Katsushika HOKUSAI (1760-1849)




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A newly discovered Hokusai painting showing falling maple leaves, pine needles and a rustic broom. Pine needles and a broom would suggest the Pine Trees of Takasago. Uba’s broom sweeping away evil – bringing good luck. But the painting suggests a Zen theme, the previous mount being in the Rinpo style for the Japanese tea ceremony. The painting is from his Taito period ( 1808 – 1820 ) when he was in his mid 50’s. Sumi and red on paper. Image size 11 x 39.5 in; 28 x 100.5 cms. In very good condition, remounted using fine Kano-style brocade and a futo-maki. New box. Signed Taito hitsu with Fumoto no sato seal, “Village at the foot of the mountain.” This seal is known to be associated with his Taito period and is on around six paintings. No Japanese artist was plagiarized to the extent that Hokusai was. Inumerable drawings, paintings and prints purporting to be by him are in circulation.



Status: Sold




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Ichiyusai KUNIYOSHI (1797-1861)




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A hand painted fan showing an Onna Daruma, a female Bodhidharma. Legend has it that Daruma reached Japan by crossing the sea on a stalk of millet and many prints depict this event but often substituting a courtesan for Daruma. Otherwise he is shown, bearded, with beetle brows and huge earrings. During the Edo period the word daruma was a slang expression for a prostitute and a darumaya was a brothel, hence the number of prints showing Daruma with courtesans. The fan has survived by being mounted onto Japanese paper. Sumi and red on a mica surface, 5.5 x 18.25 in; 14 x 46 cms. Signed Ichiyusai Kuniyoshi ga with kiri seal. Sold “as is” with all defects of a used fan. A rare item.


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Tosendo RIFU (Active c. 1730)




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Rifu was a member of the Kaigetsudo school, although little is known of his life. This beautiful painting shows a young woman in a voluminous robe cooling off in the summer. Full colour on paper with elements picked out in gold such as the comb, fan and robe. Lacquered hair. Image size 46 x 18.75in; 117 x 47.5 cms. Two other Rifu paintings are in the Idemitsu collection, see Ukiyo-e Paintings in the Idemitsu Collection, 1988, no 50 and 51. In very good condition for a painting of this period on paper. Mount in excellent condition. New box and presented with a futo-maki ( thick wooden roll to preserve the painting from damage ). Fully signed Yamato e-shi Tosendo Rifu zu. Yamato meaning the pride of being a Japanese painter as opposed to one imitating Chinese painting.



Status: Sold




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Uragami GYOKUDO (1745-1820)




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An original painting, sumi on paper. Image: 5.5 x 8.25 in; 14 x 21 cms. Shows a hilly landscape with a coppice cut through with a stream and two bridges. Gyokudo is now considered the leading exponent of Nanga painting. An artist whose spontaneous paintings often appear as though executed under deep emotion or when partially intoxicated. Now greatly admired in Japan and the West with many fakes. His father was of samurai rank and Gyokudo initially served a nobleman, Ikeda Masake, in Bizen. However, his passion for music, painting and verse composition caused him to become a wanderer in 1794. His Bohemian life eventually leading him to Kyoto where he joined the literati circles of Mokubei and Chikuden. Most paintings done after 1794 and this example probably dates to around 1800 – 1810. Tastefully remounted with double box. Signed and faintly sealed Gyokudo. Rare.


Status: Sold

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Soga SHOHAKU (1730-1781)




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An enigmatic and unclassifiable artist who took the name Soga from Soga Jasoku, a fifteenth-century artist. He lived in Kyoto and is known to have abhored Okyo. Although admired for his dynamic brushwork by his contemporaries, he was considered – if not mad – certainly very eccentric. Now widely admired with many copies. Shows the Dragon of the Storm. A mythological creature that dominated Chinese and Japanese art. It was a scaly four legged serpent with dorsal spines, the head having two horns, long feelers, and flame-like streamers at the shoulders and hind quarters. What could be a hackneyed subject – especially in Kishi hands – but here transformed by the sheer brilliance of the brushwork. Sumi on paper, 47.5 x 14.5 in; 120.5 x 37 cms, c 1770s. Old mount with the painting in extremely good condition. Box of considerable age with inscription on lid: Soga Shohaku: Ranzan ka un ryu, “Soga Shohaku: Ranzan Dragon in the Cloud.” Underside of lid inscription states that it is from a collector’s rare collection and there are various undecipherable Japanese ( collectors’ ? ) seals. Signed Kiyu no zu with seals Ranzan and Soga shi. A masterpiece.


