Katsushika HOKUSAI (1760-1849)




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Three volumes complete: Ehon kyoka yama-mata-yama, “Kyoka: Range Upon Range of Mountains.” The fanciful title is based on the fact that the views illustrated are located around Yama-no-te, the higher ground situated in the north and north-western part of Edo. The pictures accompanied by kyoka poems. Vol.1: 12 sheets, 11 illus.; Vol.2: 10 sheets, 11 illus.; Vol.3, 10 sheets, 10 illus. Kyoka selected by Daigentei Sumikata and Benbenkwan Koryu. This is one of Hokusai’s most admired works. Published 1804 by Tsutaya Jusaburo.


Original dark green embossed covers. Original title slips. A very nice clean copy of this famous book. Some slight smudging of pigments and turning of colour on one or two sheets, but otherwise extremely well retained colour, the elusive blue and purple intact.



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Katsushika HOKUSAI (1760-1849)




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Kaiba, Sea Horses, from a series of at least thirty surimono issued for the Yomo-gawa poetry group. Uma zukushi, “Horse Series” was commissioned for the Horse Year 1822 and each design alludes to the word horse. Here the dried sea horses are shown lying in a gold-lacquer folder beside a black-lacquer box containing a pair of beetles ( with connotations of potency ). This set, together with the “Shell Series” issued the previous year, is Hokusai’s most important set. A red hand-stamped title cartouche top right. Unidentified collector’s seal au verso. Rare.


Very fine impression and colour with gauffrage, silver, gold and bronze. Very slight discolouration to the yellow ground, otherwise very good condition. Signed Fusenkyo Iitsu hitsu.


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Katsushika HOKUSAI (1760-1849)




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A view of two temples separated by water: Mimeguri and Ushi-no Misaka. From an early set of thirteen prints with title Shimpan uki-e, “New Perspective Prints,” published by Iseya Rihei, 1811. ( Although various dates are given between 1804 and 1810 for the series, in fact at least three have Yama-To gyoji seals.) Illustrated in Katsushika Hokusai, the catalogue of the Peter Morse collection at the Ota Memorial Museum of Art, 1988, no. 50. Interestingly, there are other designs in the same format using the same title cartouche and of the same date but by Toyokuni I and Kunitora.


Fine impression and colour. Slight centre fold, otherwise very good condition. Later editions have considerably coarser colouring. Signed Hokusai ga.


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Katsushika HOKUSAI (1760-1849)




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A fine long surimono with poems attached showing horsetails, fern fronds and kuzu ( arrowroot ) lying in and around a lady’s travelling hat with silk cushion and the two red cords for tying. Of the utmost rarity: other impressions in TNMC, no. 3708 ( without poems ? ); Matthi Forrer, Hokusai, no. 67, p. 64 ( with poems ); Surimono: Prints by Elbow, Edythe Polster and Alfred Marks, 1979, Lovejoy Press, F-D 1933-4-2680, p. 267, ( without poems ? ). But miscatalogued as a bowl with green vine and plants. Ex Hayashi; and evidently an impression in the Ota Memorial Museum of Art, Jingumae, Tokyo. There is also a Hokusai square surimono of the same subject illustrated in The Art of Surimono, Roger Keyes, 198, p. 226. Issued 1801. A beautiful print.


Fine impression. Very good colour. Minor marks. The inevitable folds hardly discernable: These surimono were folded three times, once horizontally and twice vertically to form a neat packet. The facing text ( announcement or poems ) were an irritation to many early collectors and were trimmed off, making this example even rarer. Otherwise very good condition. Signed Gakojin Hokusai utsushi.


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Katsushika HOKUSAI (1760-1849)




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One of the most majestic landscape sets: Shokoku takimeguri, “Travelling Around the Waterfall Country.” A series of eight waterfalls, this being the Kirifuri, “Falling Mist” fall that cascades down Kurokami mountain in Shimotsuke Province. Shimotsuke Kurokamiyama Kirifuri no taki. Pilgrims from Nikko admire the fall, one with Eijudo’s seal ( the publisher ) on his back; another with “Ei” on his back. Published c. 1832. Interestingly, there is a clever set of copies of this set, fully discussed in Oriental Art, Summer 1972, Vol. XVIII, No. 2, pp. 141 – 147 by Roger Keyes.


