Katsushika HOKUSAI (1760-1849)




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An important large brush drawing in red ink showing a full length figure wielding a stave at a cowering adversary. The standing figure has no sword or armour but is obviously a chivalrous man of great probity. The leaning attitude of the upright figure is typical of Hokusai (for example, see Theodore Bowie, Indiana University Press, 1974, The Drawings of Hokusai, no. 108) and gives movement to what otherwise would be a static pose. Red ink was frequently used by Hokusai, not just on the obvious Shoki paintings (see nos. 160-161, pages 254-5, Timothy Clark, Hokusai Beyond The Great Wave, B.M., 2017) but as underdrawing on figures and landscapes (see nos. 178-182, pages 279-283, Timothy Clark, Hokusai Beyond The Great Wave, B.M., 2017). Red ink and wash on thin Japanese paper laid onto european paper, image area 16.5 x 15.5 in; 41.5 x 39.5 cms. An area not pertinent to the design missing top right but otherwise in good condition. Provenance: Ex collection of Peggy and David Rockefeller (inventory number 23.040).

 

 

Status: Available

 

 




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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: Available

 

 

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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.

 

 

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Tsukioka YOSHITOSHI (1839-1892)




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Abe no Hirafu fighting a giant bear in the snow from a set of 51 prints Dai Nippon meisho kagami, “A Mirror of Famous Commanders of Great Japan.” The set was published by Ebisuya Shoshichi (the first 11 prints) and Funazu Chujiro between 1878-1882. Hirafu was a general for the Empress Saimei. On his return from a mission to the Emishi in northeastern Japan, where he signed a peace agreement , he presented the Empress with two live bears and seventy bear hides. Published by Funazu Chujiro in 1880.

 

 

Fine, early impression with splashed gofun (only on the earliest states). Fine colour. Light album backing, otherwise fine condition. Signed Oju Yoshitoshi hitsu.

 

 

Status: Available

 

 

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Tsukioka YOSHITOSHI (1839-1892)




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Yatsunada attacking Saohime’s brother’s castle from a set of 51 prints Dai Nippon meisho kagami, “A Mirror of Famous Commanders of Great Japan.” The set was published by Ebisuya Shoshichi (the first 11 prints) and Funazu Chujiro between 1878-1882. Saohime had conspired with her elder brother Saohikoto to murder the emperor but she abandoned their plan at the last moment. She is seen escaping the conflagration. Published by Funazu Chujiro in 1880.

 

 

Fine, early impression. Fine colour. Light album backing, otherwise fine condition. Signed Oju Yoshitoshi hitsu.

 

 

Status: Available

 

 

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Utagawa KUNIYOSHI (1797-1861)




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The fifteen year old Otani Furuinosuke killing a giant boar with his bare hands. From a set Honcho Suikoden goyu happyakunin no hitori, “One of the Eight Hundred Heroes of the Water Margin of Japan.” Published by Kagaya Kichiemon c 1831. This is the first edition: It was republished by Ibaya Sensaburo in 1845. Robinson S4a.14.

 

 

Fine impression and colour. Slight trimming at left, otherwise very good condition. Signed Ichiyusai Kuniyoshi ga.

 

 

Status: Available

 

 

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Utagawa KUNIYOSHI (1797-1861)




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Yamamoto Kansuke striding through the snow. “Boar” from a set Mitate junishi, “Selection for the Twelve Signs.” Published by Ibaya Kyubei, c 1845. (Kansuke was famous for killing a giant boar in the snow.) Robinson S38.12.

 

 

Fine impression, colour and condition. Signed Ichiyusai Kuniyoshi ga.

 

 

Status: Available

 

 

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Utagawa SADAFUSA (Active 1830s – 1840s)




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An original sumi woodblock for two chuban prints from a Kanadehon Chushingura set. The upper design being Act VII, the tea-house Ichiriki, Kyoto with Yuranosuke; the lower showing Act VIII, the bridal journey with Konami and her daughter Tonase on the Tokaido Road. Sold “as is” with all imperfections.

