looking Smoky:The Appearance of a Housewife of the Kyowa Era.” From the set: Thirty-Two Aspects of Women published by Tsunashima Kamekichi, 1888. Shows a housewife fanning a smoldering fire probably intended to repel summer insects. The best design from the set.
Very fine impression, colour and condition of the first edition. The gradation and printing of the smoke is particularly accomplished. Signed Yoshitoshi ga.
Status: Sold
Kitao MASANOBU (Santo KYODEN) (1761-1816)
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One double-oban design from the most sumptuous album ever produced: Yoshiwara keisei: Shin bijin awase jihitsu kagami, “A Mirror of New Yoshiwara Courtesans with Samples of Their Calligraphy.” Published by Tsutaya Juzaburo, 1784. Shows courtesans viewing calligraphic scrolls. Seven double-oban designs were published in album form, although the original intention was for a larger set. Signed on two sheets Kitao sensai Masanobu.
Fine impression. Extremely good colour. Centre fold (as always), several very small wormholes and minor marks, but otherwise in very good condition.
Status: Sold
Hosoda EISHI (1756-1829)
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The courtesan Shizuka of the Shizutama-ya from the set of six prints Seiro bijin rokkasen, “Six Poems on Yoshiwara Beauties as Flowers.” One of the most beautiful sets of this period. Published 1794 by Nishimuraya Yohachi (Eijudo). The centre cartouche has a seasonal bloom, in this case the pink which was the emblem of Shizuka. See Klaus Brandt, Hosoda Eishi, 1977, 51, no. 172. Another impression was in the Popper sale catalogue, no. 138 and the impression from the Museum fur Ostasiatische Kunst, Berlin, is illustrated in the 1974 Tokyo Exhibition catalogue, no. 146.
Fine impression. Very good colour and condition. Yellow ground and mica on collar. Signed Eishi zu.
Status: Sold
Hosoda EISHI (1756-1829)
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The parading courtesan Yosooi of Matsubaya with her kamuro Tomeki and Nioi. Not listed in Brandt. Published by Nishimuraya Yohachi (Eijudo) c 1800. She must have been a popular courtesan as she is depicted on many prints by various artists around this date.
Fine impression. Very good colour: Pale yellow ground. Very slight centre fold, otherwise very good condition. Signed Eishi zu.
Status: Sold
Utagawa TOYOKUNI (1769-1825)
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A triptych showing the interior of a mansion. In the centre the head of the household, a young male, surrounded by his female attendants. This most likely shows the Setsubun – a ritual of bean-throwing to clear out the evil from a house on the day before the beginning of spring which was considered New Year’s eve. There are impressions in the MFA Boston (11.13833-5, 21.7798-800) and MET (JP201). Published by Iwatoya Kisaburo. The MET and MFA give a date as c 1791-4 but the signature better fits a date of c 1800.
Very good impression. Exceptional colour – better even than the other illustrated examples. Small restoration on last sheet, otherwise very good condition with extra paper around. Signed Toyokuni ga. Rare.
Status: Sold
Utagawa KUNISADA (1786-1865)
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Fuji kaeri no yudachi, “Sudden Shower on the Way Home.” Shows a beauty hunched under an umbrella against the rain. From a set of ten prints Tosei bijin awase, “Contest of Present-day Beauties.” She is returning from the Fuji festival celebrating the annual opening of Mount Fuji to pilgrims on the first day of the sixth month. (The straw snake in the cartouche, top right, is a souvenir from the festival.) Miniature mounds representing Fuji were made in locations such as Asakusa and Komagome and could reach 39 ft. high. Published by Moritaya Hanzo, 1827. A fine design.
Fine impression. Very slight “turning” of the fujitive blue on the umbrella, otherwise fine colour. A later edition was published replacing the beautiful pigment on the umbrella with a coarse dark blue pigment. Fine condition. Signed Gototei Kunisada ga.
Status: Sold
Kitagawa SHIKIMARO (Fl. c 1810)
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The courtesan Oi of the Ebiya smoking a pipe and admiring her reflection in a mirror. From a set Imayo onna kasen, sanjurokuban tsuzuki, “Thirty-six Modern Female Poets.” In the panel to the left is an example of her calligraphy with the names of her kamuro: Miyako and Sakuro. Her sumptuous kimono is decorated with fans – the emblem of the house of Ebiya. Probably a pupil of Tsukimaro carrying on the tradition of Utamaro. Published by Nishimuraya Yohachi (Eijudo), 1813.
Very good impression, colour and condition. Signed Shikimaro ga.