Very good impression and colour. Slightly trimmed around: These designs are martyrs to trimming being slightly over-sized and few impressions are truly full size, otherwise very good condition. Signed Zen Hokusai Iitsu hitsu.


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Katsushika HOKUSAI (1760-1849)




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Yodo-gawa from Setsugekka, Snow, Moon and Flowers. A traditional concept that provided the subject for sets of paintings and prints by Ukiyo-e artists. Shows boats being hauled up the river, which flowed passed Osaka, under a full moon. Under the Tokugawa boats were allowed to sail the river with mail, a tax being levied on every vessel. Published by Yohachi, c. 1833.


Fine early impression of the first edition with the moon overprinted. Very fine colour. Trimmed left ( where the title is near border ), otherwise fine condition. Signed Zen Hokusai I-itsu hitsu.


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Katsushika HOKUSAI (1760-1849)




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Onden no suisha, “Waterwheel at Onden” from Hokusai’s most famous series: Fugaku sanju-rokkei, the “Thirty-Six Views of Mount Fuji.” The set of 46 prints published by Eijudo, c.1830-32. The Onden area is now traversed by a broad avenue running up to the Meiji Shrine in Tokyo. In Hokusai’s time the area was partly agricultural with streams flowing through. In this case the water turning a large waterwheel. Peasants using the water and carrying sacks to the mill. One of the best designs from the set.


Fine impression and colour with the red Eijudo and kiwame seals and strong woodgrain in the area near signature which only shows on early impressions. Imperceptible centre fold and slight trimming bottom and right, otherwise very good condition. Signed Zen Hokusai Iitsu hitsu.

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Katsushika HOKUSAI (1760-1849)




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Ommayagashi yori Ryogoku-bashi no sekiyo wo miru, “Viewing Sunset over Ryogoku Bridge from the Ommaya Embankment [ Edo ].” From Hokusai’s most famous series: Fugaku sanju-rokkei, the “Thirty-six Views of Mount Fuji.” The set of 46 prints published by Eijudo, c. 1830 – 32. This was one of a number of ferry crossings between the Sumida bridges. A beautiful design from the set that does not come onto the market as often as others.


Fine impression and colour ( blue outline ). Very full size on three sides. Slightly unevenly trimmed following the block edge on the right. Minor soil and imperceptible centre fold. Signed Zen Hokusai Iitsu hitsu.


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Katsushika HOKUSAI (1760-1849)




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Totomi sanchu, “In the Mountains of Totomi Province.” The location was in what is now the western part of Shizuoka Prefecture and shows a poor logging family, two of whom are sawing planks from a huge log supported by wood trestles. To the left another man is sharpening a saw. Smoke curles up from a fire and clouds encircle Fuji. One of the finest designs from Hokusai’s most famous series: Fugaku sanju-rokkei, the “Thirty-six Views of Mount Fuji.” The set of 46 prints published by Eijudo c. 1830-32. An exceptional example of this design, printed, apart from light brown bokashi to the edge of the smoke cloud, in aizuri, Prussian blue ( Japanese: berorin, ie “Berlin” blue, from the place of manufacture ). The publisher of the set Eijudo advertised the set as using aizuri technique, to cater for the public’s craving for anything new ( it was only widely imported from c. 1829 ), and some designs from the set are predominantly blue while other prints, as here, are mainly aizuri in early editions.


Very fine impression with strong wood grain evident. Probably first edition. The publisher’s seal and censor seal blind-printed bottom left corner, possibly so the red did not interfere with the colour scheme. Other, later editions have the seals in red. Still later the seals are removed, the outline is printed in black – not blue, and the colour scheme is changed dramatically. Fine colour. Slight lateral trimming, mainly on right, otherwise fine condition. Signed Zen Hokusai Iitsu hitsu.


