Ichiryusai HIROSHIGE (1797-1858)




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The Kinuta ( or Toi ) River in Settsu Province from the vertical Shokoku Mu Tama-gawa, the “Six Tama [ Crystal ] Rivers of Various Provinces.” ( So-called because these streams were noted for the purity of their water. ) Published by Marukyo, 11/1857. Shows two girls fulling cloth beneath a full moon. ( Toi is also the word for beating cloth. ) See the Shunman on this website in Beauties for another print of the same subject. The best design from the set and a beautiful composition.


Fine impression and colour. Some minimal soil in margins, otherwise fine condition. Signed Hiroshige ga.



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Kochoro KUNISADA (1786-1865)




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The Eitai Bridge ( Eitaibashi ) from a second series of five prints with title: Komo abura-e fu, “Drawings in the Red Hair [ Dutch ] Oil Painting Style.” Shows beauties in a pleasure boat in the foreground with a view along the Sumida of Eitai Bridge and Tsukuda Island. A mass of masts is shown in the harbour. ( At this time – c. 1825 – pure spring water and mountain streams supplied the canals and rivers with drinking water and the mouth of the Sumida was abundant with sea and fresh water fish. A distinct difference from today. ) This extremely rare set mimics Dutch leather with the borders and European writing with horizontal calligraphy. Published c. 1825 by Kinkodo.


Very good impression with extremely well retained colour. Minor soil, otherwise very good condition. Signed Konomi ni makase Kunisada egaku, “Drawn by request by Kunisada.”



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Ichiyusai HIROSHIGE II (1829-1869)




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Heavy rain and wind at Tatsuguchi in Bizen Province from Shokoku meisho hyakkei, the “One Hundred Views of Famous Places in the Provinces.” Published by Uoei, Monkey 2 ( 1860 ).


Very good impression, colour and condition. Signed Hiroshige ga.



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Ichiryusai HIROSHIGE (1797-1858)




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Shinmachi kukencho from Naniwa [ Osaka ] meisho zu, “Famous Views of Naniwa.” Shows parading courtesans in the licensed quarter. A set of ten prints published 1834 by Eisendo. Rare.


Fine impression. Very good colour and condition. Signed Hiroshige ga ( on the patterned border which is often trimmed off on this design ).



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Aoigaoka HOKKEI (1780-1850)




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A large ( 17.25 x 24.25 inches; 44 x 62 cms. ) aerial view of the Asakusa Kinryu Shrine in the Eastern Capital, Toto Kinryuzan, Asakusa dera no zu. Published c.1830s by Izumiya Ichibei and Mamura Hanbei and blocks cut by Akibara Namijiro. At the top right a red seal ( of a collector or shop ) Ei-o do. There appears to be another edition of this view with another publisher, lacking block cutter’s name and without the setting sun top right. Rare: For obvious reasons these large views did not survive in any quantity.


Very good impression and colour. Faint fold marks with some expert restoration. Lightly laid onto Japanese paper. Signed Aoigaoka Hokkei sha.



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Utagawa KUNIYOSHI (1797-1861)




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Shin Yoshiwara from the set of ten prints: Toto meisho, “Famous Views of the Eastern Capital.” Shows night revellers beneath a moon with an enormous halo. A much admired print with a westernised chiaroscuro effect. Excessively rare. Published by Kagaya Kichibei, c 1834.


Fine impression. Extremely well retained colour. Restored top edge running from the centre towards right corner and top left corner. Signed Ichiyusai Kuniyoshi ga.



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Ichiryusai HIROSHIGE (1797-1858)




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A view over the Naruto Strait of the whirlpools at Awa, Awa no naruto no fukei. Although no series title this is from a trinity of triptychs depicting Snow, Moon and Flowers, this being the last ( because the eddies and whirls were reminiscent of flowers [ nami no hana, “flowers of the waves” ] ). These were the last three great prints Hiroshige designed. All are rare, especially Snow and Moon. Published 1857 by Okasawaya Taheiji.


Very good impression. It is claimed that the first printings have a sliver of land on the far right horizon which is removed on later editions. However, there seems to be no discernable difference in quality between that state and very good impressions without. So, if true, this must have happened early on. Almost all impressions are without. Indeed, late impressions of this set of three triptychs are not known. Very good colour. Expertly repaired wormhole on centre sheet. Virtually untrimmed: These prints are extremely difficult to find without trimming, often well into the title cartouche. Signed Hiroshige ga.



