Hishikawa MORONOBU (C. 1618-1694)




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An important figure and pioneer of the ukiyo-e school. He was born into a family of embroiderers and textile dyers at Hota in Awa Province, but departed for Edo, c. 1658, to study painting. A prolific artist, he illustrated a large number of books, as well as being the first to design single-sheet prints. Turned to painting c. 1670. Shows a promenading beauty, knees slightly bent and the long face typical of Moronobu. The delicately painted kimono has serrated roundels with images of Heian court life or abstract patterns interspersed with small gold flower heads.

 

An original painting on silk, image size 23.5 x 10.75 in; 59.75 x 27 cms with an old elaborately embroidered mount. Unsigned, as is often the case with 17th century paintings. In very good condition.

 

Status: Reserved

 




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Kikukawa EIZAN (1787-1867)




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An original painting by Eizan who was the leading exponent of bijinga in the early 1800s producing many fine oban, triptych and shunga designs. He founded the Kikukawa School. Surprisingly, given his output of prints, his paintings are rare. This beautiful example, full colour on silk, 35 x 14.5 in; 88.9 x 36.8 cms, shows a courtesan reading a letter. Her sumptuous clothes are restrained in pattern and colour before the excesses of later years and other artists. Another example, not as fine as offered here, is in the Tokyo National Museum and is illustrated in their catalogue Ukiyo-e Painting Exhibition, 1993, no. 72, p. 64. The British Museum has a very slight painting of a beauty by Eizan illustrated in Ukiyo-e Paintings in the British Museum, Timothy Clark, Smithsonian Institution, 1992, no. 148, p. 195. One other fine example is illustrated in Masterpieces of ukiyo-e paintings from the Weston collection, various authors, 2015, no. 106, p. 161. Painted c. 1815-25. Signed Kikukawa Eizan hitsu with seals Kikukawa and Toshinobu. In very good condition having been recently remounted.

 

Status: Available

 




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Utagawa KUNISADA (1797-1861)




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A fine and interesting original painting, full colour on silk, 11.25 x 20.25 in; 28.5 x 51.5 cms. Shows a reclining beauty looking up at a cuckoo (hototogisu) flying in clouds. The cuckoo is the harbinger of the summer months. This painting, made c 1830, reflects Kunisada’s study, together with Ikkei, of the work of Hanabusa Itcho (1652-1724). Indeed, Ikkei gave Kunisada the name Hanabusa Ittai and this painting is signed Hanabusa Itcho Kunisada ga with seal Hanabusa Ittai Kunisada no in. To the bottom left is an inscription reading “A disciple of Utagawa Kunisada drawn on request [the cuckoo].” There is a small seal but it is undecipherable.

 

Minor marks but in generally very good condition. Touches of gold and the gofun on the face well retained. Newly mounted with new box.

 

Status: Available

 




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Kitagawa TSUKIMARO (Active c 1804-1836)




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An original painting, full colour on dark silk, 33.5 x 11.5 in; 85 x 29 cms. Shows a Chinese beauty – possibly Yang Guikei – collecting medicinal leaves from a Japanese spice bush. An intriguing painting with Ukiyo-e elements fused with both Chinese and Western styles. Tsukimaro was Utamaro’s best pupil and his paintings are rare. Painted c 1818.

 

Some loss of gofun but generally good condition. Newly mounted with new box. Signed Bokutei Tsukimaro hitsu with two unidentified seals.

 

Status: Available

 




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Katsushika HOKUSAI (1760-1849)




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An original painting showing the back view of a courtesan and her assistant. The poem is by Shokusanjin:
It is all because of you who is blooming,
flowers and the moon in this quarter seem prosperous
Shokusanjin

This appears to have been painted during his Sori period at a banquet held by the geisha house that Hokusai and Shokusanjin attended. In good condition having been recently remounted. Sumi and light colour on paper, 15.25 x 21.5 in; 38.7 x 54.6 cms. Signed Hokusai sekijyo, “Hokusai on this occasion.”