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Katsushika HOKUSAI (1760-1849)




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Umezawa Marsh, Sagami Province. The location appears to be present-day Ninomiya, a city near the coast of Kanagawa Prefecture between Kozu and Odawara. Shows a group of cranes in the foreground with two others flying off towards Fuji. From Hokusai’s most famous series: Fugaku sanju-rokkei, the “Thirty-six Views of Mount Fuji.” The set of 46 prints published by Eijudo c 1830-32. This is one of the most admired designs from the set and one of the most difficult to find in early state ( like Kajikazawa ). Why this should be is not known: Perhaps they were popular at the time and the blocks wore quickly or softer wood was used. Alternatively, these also tend to be the designs that are printed almost solely in tones of blue and green, and they may have been the first to be designed to show off the new Prussian blue.


Fine, early impression with perfect colour and very full size. Slight centre fold, otherwise fine condition. Signed Zen Hokusai Iitsu hitsu.



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Katsushika HOKUSAI (1760-1849)




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The poet Li Po ( Japanese: Ri Haku ) admiring the Lo-shan Waterfall. The finest design from the rare nagaban series of ten prints: Shika shashinyo, the “Poets of China and Japan.” ( But without interpreting specific poems. ) Published by Moriya Jihei, c 1833. Li Po is shown in deep contemplation of the waterfall, being held back from toppling over by two small acolytes. One of the great Hokusai designs.


Very good impression. Slight fading and very slight fold mark. Untrimmed. ( There appear to be variations in colour on impressions known of this print. ) Signed Zen Hokusai Iitsu no fude



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Katsushika HOKUSAI (1760-1849)




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The village of Ryudo in snow. Ryudo shoto, “Pines and Waves at Ryudo” from Ryukyo hakkei, the “Eight Views of the Ryukyo Islands” published c1831-32 by Eijudo. An archipelago of 55 islands which was annexed to Japan in 1879.


Very good impression and colour. Small repaired binding holes at left edge, and one or two minor marks, otherwise good condition. Signed Zen Hokusai Iitsu hitsu ( in red
cartouche upper left corner ).



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Katsushika HOKUSAI (1760-1849)




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Fuji seen from the second floor of the Mitsui clothing store just north of Nihonbashi (
which became the Mitsubishi department store of modern times ). This was considered a fine spot to view a snow-capped Fuji on New Year’s Day, and Hokusai suggests this with the kites being flown. The signs on the gateposts, left and right, state: “Payment in cash” and “No padded prices.” From Hokusai’s most famous series: Fugaku sanji-rokkei, the “Thirty-six Views of Mount Fuji.” The set of 46 prints published by Eijudo c1830-32. Extremely good provenance: From the Louis Gonse collection ( seal au verso ), sold lot 111, p.36, 1st Part, 1924. One of a large group from this set, obviously from the same original source.


Fine, beautiful clean impression. Fine colour. Very slight centre fold, otherwise very
good condition. Full size. Signed Zen Hokusai Iitsu hitsu.



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Katsushika HOKUSAI (1760-1849)




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Fuji from the Tea Plantation of Katakura in Suruga Province from Hokusai’s most famous series: Fugaku Sanji-rokkei, the ‘Thirty-six Views of Mount Fuji’. The set of 46 prints published by Eijudo c 1830-32. This design comes from the ten supplementary prints added, the so-called ura-Fuji ( ‘Fuji from the other side’ ).


Extremely good, early impression. Black outline as always. ( Only the first 36 have dark blue outlines in early states. ) Very good colour. One or two minor marks. Slight trimming and slight centre fold, otherwise a very nice example of this design. Signed Zen Hokusai Iitsu hitsu. ( There is no known impression with publisher’s mark or censor’s seal. )



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Katsushika HOKUSAI (1760-1849)




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Poem by Fujiwara no Michinobu Ason ( 972-994 ) from the set Hyakunin isshu oba ga etoki, ‘The Hundred Poems Explained by the Wet Nurse’. Published by Nishimuraya Yohachi ( the first five ) and Ise Sanjiro ( as here ) the next twenty two, c late 1830s. This poem tells of a lover’s despair at having to part from his beloved at daybreak.