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Ichiryusai HIROSHIGE (1797-1858)




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Station 13, Numazu, hikure, “Yellow Dusk” from the Fifty-three Stations of the Tokaido. The set published by Hoeido and Senkakudo in 1834. One of the finest designs from the set showing travellers about to enter the village of Numazu beneath the huge orb of the moon. On each side are dark pines, and this station is famous for its forest which stretches along the seashore. One of the travellers is carrying a red tengu mask on his back, the mark of a pilgrim to the Shinto Shrine of Kompira.


Very good impression and colour. Several small expertly restored wormholes in left margin, otherwise good condition. This design is often coarsely printed – possibly the blocks were softer than normal. Signed Hiroshige ga.



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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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Ichiryusai HIROSHIGE (1797-1858)




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Horikiri no hana shobu, “Flowering Irises at Horikiri” from Meisho Edo hyakkei, the “One Hundred Views of Edo” published by Uoei between 1856 and 1858 ( this being 1857 ). The village of Horikiri, situated up the Sumida River from Edo, was famous for growing irises, azaleas, morning glory and chrysanthemums. Large foreground images, such as the blooms here, was a popular compositional device used by Hiroshige and impressed and was picked-up by many French artists of the late 19th century. One of Hiroshige’s most popular prints.


Very good impression with strong woodgrain still evident in the sky and right iris. Fine colour and condition. Signed Hiroshige ga.



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Ichiyusai HIROSHIGE II (1826-1869)




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Ochiai Bridge in heavy rain, Mino Province from an uncompleted set: Shokoku meisho hyakkei, “One Hundred Views of the Provinces.” Published by Uoei between 1859 – 1861 ( this being 1861 ). One of the best prints from a set with many mediocre designs. An evening rain scene showing travellers crossing a fast-flowing torrent.


Superb impression of the first edition with mica at top. Superb colour and condition. Signed Hiroshige ga.



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Ichiyusai HIROSHIGE II (1826-1869)




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Suo Iwakuni Kintaibashi, “The Bridge of the Brocade Sash at Iwakuni in Suo Province.” From an uncompleted set: Shokoku meisho hyakkei, “One Hundred Views of the Provinces.” Published by Uoei between 1859 – 1861 ( this being 1859 ). Shows the beautiful five-arch bridge spanning the Nishiki-gawa under heavy snow. The best print from the set and probably Hiroshige’s masterpiece.


Fine impression of the first edition with extensive mica. Fine colour. Small repaired binding holes right margin and minor marks au verso, otherwise very good condition. Later editions lack variegated cartouche and the colour-banded publisher’s seal in left margin ( see Ukiyo-e Taikei, vol.11, no.64 for the later state ). Signed Hiroshige ga.



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Keisai EISEN (1790-1848)




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Magome from the Sixty-nine Stations of the Kisokaido. The set was started by Eisen and published by Hoeido in 1835, but in 1837 Hiroshige took over and completed the series with the publisher Iseiri ( Kinjudo ).


Fine impression. A rare variant first edition with signature but without the large central mountain. Not listed by Strange. There are later editions without signature and with and without central mountain. Fine colour and condition. Signed Keisai ga.



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Ichiryusai HIROSHIGE (1797-1858)




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Kakuchu Shinonome, “Dawn in the Yoshiwara” from Edo hyakkei, the “One Hundred Views of Edo” published by Uoei between 1856 and 1858 ( this being 1857). One of the best designs from the set.


Fine impression of the first edition. Fine colour and condition. Signed Hiroshige ga.



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Ichiryusai HIROSHIGE (1797-1858)




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Fujikawa from the so-called “Upright Tokaido.” One of the two snow scenes from the set. Published by Tsutaya Hare 7, 1855.


Very good impression and colour. ( Later editions have a dark sky. ) Small corner repair outside image, otherwise very good condition. Signed Hiroshige ga.



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Ichiryusai HIROSHIGE (1797-1858)




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A chuban print showing a young woman on a rainy night. Karasaki from a set of prints: Eight Scenes of Meeting [ Omi ]. On her umbrella are the characters Mura and Ichi – the publisher Muraichi, published c 1847-1848. Extremely rare: I have not catalogued this set before. This appears to be the Suzuki impression, illustrated in his book, no.205, Utagawa Hiroshige, Juzo Suzuki, Tokyo 1970. Another impression in The Art of Hiroshige, Tsuneo Tamba, Tokyo 1965.


Very good impression and colour. Minor soil, otherwise good condition. Signed Hiroshige ga.



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Ichiryusai HIROSHIGE (1797-1858)




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A chuban print showing a young woman walking in the snow. Evening snow at Mount Hira from a set of prints: Eight Scenes of Meeting [ Omi ]. Published by Muraichi, c 1847-1848. Extremely rare: I have not catalogued this set before and cannot, as yet, locate another illustrated example.


