Kawanabe KYOSAI (GYOSAI) (1831-1889)
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A draughtsman of great dexterity with a wild, often bizarre, imagination. Loved sake, sometimes painting under its influence. At an early age studied under Kuniyoshi, then Maemura Towa and later Kano Tohaku Chinshin before becoming an independent painter at 27. Was famous for his crow paintings but also loved skeletons. This newly discovered painting shows a full-length skeleton humorously hiding its genital area – not with a fig-leaf – but a large lotus leaf. Sumi and light green on silk, 38.75 x 13 in; 98.5 x 33 cms. Interestingly, a very faint under-drawing can be seen where he first thought of placing the figure.
Many copies of his work. In very good condition. Signed Seisai Kyosai with bell seal.
Status: Sold
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.
Status: Sold
Ichiryusai HIROSHIGE (1797-1858)
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An original painting, sumi on paper, 35 x 11 in; 88.9 x 28 cms. A view of Matsuchiyama from Imadobashi with bands of low lying mist. This area is depicted on many Hiroshige prints. Painted c. 1850. In very good condition. The mounting cloth is wasarasa, Japanese batik, made at about the same time as this painting was made.
Signed Hiroshige hitsu with Ichiryusai seal.
Status: Sold
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: Sold
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: Sold
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Katsushika HOKUSAI (1760-1849)
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An original painting showing Hotei, the God of happiness and one of the Seven Gods of Good Luck (Shichi-fuku-jin). The corpulent Hotei reclines contentedly smoking a long pipe. Beside him is his huge bag (hotei literally means “cloth bag”) which contained the treasures and food he dispersed. Sumi and light colour on paper, 15.25 x 9 in; 38.5 x 23 cms. Presumably from a hand scroll. A spurious Hokusai seal to the right. Paper browned and soiled. Sold “as is” with all imperfections.
Status: Sold
Utagawa HIROSHIGE (1797-1858)
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An original painting in sumi with touches of green and pale blue. Image size 50 x 17 in; 127 x 43.2 cms on paper. Shows the Mount Haruna area which also has Mount Myogi and Mount Akagi. Depicts the strange peaks surrounded by swirling mist and cloud. The region was formed more than 300,000 years ago in Gunma, eastern Honshu. Hiroshige designed a snow scene of the same area for the print set Sixty-odd Provinces of Japan published in 1853. Recently remounted and in very good condition. Signed Hiroshige ga with Ichiryusai seal.
Status: Sold
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Ichiryusai HIROSHIGE (1797-1858)
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: Sold
Katsushika HOKUSAI (1760-1849)
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An original painting, light colour on paper, 13 x 16.5 in; 33 x 42 cms. Shows a sparrow flying over a flowering plum tree. Light soil and creasing, but in generally good condition. Signed Hokusai suichu hitsu, “Hokusai painted while drunk.” Sealed Katsushika. (One of his better-known seals. He used different versions of it throughout his career.)
Status: Sold
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Utagawa HIROSHIGE II (1829-1869)
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An original painting, full colour on silk, 37 x 14 in; 94 x 35.5 cms. The pupil of Hiroshige I who gave him the name Shigenobu. Adopted by Hiroshige in 1845 and married his daughter, Otatsu, on Hiroshige’s death. (Later divorcing her around 1865.) Shows a beauty cooling off on the prow of a boat beneath a full moon and the trestles of a bridge. (Probably the Ohashi over the Sumida River.)
In very good condition and possibly his best painting. Signed Hiroshige ga, seal unread.
Status: Sold
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Tsukioka YOSHITOSHI (1839-1892)
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An original fan painting, sumi on treated paper, 17.5 x 5.5 in; 44.5 x 14 cms. Shows two dogs – possibly Chin. In very good condition: As nearly always, showing the rib folds of the fan. Tipped onto gold-speckled board. Signed and sealed Yoshitoshi.
Status: Sold
Ichiryusai HIROSHIGE (1797-1858)
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An original painting, sumi and very light blue on silk, 40 x 15.25 in; 101.6 x 38.7 cms. Shows the moon reflected in the Tama river with spring ayu (sweet water fish) swimming beneath Japanese papyrus growing in the water.
A beautiful painting. One small foxing mark, otherwise very good condition. Signed Hiroshige hitsu with Ichiryusai seal.