Very fine impression of the first edition: On subsequent editions the characters on the lantern ( which read ‘Iseya’ ) beneath the kago are changed; the break top left of title cartouche shows strongly, and pigments are used which do not oxidise on the path and background. Very fine colour. Slight stain bottom right corner, otherwise fine. Signed Zen Hokusai manji.



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Katsushika HOKUSAI (1760-1849)




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Joshu Ushibori from Fugaku sanju-rokkei, the “Thirty-Six views of Mount Fuji”. The set published by Eijudo c1829-33. Probably the most difficult design from the set to find in early impression. (There exist first printings entirely in blue, but they are extremely rare.)


Very good early impression (blue outline) with very good colour. Slight centre fold, otherwise very good condition. Signed Zen Hokusai Iitsu ga



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Katsushika HOKUSAI (1760-1849)




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Plovers and waves from a very rare set of ten half block aizuri prints published by Moriya Jihei, c. 1831. This design – and a few others from the set – never seem to come onto the market. There appear to be at least four other impressions known: The Victoria & Albert Museum impression is illustrated full page colour in Nelly Delay, L’Estampe Japonaise, Hazan, 1993, p. 195. ( It is also used in other publications. ) These designs were printed two-to-a-sheet. Ex Hayashi collection, seal bottom right.


Very good impression and colour. Minor browning and small spots, but otherwise very good condition. Signed Zen Hokusai no fude.



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Katsushika HOKUSAI (1760-1849)




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Hisui and nadeshiko, kingfisher with pinks and iris from a set of ten chuban prints published c 1832. The first edition ( as here ) was published by and has the seal Eijudo. A later edition is known with combined manji and kiwame seal from different blocks ( some also printed on thin Chinese-style paper ), and there are also impressions extant without any seals which probably constitutes a third state. All impressions are rare and the first state excessively so. Indeed these prints are considered even rarer than the larger bird and flower set Hokusai designed c 1833. The printing and colour on the series comes close to surimono quality. One of the two or three best designs from the set. I have never catalogued this design before or seen another impression for sale. An impression of the second edition is illustrated in Vignier & Inada, 1912, pl. LXXXVII, no. 297. See Hokusai, Richard Lane, 1989, no. 161, p. 296 for a list of the complete set. Each print has a Chinese poem written in hiragana.


Very fine impression and colour. Minor marks and slight trimming, otherwise fine. Signed Zen Hokusai I-itsu hitsu.



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Katsushika HOKUSAI (1760-1849)




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Sekirei and fuji, wagtail and wisteria from a set of ten chuban prints published c 1832. The first edition ( as here ) was published by and has the seal Eijudo. A later edition is known with combined manji and kiwame seal from different blocks ( some also printed on thin Chinese-style paper ), and there are also impressions extant without any seals which probably constitutes a third state. All impressions are rare and the first state excessively so. Indeed these prints are considered even rarer than the larger bird and flower set Hokusai designed c 1833. The printing and colour on the series comes close to surimono quality. Another impression was in my Catalogue 19, 1977, no. 10. See Hokusai, Richard Lane, 1989, no. 161, p. 296 for a list of the complete set. Each print has a Chinese poem written in hiragana.


Very fine impression and colour. Minor marks and slight trimming, otherwise fine. Signed Zen Hokusai I-itsu hitsu.



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Katsushika HOKUSAI (1760-1849)




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An original drawing by Hokusai showing a Chinese brigand heaving aloft a large rock to stave off oncoming swords. Sumi on paper finely mounted as a kakemono; image size 14.50 x 10.75 ins. Box has inscription: “Chinese warrior from Suikoden painted by Katsushika Hokusai” and inside lid guarantee dated Showa kanoto tori, yayoi chuin Kimura Tosuke kan ( authenticated by Kimura Tosuke, 1981 ).