 

 

Status: Available

 

 

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Tsukioka YOSHITOSHI (1839-1892)




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A triptych from a set Buyu setsugekka, “Heroes for the Snow, Moon and Flowers,” this being Gojo no tsuki, “Moon Over Gojo [Bridge].” Published by Isaya Kanekichi c 1867. A popular subject for artists it tells of the battle between the young Yoshitsune and the warrior monk Benkei who had secured the bridge and fought each samurai wanting to cross in order to steal their sword. The 1000th was Yoshitsune who defeats Benkei and secures his loyalty for the ensuing years. Yoshitsune was taught martial arts by tengu in the forests outside Kyoto as a child and they are seen here aiding and abetting him in his duel.

 

 

Fine impression, colour and condition. Full size with added mica at top. Signed Ikkaisai Yoshitoshi hitsu.

 

 

Status: Available

 

 

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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: Available

 

 

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Utagawa YOSHIKAZU (Active c 1849-1867)




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Kato Kiyomasa (aka Masakiyo, 1562-1611) hunting man-eating tigers with his cohorts in Korea. Masakiyo ko toragari no zu. Kiyomasa had two expeditions to Korea in 1592 and 1597. Published by Hiranoya Shinzo, 1861.

 

 

Fine impression, colour and condition. Signed Ichikawa Yoshikazu ga.

 

 

Status: Available

 

 

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Utagawa KUNIYOSHI (1797-1861)




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A triptych of the night attack on Yoshitsune’s palace on the Hirikawa, Kyoto -hence called the Horikawa Palace – by the troops of Yoshitsune’s brother (Yoritomo) led by Tosaba Shoshun in 1185. Horikawa yo-uchi no zue. Yoshitsune is seen on the raised wooden platform with Benkei. Below is his mistress, Lady Shizuka, with a halberd. Yoshitsune’s brother’s mind was poisoned against him and he was thought of as a threat. Published by Sanoya Kihei, 1851.

 

 

Very good impression, colour and condition. Signed Ichiyusai Kuniyoshi ga.

 

 

Status: Available

 

 

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Utagawa YOSHITSUYA (1822-1866)




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A triptych showing Minamoto no Yorimitsu (aka Raiko, 948-1021) trying to capture the notorious thief Hakamadare Yasusuke. Kijutsu Hakamadare o karamen to su. Yorimitsu is seen with his cohorts Urabe Suetake, Hirai Yasumasa, and Watanabe Tsuna. On the right Hakamadare attempts to evade capture by magically conjuring up a battle between a giant snake and a bear. Published 1858 by Tsutaya Kichizo.

 

 

Very good impression, colour and condition. Signed Ichieisai Yoshitsuya.

 

 

Status: Available

 

 

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Utagawa KUNISADA II (1823-1880)




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A triptych showing Prince Genji in a boat with attendant page and a lady watching female awabi (abalone) divers called ama. These women were a great curiosity for the public and seen as rather risqué characters. Prince Genji was the protagonist of Murasaki Shikibu’s Heian-era novel The Tale of Genji. He was the second son of the emperor, and relegated to civilian life. Published 1865 by Maruya Kyushiro.

 

 

Very good impression and colour. Slight edge soil, otherwise very good condition. Signed Kunisada hitsu.

 

 

Status: Available

 

 

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Utagawa KUNIYOSHI (1797-1861)




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A triptych showing a figure in the centre painting Otsu-e pictures which float up and materialise as the actual characters. Toki ni Otsu-e kitai no maremono, “Popular Otsu-e Paintings for the Times: A long-awaited Rarity.” In fact, this is a self-portrait of Kuniyoshi. He is shown with one of his many cats watching him and his kiri seal fan to his left. Tantalizingly, Kuniyoshi partially covers his face with a painting. There are few images of Kuniyoshi. Published by Minatoya Kohei, c 1848.

 

 

Very good impression and colour. Slight crinckling of paper, otherwise very good condition. Signed ichiyusai Kuniyoshi ga.