 

Seal unread: This is a seal used by Hokusai during this period as well as in his later years, but has not been deciphered.

 

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Toensai KANSHI (Fl. mid-18th century)




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A rare, highly talented and enigmatic painter who produced only a few masterpieces. There is some confusion over his active working life with differing dates from 1748 to 1780, but he was certainly painting in the 1760s. This unusual composition shows a beauty adjusting her hair by obliquely looking in a mirror held by her maid who stares unnervingly straight at the viewer. This painting is well known and is illustrated in Nikuhitsu Ukiyoe, Collection of Ukiyo-e Paintings Classified by Artist and Schools, Vol. 4 (of 10): Katsukawa school, Suzuki Harunobu and Isoda Koryusai, pl. 83, edited and published by Shueisha, 1982. It is also mentioned on page 113 in Ukiyo-e Large Encyclopaedia, Vol. 2, edited by Japan Ukiyo-e Society, published by Taishukan, 1982. Another Kanshi painting showing a beauty collecting bamboo shoots in the snow was exhibited at the Metropolitan Museum of Art, NY, in 2014, in an exhibition: The Flowering of Edo Period Painting: Japanese Masterworks from the Feinberg Collection.

 

Full colour on paper with mica on the mirror, image size 14.5 x 20 in; 37 x 51 cms. In extremely good condition with double box. Painted c 1765.


 

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Yamamoto SHOUN (1870-1965)




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A large original painting , full colour with gold on silk, image size 50.5 x 19.75 in; 128.25 x 50 cms. Shows Shoki, the Demon Quellor, with sword drawn watching an oni escaping on a cloud, upper left. Various Chinese legends exist regarding the origins of Shoki but the gist of them all is that Emperor Xuanzong canonized Shoki, a physician, and in gratitude Shoki vowed to protect the ruler and his heirs from demons and illness. Shoun is best known for his series of woodblocks of beautiful women, Ima Sugata, published 1906-9.

 

In fine condition. Signed Shoun hitsu with two seals, one reading Shoun.

 

Status: Available

 




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Kawabata GYOKUSHO (1842-1913)




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An original painted fan. On one side a bird amongst flowers and the reverse also with flowers. A leading figure in Tokyo art circles and the last great representative of the Shijo school. In exceptional condition with extensive gold leaf. Signed Gyokusho with seals Shibun on both sides.

 

Full colour on silk, each panel 39.75 x 25 in; 101 x 63.5 cms. Extremely good condition. Signed Kinzaburo Yoshitoshi ga with blurred seal but reading Go Kaisai. Extremely rare.

 

Status: Available

 




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Ichiryusai HIROSHIGE (1797-1858)

 

 




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A fine and important painting of the autumn moon at Ishiyama. Ishiyama Temple seen to the left and Seta Bridge to the right with Mount Fuji in the distance. The view is very close to that for the design Ishiyama no shugetsu, from the Omi Hakkei no uchi print set published c 1834 but the viewpoint moved round and slightly closer. The strange rocks which give their name to the temple are given prominence using a spontaneous brush. As with so much in Japan, the Eight Views theme comes from China and is based on the Eight Views of Xiaoxiang. Fine condition. Painted in sumi with light sumi and blue washes on ( the usual ) grey silk. Image size 16.25 x 23 in; 41.25 x 58.5 cms Fine new mount with futo-maki ( thick wooden roll to preserve the painting from damage ). New box. Signed Hiroshige with Ichiryusai seal.

 

Status: Reserved

 




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Manjiro HOKUGA (Fl. early to mid 19th century)




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A large original painting, full colour on silk, 11.5 x 34.5 in; 29.2 x 87.7 cms. Shows Tametomo, a famed archer of extraordinary strength who was exiled to Oshima by the Emperor. During his sojourn Tametomo discovered Onigashima, an island inhabited by devils who he subordinated. News of this reached the Emperor who sent a fleet of vessels to capture him. On sighting the nearest boat Tametomo fires an arrow and sinks the ship and three hundred men. There is a famous version of this subject painted by Hokusai in the BM (see Ukiyo-e Paintings in the British Museum, Timothy Clark, 1992, no. 96, p. 146). Hokuga, a pupil of Hokusai, specialised in surimono. Probably Hokuga’s masterpiece.