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Katsushika HOKUSAI (1760-1849)




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A large ( 33.75 x 15.75 ins. ) and important original drawing by Hokusai showing the Dragon of Handaka Sonja ( one of the sixteen Rakan ). This dragon is usually shown emanating from a bowl, sometimes with a rain cloud. For another see The Harari Collection of Japanese Paintings and Drawings, volume 2, Lund Humphries, 1970, 146e, p. 273. Sumi on paper finely mounted as a kakemono, with box. Provenance: Catalogued by Jack Hillier and illustrated in the 1967 catalogue of Kegan Paul, Trench, Trubner & Co., no 117. ( Interestingly, the item before which is illustrated on the facing page shows a large cartoon by Hokusai of the Sixteen Rakan with a dragon descending in the centre which is strikingly similar to this drawing. )



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Hosoda EISHI (1756–1829) and Katsushika HOKUSAI (1760–1849)




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One volume complete Nishikizuri onna sanjurokkasen, “The Thirty-Six Women Poets in Brocade Prints” published by Eijudo Nishimuraya Yohachi and dated on last postscript Kansei 9 hinoto mi “Kansei 9 [ 1797 ] mid-Winter” and stating that the calligraphy was written by thirty-six young girls, none over the age of fifteen. Date of publication Spring 1801 ( Kansei 13 kanoto tori haru ). Two prefaces followed by a double-page frontispiece by Hokusai and thirty-six double-page prints with a poetess at left and a poem in shikishi at right decorated with colour patterns. Two postfaces with colophon giving artist as Hosoi Chobunsai, with seals Hosoi and Chobunsai. Rare complete and as Jack Hillier wrote in The Art of the Japanese Book, Sotheby’s, vol. 1, p. 454: “The other book with colour prints by Eishi is one of the major masterpieces of the colour-printer’s art.” Provenance: Ex Hayashi collection ( large and small seals ) and Edmond de Goncourt with an annotation by him at end of second preface where he states that he purchased it from Hayashi in 1888 for 200 francs ( and sold, lot 1499, in Goncourt sale, 10/3/1897, Hotel Drouot, Paris ). There is also a small oval seal with a capital “G” running through the book. This appears to be another collector as it does not tally with Goncourt’s seals.


Old brocade covers and title slip, probably not original. Very fine impressions and colour. Minor backed wormage on preface and colophon, otherwise very good condition.



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Katsushika HOKUSAI (1760-1849)




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Two volumes complete: Toto shokei ichiran ( alternative title: Toto meisho ichiran ), “Fine Views of the Eastern Capital at a Glance.” The first of three important works showing the sights of Edo in colour prints. ( See this website for examples of the other two. ) Published Kansai 12 ( 1800 ) by Suwaraya Mohei, Suwaraya Ihachi and Tsutaya Jusaburo, Edo.


Original hand-painted blue-green covers with original title slips. One or two minor marks, otherwise a nice example with perfect colour. In chitsu.



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Katsushika HOKUSAI (1760-1849)




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One volume complete: Shuga ichiran, “Excellent Paintings at a Glance.” One of Hokusai’s most undervalued books but at the same time one of his best documented. ( See Hokusa’s Shuga Ichiran, An annotated description of Hokusai’s Shuga Ichiran by C. Ouwehand, Heinz Kaempfer Fund, 1991. Based on the copy in the National Museum of Ethnology, Leiden. ) Two versions are known: A colour printed edition ( as here, and Leiden ) and a monochrome example with title Denshin gakyo. The book is unusual ( and must have been expensive ) as it is partly printed in gold with mica added. There were a number of later reprints of this book. Published by Hishiya Kyubei, Nagoya and five others, c 1818.