 

 

Status: Available

 

 

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Utagawa YOSHIKAZU (Active c 1849-1867)




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A five-sheet original drawing (hanshita-e) showing a parade of beauties before a wicker fence and blossom. Bigyoku imayo hanazoroi, “An Assortment of Modern Beautiful Gems as Flowers.” Nice brushwork on the sumptuous kimonos. Sumi with sumi wash and light touches of red on thin Japanese paper laid onto further thin Japanese paper. Each sheet signed Ichikawa Yoshikazu ga. Sold “as is” with all imperfections, but in good condition.

 

 

Status: Available

 

 

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ANONYMOUS (Late 18th century)




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An Uki-e, “floating picture” painting showing an interior with a puppet performance taking place. A puppeteer manipulates a female puppet in the centre, behind him two gidayu narrators and a shamisen player. A male puppet is being held behind a screen. Ladies behind a screen at right enjoy the drama. In fact, a male individual at the back seems overcome by emotion with a hanky to his face. The architecture is represented using one-point perspective, a style which made its way to Japan in the 1740’s from the West via China. (Interestingly the artist has got the perspective wrong on the screen at right.) This genre of painting – invariably unsigned – always shows interior or semi-interior views with banquets or, as here, puppet performances. Full colour on paper, 17 x 23 in; 43.2 x 58.5 cms. Minor marks, although good condition for this kind of painting.

 

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Ichiryusai HIROSHIGE (1797-1858)



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An uncut fan print with title Shinkiro no zu which has a double meaning of being the Yoshiwara in the deep sea and also a chimera or mirage. The scene enclosed in a (dreaming ?) bivalve shows visitors in a watery Yoshiwara, all with fish heads. Of the utmost rarity: This appears to be the only impression known. There are also what appear to be keying marks on three sides that have not been removed. Published by Shinagawaya Kyusuke with censor seal for 1845.

 

Very fine impression. Fine colour and condition. Signed Hiroshige giga hitsu.

 

Status: Sold

 

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Ichiryusai HIROSHIGE (1797-1858)




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An extremely rare chu-tanzaku, Fuyu Sumidagawa no yuki, “Winter Snow on the Sumida River.” From a set Shiki Edo meisho, “Famous Places in Edo in the Four Seasons.” A lone figure in straw cape and large hat poles a log raft down the Sumida river in heavy snow. Published by Kawasho c. 1834. There are a number of states of this design known: As here (probably the earliest) with publisher’s seal and kiwame seal; with kiwame only; and without either. There are also extremely deceiving copies of this print. Provenance: Ex Le Veel collection, sold by Ader Picard Tajan, Paris, 2nd sale, 24/10/1980, lot 114, p. 50.

 

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

 

Status: Sold

 

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Utagawa KUNIYOSHI (1797-1861)




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A triptych showing the ghosts of the Taira (Heike) warriors attempting to sink Yoshitsune’s ship off the coast of Settsu on his way to Shikoku. This is one of Kuniyoshi’s great designs – amongst the three or four best triptychs and is illustrated in numerous publications. The scene is the outcome of a great battle at Dan-no-ura where the Minamoto (Genji) clans clashed and defeated the Taira clans a few years earlier. The spirits of the drowned warriors rose up to seek revenge only to be pacified by Benkei reciting exorcisms with his rosary. Published 1849-52 by Enshuya Hikobei. Robinson T242. Rare.


Very good impression and colour although slightly mismatched blue on the first and second sheets. Very good condition. Full size. There appear to be three states of this design: The main difference being in the shape of the ghosts and lines in the waves only on the first state. In this (the second state) the ghosts lack some of the features that are on the first and a large spirit appears above the wave over the ship on the centre panel. The third state has further differences in the ghosts and lacks this figure. Also, the colour of the boat gets greyer. Signed Ichiyusai Kuniyoshi ga.


Status: Sold

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Utagawa KUNIYOSHI (1797-1861)




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A complete triptych showing beauties in boats on the Sumida River. Shubi no matsu, “Successful-deal Pine Tree” from a set Edo meisho somoku-zukushi, “Notable Sights Famous for Grass and Trees in Edo.” This famous pine was blown down during the An’ei era (1772-1780); its successor died during the Ansei era (1854-1859); the third died at the end of the Meiji era (c 1910). There is also the Hiroshige view of this subject from the 100 Views of Edo. Published by Ebiya Rinnosuke (Kaijudo), 1845.