 

Silk slightly darkened, otherwise very good condition. Recently remounted. Signed Manjiro Hokuga with seals Hoku Ga.

 

Status: Available

 




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Yashima GAKUTEI (1786-1868)




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An original painting, sumi and light blue on silk, 13 x 22 in; 33 x 55.9 cms. Shows a carp swimming amongst weeds. Gakutei is best known for his fine surimono (and in fact designed a surimono of this subject). Painted in Bunsei era (1818-1830). In fine condition apart from a minimal crease. Recently remounted.

 

Signed Gogaku with seals Yashima and Sadaoka. A beautiful painting.

 

Status: Available

 




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Teisai HOKUBA (1771-1844)




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One of the outstanding pupils of Hokusai, his paintings rated next below the master’s, and also one of the earliest, together with Hokkei and Shinsai. Designed some fine surimono, also kyoka books. But best known for his highly accomplished kakemono of bijin, often set against well known places in Edo. This pair of paintings shows, right, a beauty beneath a cherry tree, Sakura; and, left, a beauty on a small jetty beneath a maple tree, Momiji. Beautifully presented with old mounts and box. Full colour on silk. Image sizes 39.75 x 13.5 in; 101 x 34.5 cms. In extremely good condition with beautiful details on the costumes of the two bijin. Each painting signed Teisai with seals Tei Sai. Probably c 1830’s when his finest work is considered to have been made.

 

Status: Available

 




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Kishi GANTAI (1782-1865)




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An extremely large painting, 55.5 x 32 in; 141 x 81.3 cms, sumi and light colour on silk. Shows a pair of Sika deer, their summer coats spotted and white. Gantai was the son and pupil of Ganku, and together with his brother, Renzan, carried on the Kishi school tradition. With his father, worked on the paintings for the new Kanazawa Castle in 1809. A highly accomplished painter, especially of kachoga. This is possibly the largest Gantai painting and it’s interesting to compare with the gajo by him also offered on this update. In very good condition. Framed and glazed. Signed Chikuzennosuke Gantai hitsu with seals Gantai and Kunchin.

 

Status: Available

 




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Utagawa KUNISADA (1786-1864)




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A fine original fan painting showing a woman of Ohara; a mountain village north of Kyoto. These Oharame collected brushwood and firewood in the fall to sell in Kyoto. They are often depicted and obviously caused a stir when they entered Kyoto to ply their trade. The custom has evidently been going on since the 12th century. She is shown holding a flower and sitting on her bundle of firewood.


 

Full colour on prepared paper mounted as a fan, 6.5 x 17in; 16.5 x 43.2 cms (paper area). In very good condition. Signed Kunisada ga with indistinct seals, probably Kuni Sada. A charming painting.

 

Status: Available

 




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Yamaguchi SOKEN (1759-1818)




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A fine pair of paintings: One showing women of Ohara; a mountain village north of Kyoto. These Oharame collected brushwood and firewood in the fall to sell in Kyoto. They are often depicted and obviously caused a stir when they entered Kyoto to ply their trade. Evidently the custom has been going on since the 12th century. The other painting shows spring tea-leaf picking at Uji. An area located at the southern edge of Kyoto prefecture. Shincha, the new tea of the year, was prized and collected at the beginning of May. Soken was one of Okyo’s ten best pupils, lived in Kyoto, and is known for his fine illustrated books, such as: Yamato jimbutsu gafu, 1800; Yamato jimbutsu gafu kohen, 1804; Soken sansui gafu 1818 and others. Sumi and full colour on paper, each 39 x 13.5 in; 99 x 34.3 cms. Fine, fresh condition and newly mounted. Each signed Mizunoto i Soken, Soken painted in the Boar Year, 1803 with seal Soken.