Status: Sold
Utagawa TOYOKUNI II (1777-1835)
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An aizuri (blue) print from a set Tosei bijin hana-awase, “Beauties of the Latest Fashion Compared to the Beauty of Flowers.” In this case kikyo flowers – the Chinese bellflower. Aizuri prints were the outcome of avoiding intermittent edicts promulgated by the bakufu prohibiting the number of blocks that could be used. The aim being to curb excesses, raise moral standards and encourage thrift. Published by Shimizo, c. late 1820s. Three other prints from set are in the Brooklyn Museum of Art, 76.151.13; 14; 15.
Fine impression, colour and condition. Signed Toyokuni ga.
Status: Sold
Utagawa TOYOHIRO (1773-1828)
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An oban print with title: Ryukyujin no zu, “Pictures of People from Ryukyu.” (A chain of Japanese islands stretching southwest from Kyushu to Taiwan.) The Ryukyuans had a specific culture, one element of which was to select young boys (gakudoji) from the upper classes of the capital to be apprenticed to perform as women in dances during the processionals to Edo. These processions of feudal lords, often with elaborate retinues, were required by the Shogun and were a way of keeping the lords submissive and cash-strapped as the journeys were extremely expensive. The gakudoji are usually shown riding a white horse with an attendant holding a large umbrella (a colourful parasol in this case). Another (heavily trimmed) design from this set is in the Ritsumeikan University, Kyoto, Japan. Toyohiro seems to have had a particular interest in these boys as he designed a number of other prints on this subject. Of the utmost rarity: I have not seen another print from this set in 50 years of dealing. Published by Shimizu, c. 1804.
Fine impression and colour with strong yellow ground. Possibly slightly trimmed (?), otherwise very good condition. Signed Toyohiro ga.
Status: Sold
Kikugawa EIZAN (1787-1867)
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The first sheet from one of Eizan’s most famous triptychs: Furyu yusuzumi san bijin, “Three Fashionable Beauties Cooling Off in the Evening.” Shows a teahouse waitress seated outside her establishment with silhouettes of customers showing on the shoji screen. Published by Yamadaya Shobei, c. 1814-17.
Fine impression, colour and condition. Signed Kikugawa Eizan hitsu.
Status: Sold
Utagawa KUNIYOSHI (1797-1861)
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A triptych showing three women washing clothes in a stream from a set Six Tama [Jewel or Crystal] Rivers, this being the Chofu Crystal River (in fact the Tamagawa that flowed into Edo Bay). Musashi no kuni Chofu no Tamagawa. The set published by Sanoya Kihei, c 1847. The complete set is illustrated in The Baur Collection, Matthi Forrer, vol. II, 1994, nos G396-G401 (this being G397).
Very good impression, colour and condition. Signed Ichiyusai Kuniyoshi ga.
Status: Sold
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.
Status: Sold
Keisai EISEN (1790-1848)
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Three koban surimono-style prints from a set Imayo sanjurokkasen, “Thirty-six Selected Pictures.” Published c late 1820s.
Fine impressions, colour and condition.
Status: Sold
Kubo SHUNMAN (1757-1820)
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Mishima, or Toi, Province of Settsu. The best desigm from an exquisite set of six prints showing graceful young women, girls and, in two instances, young men representing the Six Crystal (Tama) Rivers. These streams were noted for the purity of their water. The prints are in benigirai style, “red avoiding,” a technique pioneered by Shunman, Eishi and Shuncho. Shows a seated girl fulling cloth (hence Toi which is the alternative name of the river and the word for beating cloth) with three other beauties near the village of Mishima. A light shower passes by in the background. Shunman, a man of great sophistication, designed only a few prints before concentrating on surimono and printing and issuing some of the finest in this format. (See The Japanese Print: A New Approach, J. Hillier, pp. 102-104 where he says “Probably no artist except Choki has achieved so high a reputation on such a small number of prints.”) He also excelled at painting, book illustration and light verse. Published by Fushimiya Zenroku, c 1787. (A later edition was published by Tsutaya with less harmonious colours.) One of the most beautiful 18th century sets, and together with a night triptych showing people returning from a poetry reading, is considered his masterpiece. The complete set (trimmed) is illustrated in the Gale Catalogue Of Japanese Paintings & Prints, J. Hillier, Routledge, 1970, number 133 (a) – (f). Provenance: Originally purchased from me in 2008. Rare.
Fine impression. The centre female’s kimono blind-printed. Very good colour: printed only in tones of grey, light yellow and light pink, with touches of light red on the tree. Very small repaired wormhole, otherwise extremely good condition with extra paper at left. Probably untrimmed (whereas illustrated examples all seem to be trimmed somewhere). Signed Shunman with seal Shunman.
Status: Sold