 

Very good impression. Fine colour and condition. Full size. Another state has darker water and variegated cartouche. Signed Cho-o-ro Kuniyoshi ga.

 

Status: Sold

 

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Ichiryusai HIROSHIGE (1797-1858)




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One of Hiroshige’s most beautiful triptychs: Sumidagawa setchu no zu,“The Sumida River in Snow” from a series Edo meisho shiki no nagame, “Views of the Famous Places of Edo in the Four Seasons.” Shows a ferry landing on the Sumida with a beauty disembarking from a boat and another pair ready to board. Published by Maruya Jinpachi, c 1847-8. Rare.

 

Very good impression and colour. Horizontal centre fold, otherwise good condition. Signed Hiroshige ga.

 

Status: Sold

 

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Utagawa KUNISADA (1786-1864)




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A lively design showing Ichikawa Danjuro VII in the role of the loyal warrior Arajishi Otokonosuke Terumitsu fighting a giant rat in the cellar beneath the women’s quarters of the Ashikaga Palace. This scene, Yukashita no Ba, is from the play Date kurabe okuni Kabuki performed at the Kawarasaki-za Theatre, 3/1829. Shortly afterwards, the rat escapes down a hole in the hanamichi pathway, only to re-emerge in a cloud of smoke as the arch-villain and master of the black arts, Nikki Danjo. Published by Eikyudo (Yamamoto Kyubei) 1829.

 

Fine impression, colour and condition on an extra large sheet of hosho. Signed Gototei Kunisada ga.

 

Status: Sold

 

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SESSHUNSAI (Dates unknown but active c 1800)




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An extremely rare early Osaka hosoban showing the actor Asao Tamejuro II (1779-1806) standing before a broken barricade in the role of Yamashiro Kantsubo in the play Meiboku sendai hagi. This artist and print appear to be unrecorded. Published by Houki (Honya Kichisai), c early 1800. A wonderful design. Many thanks to Hendrick Luhl for his help on this print.

 

Very good impression and colour. The fujitive background aobana, dayflower pigment, intact except for one small area affected by moisture visible au verso. Very good condition. Signed Sesshunsai ga with seal unread.

 

Status: Sold

 

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Jokei RYUKOSAI (Fl. c 1772-1816)




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The most important and influential Osaka artist of the late eighteenth century. An innovator whose style may well have influenced such artists as Shunei and Sharaku. His prints – mostly hosoban – are all of the utmost rarity. Indeed, it is thought they originally formed triptychs but, so far, no complete design has been located. The oban design offered here is even rarer, there being only two other impressions known: Illustrated in colour, pl. 13, in Kamigata Ukiyo-e Nihyaku-nen Ten, “200 Years of Kamigata Ukiyo-e,” Susumu Matsudaira, 1975; and pl. 43, p. 56, catalogue of exhibition Ukiyo-e of the Kamigata Area at the Osaka Museum of History and Yamaguchi Prefectural Hagi Uragami Museum, Kitagawa Hiroko, 2014. Shows five actors. From right to left (rear): Nakamura Kyojuro, Arashi Sangoro III, Kataoka Nizaemon VII and (front): Asao Tamejiro I, Ichikawa Danzo IV. Published c 1790 by Ki.

 

Fine impression. Very good colour. Small areas of contemporary hand colouring to face and costume of Tamejiro. Slight folds and small sumi mark bottom left, otherwise very good condition. Probably full size. Signed Ryukosai ga.

 

Status: Sold

 

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Jokei RYUKOSAI (Fl. c 1772-1816)




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The most important and influential Osaka artist of the late eighteenth century. An innovator whose style may well have influenced such artists as Shunei and Sharaku. His prints – mostly hosoban – are all of the utmost rarity. Indeed, it is thought, as here, that they originally formed triptychs but, so far, no complete design has been located. The unsigned left panel of a triptych published 1/1793 showing Onoe Shinshichi I (Fujaku) as Isshiki Yukinokami in the play Keisai yanagi sakura. The play involves the rescue of the Ashikaga Shogunate through the efforts of Yukinokami in uncovering a usurper’s plot. The hero stands in a snowy garden holding a fragment of a handscroll he has been found reading. Of the utmost rarity: Only a few impressions are known and there are two states: As here without role above and published by Osakaya Sashichi and with the calligraphy and published by Shiocho.