Original dark brown burnished covers. Original title slip ( faded ). Front cover nibbled at edge affecting edge of first two sheets of preface. Other minor marks and soil, but generally a nice copy.



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Katsushika HOKUSAI (1760-1849)




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One volume complete: Denshin kaishu-ippitsu gafu, “Drawing Manual – Album of Drawing with one Stroke of the Brush.” Similar to the ryakuga style which was pioneered by Masayoshi. One of the best known and most influential of Hokusai’s books and one which was reprinted and copied many times. Published 1823 by Eirakuya Toshiro, Nagoya.


Original burnished orange covers. Original title slip. A nice early example: This is a difficult book to find without the fugitive pigments being completely washed out. This example has been in the collection of four collectors: Jaeger; Kari and the other two unread ( seals inside front cover ).



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Katsushika HOKUSAI (1760-1849)




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One volume complete: Hokusai soga, “Hokusai’s Free Sketches.” Two versions of this publication are known: Solely printed in sumi and ( as here ) sumi with gradated shading and a pink block. This version also with the colophon. Both are almost certainly contemporaneous. Contain’s some of Hokusai’s best known images and was considered by Jack Hillier to contain “the finest figure prints by Hokusai.” Published 1820 by Eirakuya, Nagoya; Surawaya Mohei and seven others in Edo.


Original light blue burnished covers. Original title slip. Some slight damage to covers, and thumbing on some pages, but overall a very nice copy with fine impressions.



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Katsushika HOKUSAI (1760-1849)




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Three volumes complete: Kyoka yama-mata-yama, “Kyoka: Range Upon Range of Mountains.” The fanciful title is based on the fact that the views illustrated are located around Yama-no-te, the higher ground situated in the north and north-western part of Edo. The pictures accompanied by kyoka poems. This is one of Hokusai’s most admired works. Published 1804 by Tsutaya Jusaburo.


Original dark green embossed covers. Original title slips. A very nice clean copy of this famous book. Some slight smudging of pigments and turning of colour on one or two sheets, but otherwise extremely well retained colour, the elusive blue and purple intact.



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Katsushika HOKUSAI (1760-1849)




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A fine example of the first edition, the “Falcon’s Feather”, of volume one of the Fugaku hyakkei, the “Hundred Views of Mount Fuji.” ( So-called because the title slip is printed in blue with a decorative design of a falcon’s feather – missing on later editions. ) The first volume was published in 3/1834 by the Edo firm of Nishimura Sukezo together with the Nagoya publisher Eirakuya Toshiro and the Edo firms of Kadomaruya Jinsuke and Nishimuraya Yohachi using Hokusai’s favourite engraver, Egawa, amongst others. One of the great and most influential illustrated books. Not just with other Japanese artists, but on European artists of the last century. Full of exquisite compositions, best appreciated in the first or early editions. Due to their popularity, the volumes were reprinted many times. It is also a target for cutting up and separately mounting the pages. Colophon signed: “the old man mad about drawing, formerly Hokusai Iitsu aged 75.”


Original covers and title slip. One small wormhole on a few pages. Otherwise extremely good condition with only minimal soil.



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Katsushika HOKUSAI (1760-1849)




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Volume 1 only of Ehon Sumidagawa ryogan ichiran, “Panoramic Views Along the Bank of the Sumida River”. Published by Senkakudo c1805/6. Minor marks and wormage, otherwise a fine copy, with perfect colour, of the first edition. Original covers and title slip.



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Katsushika HOKUSAI (1760 – 1849)




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Kinutagai, “The Fulling Block Shell” from the series: Genroku Kasen kaiawase, “A Matching Game with the Genroku Poem Shells.” ( An anthology published in 1689. ) A collection of verses with pictures designed by Hokusai printed on 36 sheets. Commissioned by the Yomogawa poetry group for the New Year 1821, Year of the Snake. Shows two women at a fulling block beating down scrap paper to pulp to remake into sheets. In the background a boy is stirring the pulp in a basket in a stream. One of the two best known Hokusai surimono sets. Rare.