 

Status: Available

 




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Nishiyama HOEN (1804-1867)




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An original painting showing the oiran Eguchi on a white elephant. The origins of this story seem to go back to a recorded conversation the poet-monk Saigyo (1118-1190) had with a prostitute named Eguchi giving rise to numerous legends. Eguchi is shown as a manifestation of the Budhisattva Fugen whose usual vehicle is a large white elephant. Hoen, one of the best shijo painters of his time, lived in Osaka and was a pupil of Keibun. Full colour on silk, 36.5 x 13 in; 92.7 x 33 cms. Mount showing signs of wear but image in good condition. Signed Hoen with seal (?) – Seisho.

 

Status: Available

 




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Yanagawa SHIGENOBU (1787-1833)




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An original painting by this artist who was the pupil and then son-in-law of Hokusai. He was given the name Yanagawa (from his residence in the Honjo district of Edo) to distinguish him from other Shigenobu artists. A good book illustrator and surimono designer. He designed the first square surimono in Osaka in 1822, inspiring others to follow. His paintings are rare. Shows a portrait of the Japanese scholar and writer Ishikawa Masamochi (1754-1830). The fifth son of Ishikawa Toyonobu, he was a renowned kyoka poet and Gesaku writer (playful, mocking works), including The Magical Carpenter of Japan. An important figure in kyoka/surimono circles. Known as Rokujuen (Yadao no Meshimori). His family crest is seen on his kimono and he sits before a low desk ready to write. A high quality painting, sumi and colour on silk, 29 x 12.5 in.; 73.6 x 31.8 cms. Several small backed wormholes at bottom, otherwise very good condition. Would benefit from being remounted.

 

Signed Shigenobu with seal Yanagawa.

 

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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Tsukioka SETTEI (1710-1786)




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An original painting, sumi and light blue on silk. Image size 38.75 x 14.25 in; 98.4 x 36.2 cms. Shows a carp leaping a waterfall. This was a favourite subject for Japanese artists being a symbol of achievement against adversity. Carp were bred for their colour in Japan and, interestingly, Koi that are returned to the wild revert back to their grey colour. They are known to live for up to a hundred years or more. Settei produced many illustrated books but after around 1765 turned to painting beauties, courtesans and geishas. They are of the utmost refinement – the faces and limbs picked out in red, their costumes with areas of gold, and invariably have the wide lantern-locks (toro-bin) hairstyle. Signed Hogen Tsukioka Sessai jinen rokuju-nana (painted aged sixty-seven, hence 1777). Seal Masanobu no in. In good condition with splashed gofun.

 

Status: Available

 




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Tsukioka SETTEI (1710-1786)




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A very fine large painting showing a standing beauty holding a cloth. At her feet is a fulling-block (kinuta) and several mallets. She looks skyward at the geese flying across the moon. One of the traditional symbols of autumn in Japan. There seems to have been a frisson in depicting these beauties fulling cloth near streams, as well as awabi divers and the women of Ohara collecting faggots. Settei produced many illustrated books but after around 1765 turned to painting beauties, courtesans and geishas. They are of the utmost refinement – the faces and limbs picked out in red, their costumes with areas of gold, and invariably have the wide lantern-locks (toro-bin) hairstyle. All these characteristics are found here. Full colour on paper, image size 48.75 x 18.25; 124 x 47.5 cms. Painting and mount in extremely good condition. The box comes with a registration form showing the work seems to have been put up for sale at the Tokyo Bijutsu Club in Tokyo about 70 or 80 years ago. Painted c 1770. Signed Shinten’o gihitsu (painted for amusement by Shinten’o). Seals Hokkyo Settei and Kidashi (family name).