Status: Sold




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Ichiryusai HIROSHIGE (1797-1858)




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An important original painting either prior and for the published print Yotsugi-dori, yosui hikifune, “Hauling Canal Boats, Yotsugi Road” from the Meisho Edo hyakkei, published 1857; or painted at the same time because of particular satisfaction with the design. The canal supplied drinking water to the Fukagawa area. It also provided a regular passenger boat service heading northeast. There is some artistic license as the canal was fairly straight, which would not have provided such an interesting composition. Sumi and light blue on thin silk. ( Unique to Hiroshige as he had a penchant for rather coarse silk. ) 24.5 x 16.75 in; 62.25 x 42.5 cms. Good condition. From the collection of a leading supplier of tea ceremony utensils in Tokyo. Signed Hiroshige ga with Ichiryusai seal. ( For the same signature and seal, see Dr Timothy Clark, Ukiyo-e Paintings, B.M., no 141. )


Status: Sold




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Manjiro HOKUGA (Fl. Early 19th Century)




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A pupil of Hokusai who specialised in Surimono and book illustration. Used Hokuga signature until 1810, then Hotei Gosei. Shows Shoki, the demon quellor, descending to earth on a vapour cloud wielding a sword in order to vanquish demons. Painted entirely in red pigment. The subject matter and use of red ink comes from China. The colour was thought to exorcise evil spirits and was used to ward off illness. Red pigment on paper. Image size: 37.5 x 10.75 in; 95.5 x 27.5 cms. Very good condition. Old box. A fine painting exhibited and published: Itabashi Kuritsu Bijyutsukan, Hokusai and his followers – the collection of the best Ukiyo-e paintings. Exhibition Catalogue, Tokyo, 2008, pl. no. 57. Signed Manjiro Hokuga ga with seal Manjiro.



Status: Sold




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Ogata GEKKO (1859-1920)




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Gekko was a founding member of the Bunten and frequent prize winner. As well as designing prints, he illustrated magazines and decorated pottery. A talented artist who developed his own distinctive style. A young girl and a cuckoo. The first cuckoo traditionally heralds the arrival of summer and is usually shown flying across or near the moon – here represented by the circular window. And it might not be too fanciful to see the arrival of the cuckoo compared to the coming of age of the young girl. Sumi and colour on silk. Image size: 37 x 14 in; 94 x 35.5 cms. Very slight damage to bottom of washira mount. New box. Signed and sealed Gekko.



Status: Sold




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Watanabe SEITEI (1851-1918)




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A fascinating painting by Seitei in homage or as a commission inspired by Yoshitoshi’s ghost print: The ghost of Genji’s lover, Yugao, from Tsuki hyakushi, published 3/1886. Another unusual element is that Seitei has painted the outline of the scroll and the ichimonji and gone beyond, painting a surround of wild grasses and wispy clouds on what would be the kami and chu-mawashi. Seitei was famous for his depictions of birds and flowers and this is, again, a most unusual departure for him. One of Seitei’s masterpieces. Sumi and light colour on silk. Full size: 65.5 x 13.25 in; 166.5 x 33.5 cms. Light foxing at top, otherwise good condition with ( not original ) box. Signed Seitei Watanabe ga and dated kanoe Tora ( year of the Tiger, 1890 ) chugetsu, “Moon in Daylight.” Sealed Seitei.

Status: Sold




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Onishi CHINNEN (1792-1851)




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A highly talented artist, he is considered – with Nanrei – to be the finest exponent of the Maruyama-Shijo style in Edo at this time. Of samurai birth, he initially studied under Nangaku and is famous for the highly regarded books: Azuma no teburi, 1829 and Sonan gafu, 1834 ( offered elsewhere on this site ). Shows Fuji looming above masts and a bridge. Possibly the Inari Bridge near the harbour ( shrine ) at Teppozu in Edo. See Hiroshige’s design of this view for the 100 Views of Edo, no. 77. A typically spontaneous Shijo painting. Sumi on paper. Image size 41 x 10.5 in; 105 x 27 cms. Blue paper mounting; grey-blue damask ichimonji with bamboo rollers. Light creasing otherwise good condition with box. Signed Chinnen with seal Unka.