Status: Sold
Shibata GITO (1780-1819)
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A fine Shijo handscroll, sumi and light colour on paper, 11.13 x 423.5 in; 28.26 cm x 10.76 metres. Gito was an early pupil of Goshun who, although he died young, produced enough work to show him to be a highly gifted artist with great ability in landscape, figure and kacho-e. Shows various Kyoto activities and festival preparations. Signed Gito utsusu with hand-drawn seals. There is also a dedication signed and dated, Bunka 8 (1811) February, by Kamono Suetaka (1754-1841) a scholar of Japanese philology and philosophy (Kokugakusha) and also a poet who lived in Kyoto and was presumably a friend of Gito.
Light edge stains, otherwise very good condition. These early quality handscrolls are now very difficult to find.
Status: Sold
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Kubo SHUNMAN (1757-1820)
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An original painting showing a sparrow taunting a horned owl. Shunman, a man of great sophistication, produced few prints (indeed, as Jack Hillier pointed out [The Japanese Print: A New Approach, pp. 102-104]: “Probably no artist except Choki has achieved so high a reputation on such a small number of prints.”); but is known for his fine surimono. Also excelled at writing, light verse, book illustration and painting of mainly bijin, making the subject matter here rare for him. However, the subject was also used for a surimono by him showing an owl on a flowering magnolia branch. Sumi and the characteristically light and subtle use of colour on silk, 36 x 11.5 in; 91.5 x 29.2 cms. Inscription above by Rosanjin. In very good condition having been remounted. Signed and sealed Shunman.
Status: Sold
Shibata ZESHIN (1807-1891)
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An original painting of a somewhat benign Raijin, the god of thunder and lightening. His geta are on a shelf and a cat watches him. There appears to be a cloth-covered mirror at the extreme left. This could almost be some sort of green room view. Zeshin was the greatest lacquerer of the 19th century. Also a highly skilled painter, often using lacquer on his paintings. Sumi on creped silk, 32.25 x 6 in; 81.9 x 15.2 cms. A diagonal joining of two pieces of the silk make up the length. In good condition. Signed Zeshin with largeTairyukyo seal. Painted c. 1885.
Status: Sold
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Kishi GANTAI (1782-1865)
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A superb large gajo (11 x 8 in; 28 x 20.4 cms) of tour de force paintings folding out to comprise: 30 two-sheet designs; 14 four-sheet designs; 2 six-sheet designs; 1 eight-sheet design, making a total of 136 sheets in sumi and light colour on paper. 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. A variety of subjects are covered in this album, many of them the standard repertoire required of such artists to show their skill. In extremely good condition with high quality boards and gold end papers. Signed Chikuzennosuke Gantai with seals Gantai and Kunchin. See also the large deer painting on this update.
Status: Sold
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Numata GESSAI (UTAMASA) (1787-1864)
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An original painting showing a geisha looking back over her shoulder as though surprised. The kimono is beautifully painted with waves and cherry blossom in gofun. Full colour on paper, 50 x 20.25 in; 127 x 51.4 cms. He first studied under Maki Bokusen, then Hokusai during his stay in Nagoya. In the 1840s he was a pupil of Cho Gessho finishing by studying the nanga manner under Yamamoto Baiitsu. Another example is in the MFA, acc no. 11.7340, ex William Sturgis Bigelow collection. In very good condition and newly mounted. Signed Gessai with seal Utamasa.
Status: Sold
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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: Sold
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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: Sold
Nagasawa ROSETSU (1754-1799)
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An original painting, 47.25 x 16 in; 120 x 40.5 cms. Sumi and touches of very light colour on paper. Shows cranes flying in a mountainous landscape. 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. Signed Rosetsu sha with large Gyo seal with the top right corner broken indicating being painted after May 1792-94. In good condition.
Status: Sold
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Imao KEINEN (1845-1924)
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Probably the best known artist of his time and famous for his realistic depictions of birds and flowers. Two koi or carp swim beneath a rock with an overhanging white mountain rose. Ink, colour, gofun and gold on silk. Original mount with ivory rollers. A double kiri-wood box inscribed by Keinen’s son Keisho with date Showa 13, 1938 and a guarantee of authenticity. He entitles the painting Nobara yuri, “Koi playing under a wild rose.” Image size: 44.5 x 14.5 in; 113 x 36.5 cms. Slight crease, otherwise good condition. Signed Keinen.