 

Status: Available

 




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Tsukioka SETTEI (1710-1786)




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An interesting large painting, full colour on paper mounted on a wooden frame, 25.5 in; 62cms in diameter showing a bust portrait of a beauty with elaborate coiffure and holding a hat for a street festival. Although not signed, the attribution is unquestionable, painted between 1767-1773 in Osaka. It appears to have been commissioned to hang in a hairdresser’s or cosmetic shop and has metal eyes at the top. The oxidised silver leaf background was meant to resemble a mirror and the idea of busts reflected in mirrors and silver grounds was later employed by Utamaro and Sharaku. Besides silver, gum and raised painting is applied. Such signboards appear in an illustrated book by Hasegawa Mitsunobu published in Osaka in 1752. This new discovery has been written about by Dr. Yamamoto Yukari in vol.27 of Minzoku Geijutsu (Ethno-Arts) in 2011. Minor surface marks all over but astonishingly good condition given their age and use. Extremely rare.


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Nagasawa ROSETSU ( 1754-1799 )




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An original painting showing a white mouse and a spiny lobster on a tray. Rosetsu is considered one of the most important artists of the late Edo period but little is known of his short life ( he died at forty-five ) apart from the fact that he studied, and was one of the top disciples, of Maruyama Okyo. He is labelled an “eccentric” painter as he defies easy classification. His brushwork is a tour de force and he is known for his expressive depictions of animals. The Chinese-style inscription above is by Rosetsu’s friend Minagawa Kien who was a painter and scholar of Confucianism. It implies that the lobster and mouse are both signs of good fortune. Ink and light colour on paper. Image size 44.75 x 11.25 in; 113.75 x 28.5 cms.


Signed Rosetsu with seal Gyo. Painted 1790s. Inscription signed and sealed Kyosai. Slight foxing, otherwise in very good condition. One of the most copied painters. See Kono, Exhibition of Nagasawa Rosetsu, Chiba City Art Museum, 2000, pl. 42 for identical seals. Tsuji Nobu, Nagasawa Rosetsu: the Fanciful Painter, Miho Museum, 2011, pls. 19, 58-60, 67,87, 90, 91, 93 and 94.


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Hanabusa ITCHO ( 1670-1724 )




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An original painting showing a cat cleaning itself on a precarious tea-house roof. A charming study and typical of his work which often depicted the commonplace and comical sides to life. Itcho first studied the Kano tradition, perhaps under Kano Yasunobu ( 1618-1685 ). He was also known in poetry circles. However, like a lot of other artists of the time, he ran foul of the authorities and was exiled for 12 years in Miyakejima. On his return in 1709 he adopted the name Hanabusa Itcho and focused on ukiyo-e painting following in the footsteps of Moronobu but with more of a common touch. Ink and colour on silk. Image size 40.5 x 9.25 in; 113 x 23.5 cms. 


Signed Hanabusa Itcho with seal Nobuka no in. Box inscription Hanabusa Itcho Okujo no neko. Painted c 1710-20. In very good condition. Copies of Itcho paintings and drawings abound, partly because of his popularity and importance, but also because his staccato-like style and often simple subjects lend themselves to plagiarism. This lovely and unusual composition shows Itcho at his best. See also: Hanabusa Itcho ten ( exhibition catalogue ), Itabashi Museum of Art, 1984 ( see pl. 20 for the identical seal and very similar signature ); M. Murase, Japanese Art: Selections from the Mary and Jackson Burke Collection, Metropolitan Museum of Art, 1975, cat. No. 89; and for a description of his life: T. Koyasahi, Life of Hanabusa Itcho, Kokka, vol. 920, 1968, 00. 5-10.


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Tsukioka SETTEI (1710-1786)




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An interesting large painting, full colour on paper mounted on a wooden frame, 25.5 in; 62cms in diameter showing a bust portrait of a beauty with elaborate coiffure holding a child and a rattle. Although not signed, the attribution is unquestionable, painted between 1767-1773 in Osaka. It appears to have been commissioned to hang in a hairdresser’s or cosmetic shop and has metal eyes at the top. The oxidised silver leaf background was meant to resemble a mirror and the idea of busts reflected in mirrors and silver grounds was later employed by Utamaro and Sharaku. Apart from silver, gold leaf and gum is applied. Such signboards appear in an illustrated book by Hasegawa Mitsunobu published in Osaka in 1752. This new discovery has been written about by Dr. Yamamoto Yukari in vol.27 of Minzoku Geijutsu (Ethno-Arts) in 2011. Minor surface marks all over but astonishingly good condition given their age and use. Extremely rare.