Status: Sold




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Onishi CHINNEN (1792-1851)




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A highly talented artist, he is considered – with Nanrei – to be the finest exponent of the Maruyama-Shijo style in Edo at this time. Of samurai birth, he initially studied under Nangaku and is famous for the highly regarded books: Azuma no teburi, 1829 and Sonan gafu, 1834 ( offered elsewhere on this site ). Shows a carp climbing a waterfall. A leaping carp is one of the commonest subjects for artists of various schools so as to become almost hackneyed. It takes an individual artist to breath life into the subject. Sumi and very light colour on silk. Image size 39.5 x 19 in; 99.5 x 35.5 cms. Blue-grey damask and beige silk mounting; cream gold damask ichimonji with bone jiku. New box. Light toning otherwise very good condition with splashed gofun around the head of the fish. Signed Chinnen with seal Unka.



Status: Sold




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Watanabe SEITEI (1852-1918)




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An original painting showing a snow covered cliff overhanging a waterfall; one long piece of vegetation is suspended over the fall. A beautiful painting in sumi with light touches of colour on silk. An artist who excelled at kachoga. Image size 39 x 13 in, 99 x 33 cms. Seitei was a successful artist and had a large studio. Many paintings of his are studio or partly studio works. Painting and original (?) mount in good condition. Ivory rollers and wooden box. Fully signed, sealed and dated: Hinoe tori ( 1896 ) doshi, Ran Seitei zu.


Status: Sold




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Kobayashi KIYOCHIKA (1847-1915)




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An original painting showing Minamoto Yoshiie, a renowned archer, at the Nakoso checking station ( Kikuta noseki ) on the boundary of the Hitachi and Iwaki Provinces in 1087. He is said to have halted his horse here and composed a waka poem on the cherry blossom covering the path. This well known painting was exhibited at a special exhibition at the Ota Memorial Art Museum in 1989 of Kiyochika’s work and illustrated in the catalogue, no. 193, p.11. Full colour on silk. Image size 50 x 19.5 in, 127 x 49.5 cms. Painting in good condition. Old mount slightly worn top and bottom, but generally good condition. Wooden rollers and box. Signed and sealed Kiyochika.


Status: Sold




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Nakabayashi CHIKUTO (1776-1853)




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A technically virtuoso painting of butterflies. Chikuto was recognized as the theorist of the Nanga school and is known for his illustrated books, especially Chikuto gafu of 1800. Full colour on silk. Image size 30.5 x 10.5 in, 77.5 x 26.5 cms. Painting and old mounting in good condition. Ivory rollers and wooden box. Signed and sealed Chikuto.


Status: Sold




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Cho GESSHO (1772-1832)




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An original painting showing an autumnal scene with a woodcutter carrying an axe and about to cross a bridge over a river that flows down from paddy fields with steep cliffs above. In the mid-distance a man on a bullock. Gessho was the son of a kakemono-mounter and, after studying with Goshun and Gessen in Kyoto, moved to Nagoya, where he stayed to become the leading artist with Baiitsu and Kinkoku. Well known for haiga and kyoka anthologies such as Fukei gaso and Zoku koya bunko. Sumi and colour on silk. Image size 38.25 x 13 in; 97 x 33 cms. Very good condition. Old mount and box with inscription Shusansui Gessho ga ifuku ( “one scroll” ). Signed Gessho with seals Yukisada ( Gyotei ).


Status: Sold




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Kishi CHIKUDO (1826-1897)




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A large painting, 57 x 28 in; 144 x 71 cms ( image size ) showing a peregrine falcon dislodging snow from a heavily snow-laden pine tree. The bird was closely associated with the New Year. Chikudo was the fourth generation head of the Kishi school which was founded by Ganku. An artist with great talent, he participated in the decoration of the Kyoto Imperial Palace in 1854. Signed Kishi Chikudo. Very good condition. Original mount and wooden rollers. Ink, colour and gofun on silk. With box.


Status: Sold




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Jokei RYUKOSAI (Fl. 1772-1816)




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The most important Osaka artist in the last quarter of the 18th century. His prints are rare and, apart from being an influence on Shunei and possibly Sharaku, he spawned a line of fine pupils. His actor prints are trenchant and full of character. A delightful painting showing a geisha parading and looking askance at a client ( ? ). Full colour on silk, 27 x 13 in., 68 x 32 cms. Good condition. Old mount. Lacquer ends. Signed Ryukosai with kakihan.