Status: Sold
Watanabe NANGAKU (1767-1813)
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A large original painting, full colour on silk, image size 46 x 21.75 in; 116.8 x 55.2 cms. This impressive painting shows two courtesans of the Shimbara (red-light) district of Kyoto and their attendants. Nangaku was one of Maruyama Okyo’s best pupils showing great dexterity in impromptu sketches (sekijo) as well as producing paintings of bijin which show ukiyo-e influences. He was responsible for the introduction of the Maruyama style to Edo where he lived for approximately three years late in his career before moving back to Kyoto where he died. He was included in the first exhibition in Edo of contemporary calligraphies and paintings organised by Sawara Kikuu in 1804. A comparable painting is in the Art Gallery of New South Wales, Australia, acc. no. 121.1980. (See Jack Hillier, The uninhibited brush, Hugh M. Moss, 1974, pp. 93-99.) In very good condition with double box. Signed Nangaku with seals Genzan and Iseki.
Status: Sold
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Teisai HOKUBA (1771-1844)
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An original painting, full colour on silk, image size 37.5 x 12.75in; 95.2 x 32.3 cms. One of Hokusai’s earliest and best pupils. Produced a few surimono, also illustrated books, but is best known for his paintings of bijin, often shown promenading along the Sumida River, as here. Above is flowering cherry blossom setting the scene in late March or early April. The background is in Kano ink-wash showing boats on the river and below a ferry landing stage which she is presumably making her way towards. A similar painting is in the BM, illustrated in Ukiyo-e Paintings in the British Museum, Timothy Clark, 1992, p. 120, p. 169. Painted c 1830-44. In good condition. Signed Teisai with seal Hokuba gain.
Status: Sold
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Mori SOSEN (1747-1821)
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An original painting, sumi and light colour on silk, image size 32 x 11.5 in; 81.3 x 29.2 cms. His life is not well documented but he is known to have studied under the Kano artist Yamamoto Joshunsai (? -1781) before being drawn into Mauyama Okyo’s (1735-1795) artistic circle and his style is more Shijo than anything else. His animal paintings were evidently highly valued by Okyo. He was an immediate favourite with eastern collectors because of his monkey paintings at which he excelled, although he was more versatile than literature implies and highly accomplished at drawing other animals. But his images of monkeys take precedence and he is considered the pre-eminent painter, east or west, on this subject. It is alleged that he lived in the woods for three years eating fruit and nuts to study the monkeys and other animals and is also supposed to have had a cage of monkeys at the back of his house to better observe them. Shows two Japanese macaque monkeys, known as the snow monkeys, eating chestnuts. Signed Sosen hitsu with seal Shusho. Minor cracks, otherwise very good condition.
Status: Sold
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Ichiryusai HIROSHIGE (1797-1858)
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An important original Hiroshige painting. Sumi and colour on grey silk, 22.5 x 13.75 inches, 57 x 35 cms. An atmospheric scene showing an evening view at Tamegawa. Villagers hurrying home across a bridge to avoid an approaching thunderstorm. Lightning flashing above. This is a well known painting and has been illustrated in a number of books, including Ukiyo-e Art, Number 18, Memorial Exhibition of Hiroshige, The Japan Ukiyo-e Society, 1968, pl.20. Very good condition; fully mounted with double box and ivory ends. Signed Hiroshige fude with Ichiryusai seal. Hiroshige signature c. 1848- 52.
Status: Sold
Kawanabe KYOSAI (1831-1889)
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A fine painting, sumi on paper, showing three crows on the boughs of a willow tree. Crows were one of Kyosai’s favourite subjects and, apart from paintings, he used them in various formats: fan prints, oban and dai-oban prints. There are also numerous copies of his crow paintings. Signed Kyosai ga. 51 x 18.5 inches, 129.5 x 47 cms. Very good condition with original mount and rollers.