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Mori TETSUZAN (1775-1841)




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A seated cat with butterflies above. Tetsuzan, the adopted son of Mori Sosen, was known for his animal paintings and was one of the ten best pupils of Okyo. Good condition.


Sumi and colour on beige silk. Image size 38.25 x 14.5 inches. Mounted on brown damask with ivory rollers. Signed Tetsuzan with seal Shushin.


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Kawamata TSUNEMASA (Fl. 1716-48)




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Shows a beautiful salt-water gatherer, her hut behind her on the seashore. A member of the Kawamata school, he probably worked in Kyoto and specialised in bijinga.

Sumi and full colour on paper. Outlines picked out in gold. 32.5 x 10.5 in; 82.5 x 26.5 cms. Fine old brocade mount. Old box. Signed and sealed Tsunemasa.



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Oku BUMMEI (?-1813)




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A Maruyama school artist and “One of the ten most notable pupils of Okyo.” A contributor to the anthology Keijo gaen of 1814. Shows a strolling courtesan composed of almost limpid brush strokes creating an ethereal image of the floating world. Sumi and light brown-red on paper, 41.25 x 11.75 in; 104.75 x 29.75 cms. Mount and painting in very good condition. Signed Bummei and undecipherable seal.


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Matsumura KEIBUN (1779-1843)




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A handscroll comprising twelve mostly nature studies. ( Four shown. ): An isolated village; redstart and camellia; a rock; iris; rose; bamboo; lobster; sparrow and begonia; a village covered in snow; a scholar reading; white camellia; hibiscus. Sumi and light colour on paper, 14 x 441.2 in; 35.5 x 1120 cms. Keibun was a leading Kyoto artist who had many talented pupils. He studied with his older brother Matsumura Goshun and also Maruyama Okyo. The paintings show all the spontaneity and brevity of a leading exponent of the shijo school and the subject matter is typical. Minor marks; slight edge damage on one painting, but generally good condition. Each painting sealed Kei Bun . Ivory rollers and stickered box.


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Ichiunsai KUNIHISA II (1832-1891)




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A fine work of the artist, c 1850s. The pupil and son-in-law of Kunisada. A beauty promenading. Sumi and full colour on silk. Image size 34 x 11.75 in; 86.5 x 29.5 cms. Fine condition. New mount and box. Signed Kunihisa ga. Seals unread.



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Ichiryusai HIROSHIGE (1797-1858)




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An original painting, sumi and light colour on light green-coloured silk, 21.37 x 13.62 in; 51.8 x 34.7 cms. The location is unidentified but shows an inland sea with a promontory and shrine. A beautiful, lyrical landscape probably painted in Kaei era (1848-54). In good condition and has recently been remounted with a futo-maki wooden role. Signed Hiroshige with Ichiryusai seal.

 

Status: Sold

 




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Watanabe SEITEI (1852-1918)




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A complete set of 12 paintings showing birds and plants representing the months of the year. Seitei ( Shotei ) specialised in kachoga; was famous in this area, and regarded as the leading exponent. Technically brilliant. January shows a dove on a pine tree with pine cones. February depicts narcissus. March is represented by cherry blossom. April is a display of yamabuki, Japanese mountain rose, with bees. May shows a cuckoo with a falling ginkgo leaf. June is wisteria and a butterfly. July has a beetle climbing a leaf on an iris plant. August shows Japanese morning glory, Asagao. September has a grasshopper on an edamame ( soybean ) plant. October appears to be a wild chrysanthemum and beetle. November depicts what is probably a nuthatch climbing down a tree. And December is represented by a snipe. Each painting sumi and colour on silk. Image size 33.8 x 27.4 cms; 13.25 x 10.75 in. Each painting signed and sealed Seitei. Matching mounts. Slight staining on one or two paintings ( primarily July ) otherwise in very good condition. New box but retaining original lid with Seitei signature and seal and inscription Shiki no kacho, “Birds and Flowers of the Four Seasons.” It is rare to find complete sets of such paintings which are usually conceived as handscrolls.