Status: Sold




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Utagawa KUNISADA (1786-1865)




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An original painting on grey silk of an actor in a female role ( Segawa Kikunojo III ? ). Executed in fine detail – almost as a surimono with gold, silver and heightened gofun. Probably one of a set tipped into an album and commissioned by a wealthy patron of his favourite actors. Pin-ups of their day. 8.5 x 7 inches, 22 x 18 cms. Minor damage. Signed Ichiyosai Toyokuni hitsu, c. 1852.



Status: Sold

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Ichiyusai KUNIYOSHI (1797-1861 )




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An original and unrecorded painting of a young beauty reading a letter. She looks to be around 18 or 19 years old and this was most likely a commission from the girl’s family. ( The flower on her bodice is probably the family crest. ) Only 32 paintings are currently known by Kuniyoshi and this appears to date from c.1848-54. Sumi and full colour on paper. Minor loss of pigment, otherwise good condition. 100 x 30.5 cms; 39.5 x 12 inches ( image size ). New mount and box. Signed and sealed Ichiyusai Kuniyoshi. ( For other examples of these seals see Appendix 1, p. 261, Heroes & Ghosts, Robert Schaap, Hotei, 1998.)


Status: Sold




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Ichiryusai HIROSHIGE (1797-1858)




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A fine and important original painting by Hiroshige in the Shijo style, sumi and light colour on paper, showing a beauty beneath a tree. This manner of painting seems to have appealed to Hiroshige and some of his best work employs it. ( See Kobijutsu, Special Issue, Number 3, March 1983, Hiroshige, colour illustrations 5 and 18. ) Ex collection Takeoka Toyota with lid of box signed and dated ( 1920 ) by him. Extremely good condition with new mount and boxes ( but retaining original lid ). 112.4 x 51.6 cms; 44 x 20.25 inches. Signed, sealed and dated 3rd year Ka’ei era, 1850, Hiroshige hitsu with Ichiryusai seal.



Status: Sold




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Ichiryusai HIROSHIGE (1797-1858)




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An original painting; sumi and colour on silk showing sunrise on New Year’s day at Suzaki. This painting illustrated in The Memorial Exhibition, Hiroshige’s Two Hundred Anniversary, Dr Kobayashi Tadashi, 1996, no. 313. Image size 14.25 x 22 inches, 36 x 56 cms. Mounted as a scroll with box guaranteed by Dr Narazaki. Good condition. Signed Hiroshige ga with Ichiryusai seal.


Status: Sold




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Kawanabe KYOSAI (1831-1889)




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A large painting on silk, 54 x 34.5 inches ( 137 x 87.5 cms ) showing a side view of a huge Okame mask. Okame ( or Ofuku ) was the Goddess of Mirth, Ama no Uzume no Mikoto. She is known for helping Amaterasu out of the cave, into which she had retired, by performing a dance. At the bottom of the painting are the jingling bells used in her dance.


Minor wormage, otherwise good condition. Mounted with rollers and box. Signed oju Seisei Kyosai, “ By request, Seisei Kyosai “ with red kakihan of tengu mask


Status: Sold




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Taiso YOSHITOSHI (1839-1892)




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Sumi and colour on silk, 17 x 21.5 in., showing a view of a bay with boats moored in the background. In the foreground figures wading in shallow water looking at fish and getting ready for a picnic. Yoshitoshi paintings are rare and this is an unusual and early subject for him in the style of Kuniyoshi. Signature c 1864-6. The seal was used on various sets ( eg Ikkai zuihitsu and Keisei Suikoden ). Rare.


The painting has been professionally cleaned and mounted but still shows signs of browning. Loss of gofun. Signed Yoshitoshi with seal Go Yoshitoshi.


Status: Sold




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Ichiyusai KUNIYOSHI (1797-1861)




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An important unrecorded painting by Kuniyoshi. Sumi and colour on silk, 145 cms x 82cms. Shows the courtesan Jigoku Reigan of Takasu who was adopted and patronized by the priest Ikkyu. Her voluminous ceremonial attire is covered with designs of demons and the tortures of hell. This was a popular subject for Kuniyoshi and there are at least three self-portraits ( from the back ) showing him wearing a kimono adorned with these designs of hell ( see Heroes and Ghosts, Robert Schaap, 1998, figs 12, 13 and 14 ). Thirty one paintings are currently known by Kuniyoshi but this is probably his masterpiece. The painting has been professionally restored. Signed Ichiyusai Kuniyoshi ga



Status: Sold




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Ichiryusai HIROSHIGE (1797-1858)




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An original painting on paper of an ai or ayu, river trout, (Plecoglossus altivelis) swimming in a stream. Sumi and light colour, 11 x 18 inches: 28 x 46cms. Painting comes from the collection of the Hiroshige collector Mr Oda Kakukiti and is sold with box guaranteed by the museum curator (and teacher of Narazaki) Fugikaku Shizuya, dated Dec.25th, 1954. There is also a letter from him to Mr Kakukiti telling him he is happy to guarantee the painting. Rare: It is now extremely difficult to find genuine Hiroshige paintings. (See also Flora & Fauna on this website for the print version of this painting.)