Status: Sold
Utagawa HIROSHIGE (1797-1858)
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An original painting, sumi and light colour on paper, 34.25 x 11.5 in; 87 x 29 cm. Shows a seated courtesan, her summer robe with a water wheel and wave motif. A beautiful poem above which has been translated by Joel Earle:
TITLE The title of the painting is 蓴 (jun, nunawa), the aquatic plant Brasenia schreberi, commonly known as watershield. TRANSCRIPTION 中々尓夢路耳河者ゝ袖飛きてい者まほし幾尓あ那ら聲尓天 Naka naka ni / yumeji ni kawamono wa / sode hikite / iwama hoshiki ni / anara koe nite TRANSLATION Ah, how vexing! In the path of dreams where I travel towards you, you draw near like a flowing river and tug at my sleeve. I long to speak—but your alluring voice leaves me breathless. COMMENTARY Title The painting’s title, nunawa, is a metaphor for a courtesan, kawaramono who inhabits in the Floating World of Water, referring to the lively, impermanent realm of riverside quarters, performers, and night-time entertainment. Text 中々に naka naka ni. Conveys a sense of frustration, of “things not going as one wishes”, especially in love. 夢路に yumeji ni. “On the path of dreams”. Not just “in a dream” but on the classical path in which one travels to meet a beloved in dreams, and by extension, the road to the pleasure quarters. 河者ゝ kawamono ya. This term is tricky and layered. It literally evokes a river’s flow, something that comes toward you, but in Edo usage, 河者 kawamono or 河原者 kawaramono could be a derogatory term for performers, kabuki actors, entertainers, etc.—people who “flow in and out” of the pleasure world. 袖ひきて sode hikite. A classic gesture: pulling the sleeve to invite or entice. 言はまほしきに iwama hoshiki ni. A clear wish or desire: “I want to speak (to you)”. あなら聲にて anara koe nite. A seductive, alluring voice, indicating softness and charm.
The painting is in the Shijo style which employs the rapid and dexterous use of a brush loaded with pigment to achieve tonality without initial drawing or outline. While the results can be detailed, they often capture the essence of a subject in an abbreviated manner.
Signed Hiroshige with Ichiryusai seal. Rare. See my Hiroshige painting blog. Recently cleaned and remounted with futomaki and new box.
Status: Sold
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Kawanabe KYOSAI (1831-1889)
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An original painting, full colour on silk, image size 41.25 x 16.2 in; 114.8 x 41 cms. A draughtsman of great dexterity with a wild, often bizarre, imagination. Loved sake, sometimes painting under its influence. At an early stage studied under Kuniyoshi, then Maemura Towa and later Kano Chinshin before becoming an independent painter at 27. Adept at highly finished paintings but also produced a large corpus of spontaneous paintings. This is one of Kyosai’s favourite themes: to juxtapose a beauty with an unlovely character; in this case a seated skeleton smoking.
Signed Seisai Kyosai ga with seal Kyosai in. In very good condition apart from some minor creases.
Status: Sold
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Maki BOKUSEN (1736-1814)
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A fine original painting, full colour on silk, 40.5 x 12.5 in; 102.9 x 31.7 cms showing a beauty reading a long (love ?) letter. Her maid on the floor beside her. Bokusen was a pupil of both Utamaro and Hokusai although he had an independent style with Hokusai elements in his painting. He was not only a painter but printmaker and book illustrator with such books as: Bokusen gafu (1809), Hitoyo banashi (1810) etc. Painted c1810s.
Very good condition. Signed and sealed Bokusen. See my Blog on this update.
Status: Sold
Matsui KEICHU (Active 1785-1819)
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A wonderful original painting, full colour on silk, image size 35 x 12.75 in; 89 x 32.5 cms. Shows three of the leading actors around 1800: Segawa Kikunojo III (above); Iwai Kumesaburo I (below left); Ichikawa Hakuen I (below right). The first two onnagata dressed in female attire. Kikunojo is the subject of the famous bust portrait by Sharaku showing him as Oshizu, the wife of Tanabe Bunzo. Hakuen (Ichikawa Danjuro V) was one of the most famous and popular actors of his time. He is having tea served to him from a teapot by Kumesaburo watched by Kikunojo. Keichu, a Nagasaki painter, is known for his famous painting of a tiger cleaning its paw in the Minneapolis Institute of Art. A highly accomplished painting in very good condition. Sealed Matsui Keichu.
Status: Sold
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