Fine impression, very good colour with gold and silver. Minor marks and signs of mounting au verso, otherwise very good condition. Signed Getchirojin I itsu hitsu, “Moonstruck Old Man, Iitsu.”



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Katsushika HOKUSAI (1760 – 1849)




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Sakuragai, “The Cherry Blossom Shell” from the series: Genroku Kasen kaiawase, “A Matching Game with the Genroku Poem Shells.” ( An anthology published in 1689. ) A collection of verses with pictures designed by Hokusai printed on 36 sheets. Commissioned by the Yomogawa poetry group for the New Year 1821, Year of the Snake. Shows travellers on the way to Narita Fudo, the Shinshoji at Naritasan. One of the two best known Hokusai surimono sets. Rare.


Fine impression and colour with gold and silver. Minor marks, otherwise fine condition. Signed Getchirojin I itsu hitsu, “Moonstruck Old Man, Iitsu.”



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Katsushika HOKUSAI (1760 – 1849)




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A rare surimono from a series Soramitsuyaren wakan buyu awase samban no uchi, “Japanese and Chinese Heroes for the Soramitsuya Circle.” ( A club named after its leader Soramitsuya Maeda. ) Shows Benkei in a tug-of-war with a Chinese beauty ( possibly Kosanjo according to Keyes ). Poems by Maeda, Magara and Komichi. Published 1820. Two other impressions illustrated in the Spencer Museum of Art, Surimono, Roger Keyes, Kodansha, 1984, no. 26, p. 74 ( catalogue no 110 ) and the Peter Morse collection catalogue, Ota Memorial Museum of Art, 1988, no. 184.


Fine impression, colour and condition. Extensive gold and silver. Signed Hokusai Taito aratame Katsushika Iitsu hitsu.



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Katsushika HOKUSAI (1760 – 1849)




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A rare surimono from the series Umazukushi, “A Series of Horses” published 1822 ( Year of the Horse ). Shows the banks of the Sumida river, Komatomeishi, with the stone used for tethering horses bottom centre. This surimono is one of three that form a triptych. The complete set is in the Rijksmuseum, Amsterdam ( 1958: 293-294-295 ) and is illustrated in Matthi Forrer, Hokusai, Rizzoli, 1988, no. 265, p. 238 and elsewhere. The other two surimono were also in the Gerhard Schack collection, illustrated in Surimono, 1970, 77-78. Ex collection H. de Winiwater ( seal top right ).


Fine impression with gold and silver. Some soil and loss of the gold. Signed Fusenkyo Iitsu no fude.



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Katsushika HOKUSAI (1760 – 1849)




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A rare long surimono complete with the attached invitation ( yokonagaban ). Mitate junidan soshi, “A Parody from Twelve Fairy Tales.” Shows Ushiwaka and prince Joruri. The invitation is to a dramatic recital with music ( joruri ) organised by Tokiwazu moji kiyo and has the names of the performers: Tokiwazu Komoji dayu; Kishizawa Koshikibu and others from the Kishizawa school. Another example ( lacking invitation ) is illustrated in Masterpieces Of Ukiyoe From The British Museum. Exhibition catalogue of collection of 300 prints from BM exhibited in Japan at Ueno Museum, Tokyo and Nara Prefectural Museum of Art, 1985, no. 194. But otherwise extremely rare as few of these prints can have been produced for this dramatic event. Sometimes the actual designs, without attachments, were reissued at a later date. An early design for Hokusai, c. 1800.


Fine impression with gauffrage. Slight fading and signs, as usual, of the foldmarks on the invitation: These invites were folded three times – once horizontally and twice vertically to form a neat packet. Otherwise very good condition. Signed Gakyojin Hokusai ga.



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Katsushika HOKUSAI (1760 – 1849)




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An exceptionally rare and very unusual koban surimono showing two onnagata actors. The only other recorded impression seems to be in Hokusai, Gian Carlo Calza, Electa, 1999, plate III.57. That has the months on the title slip of book for 1803 (and a poem top left). So this is an egoyomi and my impression must be either a proof or the first issue (same as Harunobu prints issued first without date, then with).