Very good impression and colour. Minor soil, otherwise good condition. Signed Hiroshige ga.



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Ichiryusai HIROSHIGE (1797-1858)




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The second triptych from a set Ise Meisho, Futamigaura no zu. Young girls sightseeing on the beach at Futami. In the background are the “Husband and Wife” rocks. The tasseled ropes indicate this is a Shinto site. This area was a popular tourist attraction. Published by Sanoki, 1847-1852. Rare.


Very fine impression. Perfect colour. Very slight trimming, otherwise fine condition. Signed Hiroshige ga.



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Ichiryusai HIROSHIGE (1797-1858)




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Koganegahara, Shimosa Province from the set Fuji sanjurokkei, the “Thirty-six Views of Mount Fuji.” One of the most popular designs from the set. Shows horses in a flower-strewn meadow with a brook and a distant view of Fuji. Published by Tsutaya Kichizo, 1858.


Extremely fine impression ( probably first edition ). Fine colour. Slight centre fold, invisible at front apart from margins, otherwise fine condition. Signed Hiroshige ga.



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Ichiryusai HIROSHIGE (1797-1858)




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Kameyama, yuki-bari, “Clear Weather after Snow” from the Fifty-three Stations of the Tokaido. The set published by Hoeido and Senkakudo in 1834. One of the finest designs from the set showing a daimyo’s courtege moving up to the 16th century castle.


Very good impression, colour and condition. Signed Hiroshige ga.



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Ichiryusai HIROSHIGE (1797-1858)




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An excessively rare triptych showing the interior of a large mansion where a private performance of Kabuki interlude plays is being performed. Some of the most famous actors of the day are shown: Bando Mitsugoro III, Iwai Hanshiro V, and Ichikawa Danjuro VII. One of Hiroshige’s earliest prints published c 1818-20 when Hiroshige was 22-24 years old. Two other impressions appear to be known: The Tamba impression illustrated in The Art of Hiroshige, Tsuneo Tamba, 1965, no.122, p.58; and the Suzuki copy illustrated in Utagawa Hiroshige, Juzo Suzuki, 1970, no.86, which is the impression shown in the Memorial Exhibition of Hiroshige, Number Eighteen, Ukiyo-e Art, The Japan Ukiyo-e Society, 1968, no.1.


Good impression and colour. Some small areas of expert restoration, otherwise good condition. Signed “By special request” Hiroshige ga.



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Ichiryusai HIROSHIGE (1797-1858)




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Hamamatsu from the “Reisho” Tokaido. So-called because of the titles written in formal script. The best Tokaido set after the Hoeido. Shows a pilgrim standing centre with sea-weed gatherers on right. Some boats out in a choppy sea. Published by Marusei c 1851-2. One of the five best designs from the set.


Fine impression and colour. Two paper flaws top left border, otherwise very good condition. Signed Hiroshige ga.



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Ichiryusai HIROSHIGE (1797-1858)




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The Nunobiki waterfall in the Nikko mountains, Settsu Province, from the rare, early set: Honcho Meisho, “Famous Places of Japan.” Published by Fujiokaya Hikotaro, c 1837-9. Fifteen designs are known plus another three which were probably published around 1832. Compare with Keisai Eisen’s design of the same subject. A fine composition.


Fine, early impression. ( The example in Juzo Suzuki, Utagawa Hiroshige, 1970, no.139 appears to be a slightly later state with variant gradation on the waterfall. ) Fine colour. Expert repair top left corner outside image and slight thinning left margin. One small wormhole repaired, otherwise very good condition. Signed Hiroshige ga.



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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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Ichiryusai HIROSHIGE (1797-1858)




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Otsuki-no-hara, Kai, Otsuki field from the set Fuji sanjurokkei, the “Thirty-six Views of Mount Fuji.” One of the most desirable designs from the set. Shows autumn grasses and flowers with a small brook and Fuji in the distance. Published by Tsutaya Kichizo, 1858.


Fine impression and colour. Minimal margin soil, otherwise very good condition. Signed Hiroshige ga.



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Ichiryusai HIROSHIGE (1797-1858)




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Geisha coming and going through the stone torii leading to the Yasake Shrine, popularly known as the Gion Shrine from the district it is located in. This being one of the major entertainment quarters of Kyoto. Gion-sha setchu, “Gion Shrine in Snow” from a fine set of ten prints: Kyoto meisho no uchi, “Famous Places in Kyoto,” published by Eisendo c1834. Extremely rare in this first edition state.