Status: Sold




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Nishikawa SUKENOBU (1671-1750)




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The pre-eminent painter in the Kyoto area during the first half of the eighteenth century. He enjoyed a great reputation in his lifetime and his (over 100) illustrated books influenced many artists, not only in the Kyoto-Osaka area but also in Edo. Many of his books were published by Hachimonjiya in Kyoto such as Hyakunin joro shina sadame (1723). Other famous books being: Tokiwa gusa (1731); Asakayama (1739); Chiyomi-gusa (1740). His paintings were collected by his contemporaries with Yanagisawa Kien (in his Hitorine, c. 1726) calling him the “supreme master” of Ukiy-e, superior to Okumura Masanobu, Torii Kiyonobu, Hanekawa Chincho and Kaigetsudo. Full colour on silk, 30.25 x 17.5 in; 76.7 x 44.3 cms. Shows a typically refined and elegant beauty watching her assistant washing a tea-whisk in a stream. Suihen bijin zu. There are two other versions of this design by Sukenobu: One was auctioned in 1933 at the Osaka Art Club from the W. Sturgis collection and there is another from Nagano, Japan, illustrated in Kokka, no. 18, 2011, p. 10. Other examples are in major museums such as the Metropolitan, Philadelphia, Freer, Honolulu, British, etc. Although Sukenobu produced many paintings, genuine works are now rare. Painted c late 1730s. Minor marks and creases and some loss of gofun, but in very good condition for an early 18th century painting. Sealed Nishikawa shi in and Sukenobu. Illustrated and exhibited in Nikuhitsu Ukiyoe Beauty, Tokyo Fuji Art Museum, 1983, no. 21, ex Hirano collection, Akita Prefecture.

 

Very good condition. Signed and sealed Bokusen. See my Blog on this update.

here

 

Status: Sold

 




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Hasegawa SADANOBU II (active 1867-1880s)




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An original painting by Sadanobu II. A reclining beauty reading a book. There appears to be nothing else like this by Sadanobu, and indeed, there are very few bijin-ga prints by him. A beautiful painting.
Sumi and colour on silk. Image size 13 x 9.25 inches; 33 x 24 cms. Slight loss of gofun and minor marks. Mounted onto board.


 

Signed Ho Utamaro Sadanobu, “copied [ or imitating ] Utamaro, Sadanobu” with Sadanobu seal.

 

Status: Sold

 




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Watanabe SEITEI (1851-1918)




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Two geese – possibly Greater White-fronted Geese ( although the legs should be a little more orange ) with tall reeds and a large misty moon. Sumi and light colour on silk, 43 x 16 in; 109 x 40.5 cms. Signed and sealed Seitei. In fine condition with original box signed and sealed by Seitei.



Status: Sold




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Katsushika HOKUSAI (1760-1849); Kyokutei BAKIN (1767-1848); Jippensha IKKU (1765-1831)




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An original painting by Hokusai showing the back view of a courtesan. Above are inscriptions by Bakin and Ikku, the two leading writers of the day. ( Bakin is famous for writing Chronicles of the Eight Dog Heroes of the Satomi Clan of Nanso and Ikku for writing the most humorous book in the Japanese language: Shank’s Mare Journey on the Tokaido.) This painting was originally sold at the Tokyo Bijutsu Club, December 3rd, 1928. It is illustrated in Katsushika Hokusai Paintings, Mainich Shimbun, 1975. It is signed Toyo Katsushika Hokusai ga, “Painted by Katsushika Hokusai of Orient” and the seal, Katsushika Hokusai, is the same seal as that used on the pair of hand scrolls, Day and Night, in the Museum of Fine Arts, Boston. Colour and sumi on paper, 11.12 x 11.5 in; 28.2 x 29.2 cms. An intriguing old mount and sold with original sales slip from 1928 and a copy of the 1975 catalogue.