Very fine impression and colour. Signed Gakyojin Hokusai ga.



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Katsushika HOKUSAI (1760-1849)




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Three excessively rare prints ( from a set of four; missing third panel ) showing framed pictures of zodiacal animals; working straw models; and a seiryuto ( a sort of giant halberd ) which were on view in the garden of the Kinryuzan Temple, Asakusa, Edo. The models show a Chinese woman on a white elephant with the dimensions of the figures ( eg 5 shaku 5 su’n for figure and 1 take 2 shaku for the elephant ); Emperor Komei, with measurement; the seiryuto, with measurement; and Shuso, with measurement. Published by Tsuru Kin. Of the utmost rarity: The only other impressions appear to be the three sheets ( lacking left sheet ) in the Hokusai museum in Tsuwano, Japan, illustrated in the “Human Figure” volume of a 5 volume set by Dr. Nagata and an impression of the last sheet which was in the last Christies sale, London.


Very good impression and colour. Slight edge soil and minor marks, otherwise good condition. Unsigned, but, as stated, fully catalogued by the Hokusai museum.



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Katsushika HOKUSAI (1760-1849)




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Kanagawa Oki Nami-ura from the “Thirty-six Views of Fuji”. The set of forty-six prints published between 1823 and 1829 by Eijudo. Probably the most eulogised Japanese print and the masterpiece from the set as well as being one of the world’s great graphic images.


Medium impression. Blue outline. Very full size. Signed Zen Hokusai I-itsu hitsu.



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Katsushika HOKUSAI (1760-1849)




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Two volumes complete Toto shokei ichiran “A View of the Famous Sights of the Eastern Capital”. Dated Kansei 12 (1800) and published by Tsutaya Jusaburo, Suwaraya Mohei and Suwaraya Ihachi, all of Edo. Original covers, hand-painted with Iris flowers, and title slips. The first edition (probably of 200 copies) was published solely by Tsutaya Jusaburo in 1800 with title Toto meisho ichiran. The example offered here was published shortly afterwards (probably also in 1800). There were also later reprints in 1815 and 1840. One of Hokusai’s best known books and featuring his best work of this period. Difficult to find in an early edition. Ex Kegan Paul Gallery.


Good condition: title slips damaged and some thumbing. A little movement of the blue pigment due to dampness, but overall a nice example of this important work. Signed on colophon Hokusai Tatsumasa.



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Katsushika HOKUSAI (1760-1849)




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A poem by Onakatomi no Yoshinobu Ason from Hyakunin isshu uba ga etoki, the “Hundred Poems explained by the Wet Nurse.” Published by Nishimuraya Eijudo and Iseya Eijudo c 1835/6. Although obviously intended to be a set of 100 prints, only 27 are known plus drawings for the others. The poet speaks of his love being like a fire kept by guards at the Imperial Palace: It only burns hot at night. Shows a group of sleepy imperial guards with the fire burning low. The poet and servant are seen on the distant hill.


Very fine early impression. Fine colour and condition. (The small white area without colour top left should appear on every untrimmed genuine impression.) Signed Zen Hokusai manji (the manji seal black).

 

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Katsushika HOKUSAI (1760-1849)




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A poem by Kiyowara no Fukayabu from Hyakunin isshu uba ga etoki, the “Hundred Poems explained by the Wet Nurse.” Published by Nishimuraya Eijudo and Iseya Eijudo c 1835/6. Although obviously intended to be a set of 100 prints, only 27 are known plus drawings for the others. The poet speaks of the shortness of the summer night and asks if the moon is still overhead or hidden by clouds. Shows an evening on the Sumida River with a large pleasure boat accompanied by a smaller craft and a vessel providing food.


Fine early impression. Fine colour. Slight centre fold, otherwise good condition. Signed Zen Hokusai manji (the manji seal black).

 

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