Very fine impression. The first state of the first edition: With subtle bokashi graded
either down ( as here ) or up on the roofs and with the publisher’s seal printed in blue
in right margin. Second state with much blacker bokashi and generally darker overall,
with blue publisher’s seal. Third state lacks bokashi but still has blue publishers’s
seal. Subsequent editions lack the publisher’s seal in right margin. Very fine colour.
Small printer’s crease top left corner, otherwise perfect condition. Signed Hiroshige ga.



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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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Keisai EISEN (1790-1848)




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Oiwake from the Sixty-nine Stations of the Kisokaido. The set was started by Eisen and published by Hoeido in 1835, but in 1837 Hiroshige took over and completed the series with the publisher Iseiri ( Kinjudo ). In the distance is Asama-yama, Mount Asama, a volcano which erupted in 1783. It also emitted debris in 1894 and 1900. This is the extremely rare first edition with signature Keisai and seal bottom left. ( Not in Ukiyo-e Taikei .) Unidentified collector’s seal au verso.


Fine impression and colour. Minor edge soil, otherwise very good condition. Signed Keisai ga.



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Ichiryusai HIROSHIGE (1797-1858)




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Fuchu from the “Reisho” Tokaido. So-called because of the titles written in formal
script. The best Tokaido set after the Hoeido. Shows travellers coming and going at the entrance to the licensed quarter of Fuchu, the old capital of Suruga Province, becoming Shizuoka City in 1868. Published by Marusei c1851-2. One of the five best designs from the set.


Fine impression, colour and condition. Signed Hiroshige ga.



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Ichiryusai HIROSHIGE (1797-1858)




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Hakone from the “Reisho” Tokaido. So-called because of the titles written in formal
script. The best Tokaido set after the Hoeido. Shows travellers holding pine-torches
climbing a mountain path at night. The Hakone Mountains were one of the most gruelling parts of the Tokaido, but at the same time one of the most relaxing with the hot springs, Lake Ashi and the fine cryptomeria trees. Published by Marusei c1851-2. One of the five best designs from the set and probably the masterpiece. The composition and use of kimetsubishi to show the woodgrain in the night sky and mountains makes it one of Hiroshige’s most beautiful prints.


Very fine impression. Fine colour and condition. Signed Hiroshige ga.



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Ichiryusai HIROSHIGE (1797-1858)




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Full moon at Takanawa. A bijin seated beside her palanquin at a tea house. A mitate set: Edo Murasaki meisho Genji, “Murasaki’s Genji in Famous Places of Edo.” Based on the Genji Monogatari with stylised clouds above and below in Yamato-e style. Published by Kinseido c1849-53. A very rare set: Late impressions being unknown.


Fine impression and colour. Light crease in left and right margin, otherwise fine
condition. Signed Hiroshige ga.



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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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Ichiryusai HIROSHIGE (1797-1858)




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A rainstorm at Suhara. One of the most important compositions from the Sixty-nine
Stations of the Kisokaido. The set started by Eisen and published by Hoeido in 1835; but in 1837 Hiroshige took over and completed the series with the publisher Iseiri ( Kinjudo ). Suhara is located below Agematsu in the Kiso Valley and is subject to torrential rain in the summer months when humid air from the coastal plains hits the cooler air of the mountains. There are variant states of this design with differences in colour and gradation. This is an early impression.


Very good impression. Slight fading, otherwise very good colour and condition. Signed Hiroshige ga.



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Ichiyusai KUNIYOSHI (1797-1861)




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Nichiren struggling up a snow-covered mountain near Tsukahara on the Island of Sado. The best design from Koso goichidai ryakuza, the “Illustrated Abridged Biography of the Founder.” Published by Iseya Rihei, c 1831. Like many great landscapes, there exist different states which causes confusion over which is the earliest. The basic difference is that the design is known with and without a horizon line and that there is at least one impression where the uninked, blind-printed line can be seen in a raked light. It has been asserted that those impressions without are the earliest; however, it seems from this that the sumi block was probably cut initially with the line but the publishers quickly realised it looked aesthetically better without printing it, and it was subsequently removed. In any case, this is an extremely rare print and most surviving examples appear to be similar in impression. There is a break in the border to the left of the bottom of Kuniyoshi’s signature which could give a guide to the earliest states, but as this is often painted in, it is not reliable. The print offered here is printed with the mountain coloured brown and the overall effect is more dramatic than other impressions and appears to be the only such example, being the one illustrated in various publications. The composition is based on a design in the illustrated book Bunpo sansui gafu by Kawamura Bunpo, published posthumously in 1824. Although not from a landscape set this is considered one of the great 19th century landscapes. Provenance: Ex collection Willibald Netto, Dusseldorf, Germany.