 

Fine impression, colour and condition.

 

Status: Sold

 

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TOGAKUSAI (Active c 1782)




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An extremely rare and early Osaka hosoban (probably unrecorded) showing the actor Kano Hinasuke I (who later became Arashi Koroku III) standing on large geta and holding an umbrella. Published by Shioki-han (Shioya Kisuke), c 1782. The poem above is signed using the actor’s hango Arashi Minshi. Only a few designs are known by this artist. Many thanks to Hendrick Luhl for his help on this print.

 

Very good impression and colour. Some wear and tear which has been skilfully restored. On very thin paper. Signed Togakusai hitsu with seal Sadakuni.

 

Status: Sold

 

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Utagawa KUNISADA (1786-1864)




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An exceptionally rare original double-sided woodblock. On one side is the key-block showing Ichikawa Danjuro VII as the strongman, “chikaramochi,” Ura no Kingo. On the other is the key-block showing Iwai Kumesaburo II as the female acrobat, “karuwazashi,” Tamamoto Kosan. The play is Fujikawabune noriai banashi performed at the Nakamura-za Theatre, 5/1826. The block measures 8.5 x 10.75 x .75 in; 21.6 x 27.3 x 2 cms. The two images signed Gototei Kunisada ga. In very good condition but with obvious minor damage. Sold “as is.”


 

Status: Sold

 




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Kubo SHUNMAN (1757-1820)




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A rare surimono showing new year festivities before a large screen depicting Mount Fuji at sunset. A versatile and highly talented artist working in various mediums, Shunman produced (and cut and printed) some of the finest surimono. Published c 1810s. I cannot, at the moment, locate another impression.

Fine impression and colour with extensive gold and silver. Fine condition. Sealed Shunman bottom right.


Fine impression and colour with silver and gold. Light backing, otherwise very good condition. Signed Shokyuko Shuntei ga.

 

Status: Sold

 

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Totoya HOKKEI (1780-1850)




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An exceptionally rare surimono showing salt gatherers on a beach, their huts behind them and Mount Fuji towering over the horizon. Published c 1820s. I cannot, at the moment, locate another impression.


Fine impression with gold clouds and Fuji heavily blind-printed. Fine colour. Minimal soil, otherwise very good condition. Si8ned Hokkei.

 

Status: Sold

 

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Kitagawa UTAMARO (1753-1806)




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No. 7 from a set of 12 prints: Joshoku kaiko tewazagusa, showing women engaged in the sericulture (silkworm) industry. This was traditionally the domain of women. The colour scheme is red-avoiding (murasaki-e) using predominantly purple. This stage of the process shows the metamorphosis – the winged moth stage – when silkworms are used to lay eggs. This set is taken verbatim from the Shunsho/Shigemasa set of chuban prints, Kaiko yashinai-gusa. (See elsewhere on this site for a Shunsho example.) Published 1798-1800 by Tsuru-ya Kiemon.


Fine impression. Fine colour, perfectly retained. Very good condition; full size. Signed Utamaro hitsu.

 

Status: Sold

 

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Utagawa KUNIYOSHI (1797-1861)




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A beauty in sumptuous clothing from a fine set of seventy numbered prints with title: Sankai medetai zu, “Excellences of Mountain and Sea.” The set compares busts of beautiful women with various products and occupations from the provinces of Japan. This is number 3, Tamba, and shows men fishing at night with the aid of flares. The set published 1852 by Sano-ya Kihei.


Very fine impression and colour with strong burnishing on collar. Fine condition. Signed Ichiyusai Kuniyoshi ga.

 

Status: Sold

 

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Utagawa KUNIYOSHI (1797-1861)




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A beauty reading a program while a cat dozes beside her. From a fine set of seventy numbered prints with title: Sankai medetai zu, “Excellences of Mountain and Sea.” The set compares busts of beautiful women with various products and occupations from the provinces of Japan. This is number 19. Catching octopuses, Takasago in Banshu [Harima] Province. The set published 1852 by Sano-ya Kihei.