Very good condition. Fully mounted with box. Signed Ichiryusai with seal.


Status: Sold




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Ono BAKUFU (1888-1976)




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An important two-fold screen in sumi and colour showing various Japanese fish and aquatic plants. Size of each panel 32 x 63 inches; 81 x 160 cms. Overall size double this. Bakufu is best known for his fish prints and paintings. Extremely decorative. Original mounting. Ex Spink & Sons.


Very good condition with only one small light stain. Signed Bakufu with seal.



Status: Sold




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Ogata GEKKO (1859-1920)




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A set of five tanzaku paintings on silk mounted onto card. Each painting is 14.25 x 2.25 inches; 36 x 5.75 cms.


Very good conditions. Each signed Gekko and sealed.



Status: Sold




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Utagawa TOYOHIRO (1773-1828)




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A girl offering a fruit (?) to a pet monkey. Hanging scroll. Sumi and colour on silk; 52 x 38 cms. Signed Toyohiro ga, seal Ichiryusai.


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Ichiryusai HIROSHIGE (1797-1858)




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An important original painting by Hiroshige showing the lighthouse at Tempozan ( Osaka ) and the Yodo River. Ships’ masts in the foreground. Tempozan ( Mount Tempo, Osaka – named after the era name ) was constructed in 1832 to prevent silting of the river mouth. Hiroshige paintings are now rare. Possibly originally one of a set from a makemono. Sumi and colour on paper. Image size: 32.4 x 51.4 cms; 12.75 x 20.25 inches. Mounted as a scroll with box.. Good condition. Signed Hiroshige ga with Ichiryusai seal.


Status: Sold




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Kubo SHUNMAN (1757-1820)




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An original painting of a bonito and a branch of bamboo. The bonito, called katsuo in Japan, was also called ocean bonito, strip-bellied bonito and striped tuna. It was, and is, highly regarded in Japan where it is smoked and dried to make katsuobushi, an important ingredient in making dashi ( Japanese fish stock ). The first bonito of the year were always highly anticipated. Shunman – an artist of great refinement – is famous for his exquisite surimono. Sumi and colour on silk with mica added to the eye and belly. Minor creasing and loss of gofun, otherwise good condition. Mounted with box. 90 x 31 cms; 35.5 x 12.25 inches ( image size ). Signed and sealed Shunman.


Status: Sold




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Ichiryusai HIROSHIGE (1797-1858)




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An important and rare original painting of a peacock ( Pavo cristatus ) perched on a rock with peony blossom ( Paeonia suffructiosa ). The regal peacock is usually shown with peonies, symbols of opulence and associated with summer. The subject and style borrows from the Chinese-derived Kano style, but with a spontaneous wet brush. The peony is the floral symbol of China and the peacock ( male peafowl ) was kept by the Chinese for centuries. It was a popular subject for Japanese artists of all schools and frequently used to demonstrate their dexterity, giving rise to often highly finished paintings. Hiroshige, as usual in his paintings, eschews this for a simpler approach. Hiroshige designed at least four prints of the same subject: An o-tanzaku published by Jakurindo, c. 1832; a chu-tanzaku with no publisher, c. 1832; a chu-tanzaku published by Marujin, c. early 1840s; and a kakemono-e published c. early 1840s. The style of signature on this painting dates it to c. 1832 – the best period for his kacho prints. Although I have had, and seen, a number of kacho hanshita-e, this is the first such painting I have catalogued. A Chinese-style poem top left. The painting is illustrated in the bicentennial exhibition of Hiroshige’s birth, The World of Hiroshige, 1996 – 1997, Mainichi Shimbunsha, no. 307; Ukiyo-e Painters and their Works, Volume 1, Yoshida Teruji, 1963, Ryokuen Shobo and was exhibited at the National Diet Library supervised by Dr Suzuki Shigezo, n.d. The inside of the box is guaranteed by Dr Narazaki Muneshige. Sumi on paper, mounted with box; image size 50 x 9.5 inches, 127 x 24 cms. Signed Hiroshige hitsu with Ichiryusai seal.