 

The inscriptions translate as:

 

I went out dressed up very lightly just to show off for the sake of cherry blossom viewing party.
However, I ended up catching a cold and all my efforts to enjoy the cherry blossoms went for nothing.

 

Jippensha Ikku

 

Yoshiwara is located in the north of Mount Kinryu, and it is a very grassy place.
Here I live inside the fence of Miuraya,
I am worshiped by so many guests.
Even though I devote myself completely to seek popularity every day,
I am a louse whose heart cannot be stolen by money alone.
This is my mettle as a courtesan.

 

Kyokutei Bakin

 

Status: Sold

 




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Utagawa HARUSADA (1830-1887)




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An exceptionally beautiful painting of a standing beauty by this pupil of Kuniyoshi. An ukiyo-e artist who worked in Kyoto. Real name Okamoto Syotaro. Full colour with touches of gold on silk. Image size 40.5 x 13.5 in; 102.8 x 34.2 cms. Very minor brown area otherwise in fine condition. Signed Harusada ga. Seal unread.

 

Status: Sold

 




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Kubo SHUMMAN (1757-1820) and Kameda BOSAI (1752-1826)




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An original painting showing a parading oiran on the first day of the eighth month, Hassaku (hachigatsu sakuhi). It was common on this day to wear a white kimono. This festival still takes place in the Gion quarters of Kyoto. The calligraphy, above, is by Bosai (Hosai), an amateur artist and noted scholar and writer. Full colour on silk, 35.25 x 12.5 in; 89.5 x 31.7 cms. In good condition. Signed Shumman painted by himself with Shumman seal.

 

Status: Sold

 




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Takehara SHUNCHOSAI (Fl. c 1772-1818)




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An original painting showing beauties enjoying the cool of the evening on the riverbank and shallows of the Komo-gawa in Kyoto. An exceptional and rare painting by an artist best known for his guides to Osaka and Kyoto, Miyako meisho zue and Naniwa no kagami, published 1778 and 1780. Full colour on silk, 51 x 19.75 in; 129.5 x 50.2 cms. In very good condition. Signed Bunsei tei inoshishi chushu hatsumikka kyoshinioite Shunchosai Takehara Nobushige. Painted 1818.

 

Status: Sold

 




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Utagawa TOYOKUNI II (TOYOSHIGE) (1777-1835)




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An original painting on paper, unmounted, showing Asahina Saburo (Wada no Saburo Yoshihide), a famous warrior of the early Kamakura period (1185-1333). Image size 11.5 x 15.5 in; 29.2 x 39.5 cms. Signed Toyokuni suichu hitsu, “Toyokuni painted while being drunk.”

 

Status: Sold

 

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Matsumura KEIBUN (1779-1843)




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A fine gajo, 10.75 x 6.75 in; 27 x 17 cms, folding out to 10.75 x 13.5 in; 27 x 34 cms. Consisting of 24 paintings in sumi and light colour of birds, animals and fish, starting with the Twelve Signs of the Zodiac: Rat; Ox; Tiger; Hare; Dragon; Snake; Horse; Goat; Ape; Cock; Dog; Boar. Keibun studied with his older brother Matsumura Goshun as well as Maruyama Okyo. Highly talented, especially in kachoga, and went on to consolidate the Shijo style. Original covers and title slip. End sheet signed by the original owner: Sichikudou, Naniwa (the place that was to become Osaka) with his seal. Another unidentified large seal inside front cover. Some slight wormage not affecting any image and some appropriate scuffing of covers; otherwise very good condition. Painted probably late 1830s.

 

Status: Sold

 




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