Very good impression and colour with extensive splashed gofun ( now oxidised ). Minor marks and edge soil. Small repair top right corner, but generally very good condition. Signed Ichiyusai Kuniyoshi hitsu.



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Keisai EISEN (1790-1848)




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A rare triptych showing a multitude of pleasure boats enjoying the cool of the evening on the Sumidagawa. Ryogoku Bridge in the background and exploding rockets above. This was a subject that inspired numerous artists and depicts the essence of ukiyoe. No doubt the public were meant to identify some of the figures in the foreground vessels. Published c late 1820s. Publisher Yamashiroya Shojiro Yasuko.


Very good impression and colour with the fugitive blue and purple intact. Slight soil on centre sheet otherwise very good condition: Full size with extra paper all round. Signed Keisai Eisen ga.



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Ichiyusai KUNIYOSHI (1797-1861)




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The priest Nichiren having his prayers for rain answered. The second best design from Koso goichidai ryakuzu, “Illustrated Abridged Biography of the Founder”. This event happened at Ryozengasaki in Kamakura in 1271. Nichiren was the founder of the Buddhist Nichiren sect ( Nichiren shu – Kuniyoshi being a follower ) and indeed the set of ten prints may have been commissioned to mark the 550th anniversary of his death. Published c 1831 by Iseya Rihei.


Very fine impression of the earliest printing. Fine colour. Extra large margins. ( This design is notorious for having the umbrella trimmed off and/or the title in right margin. ) Very minimal soil bottom right margin, otherwise fine condition. The best example of this fine design I have ever seen. Signed Ichiyusai Kuniyoshi ga.



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Ichiryusai HIROSHIGE (1797-1858)




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Bizen, Yukazan. A figureless snow scene and the best design from the set of twenty prints entitled: Sankai mitate sumo, “Mountains and Sea Contending like Wrestlers”. The title in an umpire’s fan used for wrestling matches, top right. The set published and sealed Horse 7 and 8 ( 1858 ) by Yamadaya. ( Happer lists it as the previous Horse Year 1846. ) The set is divided into ten designs of mountains and ten prints of harbours.


Fine impression of the first edition ( variegated cartouche ). Fine colour. Very slight centre fold and the usual oxidation, otherwise very good condition. Signed Hiroshige ga.



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Ichiryusai HIROSHIGE (1797-1858)




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Autumn moon at Ishiyama, Ishiyama no shugetsu, from the set of eight prints: Eight Views in Omi Province published 1834 by Hoeido. “Eight Views” was borrowed from Chinese poetry and each print conveys, pictorially, the kyoka poem written in the square label at the top right. To the left, hidden in trees, is the temple where Murasaki Shikibu ( c 978 – c 1014 ) wrote her great novel Tales of Genji. The scene shows Lake Biwa, Seta Bridge and Mount Hira on the horizon. Hiroshige probably never surpassed the ethereal, figureless quality this set possesses.


Very good impression, colour and condition with good margins. The top-left mountain always shows slippage of the blue block on this design. The set was advertised as a “work in black and white, lightly coloured” and early states have a very limited palette. Later editions of this design incorporate green and brown into the cliffs on the left. Signed Hiroshige ga.



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Ichiryusai HIROSHIGE (1797-1858)




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Mochizuki, one of the most important compositions, from the Sixty-nine Stations of the Kisokaido. The set was started by Eisen and published by Hoeido in 1835, but in 1837 Hiroshige took over and completed the series with the publisher Iseiri ( Kinjudo ). Mochizuki means full moon and this station was named thus because the horses of the imperial court, which were grazed in open pasture in the mountains above this spot, were returned to court on the fifteenth of August, the day of the first autumn full moon. Like other major designs in the set, there exist numerous states with differences in printing. Early editions should have gradation on the mountains to the right. There is scope for research on the differences on major designs in this set.


Fine early impression with strong wood grain showing in the sky. Fine colour. Almost invisible centre fold. Left margin trimmed close, otherwise very good condition. Signed Hiroshige ga



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Ichiryusai HIROSHIGE (1797-1858)




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Nagakubo, one of the most important compositions, from the Sixty-nine Stations of the Kisokaido. The set was started by Eisen and published by Hoeido in 1835, but in 1837 Hiroshige took over and completed the series with the publisher Iseiri ( Kinjudo ). Shows a full moon over the River Ida. Like other major designs in the set, there are numerous states with differences in printing. Early editions show the mountains subtly printed – and also the figures on the bridge – grading off to the right with crisp seals. Later editions lack the mountains and a darker sumi is used.


Very good, early impression. Very good colour. Centre fold, otherwise very good condition. Signed Hiroshige ga.



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