Very good impression and colour. The cat’s fur blind-printed. Light album backing, otherwise good condition. Signed Ichiyusai Kuniyoshi ga.

 

Status: Sold

 

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Utagawa KUNIYOSHI (1797-1861)




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Token Gonbei using a mirror to pluck his forehead (hitai). The style became known as Token hitai. From a set: Kuniyoshi moyo shofuda tsuki genkin otoko, “Men of Ready Money with True Labels Attached, Kuniyoshi Style.” These otokodates (a word that is difficult to translate but was a chivalrous commoner, a fashionable man-about-town, street-wise and ready to assist the oppressed). Gonbei is said to have beaten a barking token (Dutch hunting dog) to death with his bare hands – thus he got his name. Published c 1845 by Iba-ya Kyubei.


Very fine impression. Fine colour. Light album backing, otherwise fine condition. Signed Ichiyusai Kuniyoshi ga.

 

Status: Sold

 

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Utagawa KUNIYOSHI (1797-1861)




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Sasai Kyuzo Masayasu (Sakai Kyuzo Narashige) enveloped in smoke and disintegrating before a volley of musketry at the battle of the Anegawa (1570). From the set Taiheiki yeiyuden, “Heroic Stories of the Taiheiki. A history of the wars of the loyalist Nitta and Kusunoki families against the Ashikaga war-lords during the second quarter of the fourteenth century. But in fact the subject of this set of fifty prints (this being 12, but not numbered) is the civil war of the late 16th century. Censorship restrictions imposed in the 1840s prevented publishers from illustrating historical subjects from the Tensho era 1573-92 onwards, so the publishers circumvented this by slightly altering the names of the historical figures. Published 1848-9 by Yamamoto-ya Heikichi. Robinson S62.36. The best design from the set.


Fine early impression. Fine colour. Slight nibbling to left edge, otherwise very good condition. Fine impression. Fine colour. Slight trimming, otherwise very good condition. Signed Ichiyusai Kuniyoshi ga.

 

Status: Sold

 

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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).

 

Status: Sold

 

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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).

 

Status: Sold

 

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Utagawa KUNISADA (1786-1864)




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A surimono showing the kabuki actors, top right: Ichikawa Danjuro VII holding up a war banner decorated with a sasarindo (bamboo grass and gentian), the mon of the Minamoto clan and Iwai Hanshiro V wielding a large knife in an unidentified play. The poem mentions the Iwai and Ichikawa family names. Published c 1827-30.


Fine impression and colour with blind-printing, silver and gold. Signed in gold on the blue ground Gototei Kunisada ga.

 

Status: Sold

 

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Katsukawa SHUNSHO (1726-1792)




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The actor Nakamura Tomijuro I in an unidentified female role holding a biwa (a lute-like musical instrument) underarm. Surprisingly not listed in The Life And Works Of Katsukawa Shunsho, Frederick William Gookin, which is the most comprehensive overview. Published c 1775/6.

Fine impression and colour. One small repaired wormhole, otherwise exceptional condition. Signed Shunsho ga.

 

Status: Sold

 

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Utagawa HIROSHIGE II (1826-1869)




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Akasaka kiribatake uchu sekikei, “Evening View of the Paulownia Plantation at Akasaka Under Rain.” This is the replacement design for Hiroshige I’s version Akasaka kiribatake for the Meisho Edo hyakkei, “One Hindred Views of Edo” published by Uoya Eikichi between 1856 and 1858. This design dated 1859. Presumably the blocks were damaged for the first composition. A fine design and superior to Hiroshige I’s.


Fine early impression with mica to sky. There is an extremely rare first edition of this print with an added gradation of yellow to square cartouche and gradation on the yellow fence at left and roofs at right. Otherwise, the impressions are the same. The gradation in the background is particularly fine here. Fine colour. Slight soil to margin, otherwise very good condition. Signed Nisei Hiroshige ga.

 

Status: Sold

 

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