Status: Sold




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Choensai EISHIN (Fl. 1795-1817)




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An original painting by a rare pupil of Hosoda Eishi. He designed some fine bijin prints, including rare okubi-e. Shows a beauty in heavy snow with billowing trousers, a heavy straw cape and tall geta elevating her above the snow. She holds a wide-brimmed hat in her right hand to ward off the flakes of snow. Another painting by Eishin of a similar subject is illustrated in Klaus Brandt, Hosoda Eishi, 1977, 569, E22. Sumi and colour on paper with extensive splashed gofun; 10.2 x 39.5 in; 25.5 x 100.5 cms. An interesting aspect of the painting are the stencilled white roundels on the trousers. Newly remounted but retaining the fine old chu-mawashi and ichimonji futai parts of mount which are yuzen dyed fabric from Kyoto. Painted c. 1800.

 

Signed Toyogawa Eishin fude; seal unread. Some careful restoration at base, otherwise in very good condition. Rare.

 

Status: Sold

 




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School of Mori SOSEN (c. early 19th century)




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A group of seven small monkey paintings on silk, 11.75 x 11 cms. Of fine quality. Probably by a leading Sosen pupil. Mounted in a concertina album. Unsigned.



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Mori TETSUZAN (1775-1841)




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A makimono with six paintings of Japanese Akita pups, sumi and light colour on paper. Painted area measures 73 x 11.5 in; 185.4 x 29.4 cms. Testsuzan, a highly talented but quirky artist with a penchant for animals, was adopted by his uncle, the celebrated painter Mori Sosen. One of Okyo’s ten best pupils, he moved to Edo from Kyoto bringing the Maruyama style to the Kanto region. In very good condition, remounted in recent years with fine outer silk cover and gold-flecked paper fore and aft. Rosewood rollers. Signed Tetsuzan with his seal at the end.


Status: Sold




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Mori KANSAI (1814-1894)




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A highly regarded artist who practised and taught the Shijo style in Kyoto. The pupil and adopted son of Mori Tetsuzan. A fine album ( 15 x 12 in; 38.2 x 30.5 cms ) of twelve Shijo drawings in sumi and light colour on paper. The album is beautifully presented with heavily gold-flecked paper throughout and silk brocade covers, the chitsu also covered in brocade. Some light foxing giving a wabi-sabi spirit to the work. Signed and sealed Kansai on last drawing.



Status: Sold




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Tsukioka YOSHITOSHI (1839-1892)




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An important two-fold screen, Yamatotakeruno mikoto at Mount Azuma. Yamatotakeru was the beautiful but fiery tempered third son of the Emperor Keikou (71B.C.-130 A.D.) He also had magical powers given to him by his aunt. His father decided to send him to the Eastern Provinces to subdue the barbarians. On the way aboard a boat, they encountered a violent storm. His wife, Ota-tachibana, threw herself in the sea to appease the Gods and drowned. Yamatotakeru continues his journey and reaches a rocky landscape. He gazes south east and in memory of his wife repeats three times “Azuma haya” (My wife, alas). Thus the mountain and area became known as Azuma. This is the scene Yoshitoshi depicts with Yamatotakeru surrounded by his entourage, gazing ahead, his long hair flowing. (He was able to pass as a woman in disguise, evidently.) Yoshitoshi had a jagged style of drawing and painting and the multitude of craggy outcrops allow him to fully indulge himself.

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: Sold




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Tsukioka YOSHITOSHI (1839-1892)




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An original painting, Hokosorori zu, showing Sorori Shinzaemon (at bottom) and Toyotomi Hideyoshi (1536-1598). Sororai was a sword sheath maker and otogishu to Hideyoshi (storyteller to attending provincial lords). “Sorori” means smooth and quiet, the name given to him because any sword fit his sheaths so perfectly. The episode depicted concerns Hideyoshi lamenting the fact that his face looked like a monkey. Sorori cleverly tells him that he is lucky that monkeys respect him to such a degree that they try to look like him. Hideyoshi enjoys the reply and inquires what he would like as a reward. Sorori asks him for a grain of rice to be doubled-up every day for one hundred days. After this period Hideyoshi realises his mistake and demands that Sorori change the reward.


Full colour on silk, image size 34.75 x 11.5 in; 88.2 x 29.2 cms. In very good condition. Beautiful mount. Signed Yoshitoshi with Taiso seal.


Status: Sold




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