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.


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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

 




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Tsukioka YOSHITOSHI (1839-1892)




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A fine and large original painting, sumi and light colour on silk. Image size 45.5 x 20.25 in; 115.5 x 51.5 cms. Shows Kato Toranosuke (1562-1611) and Yamaji Shogen (1546-1583) locked in combat having fallen over a cliff into a river. A full moon above. Toranosuke (Kiyomasa), a bodyguard of Toyotomi Hideyoshi, was one of the “Seven Spears of Shizugatake,” Shizugatake no shichi-hon-yan. His adversary is Yamaji Shogen of Katsuie Shibata’s army. (In fact, he defected to Katsuie from Hideyoshi during the battle and was killed there – presumably by Toranosuke .) The battle of Shizugatake was in 1583.

 

 

Signed Ikkaisai Yoshitoshi hitsu. Signature of c. mid 1860s. Recently remounted and in fine condition. The detail on the armour and accoutrements is exceptional.

 

 

Status: Sold

 

 




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Ishikawa TOYONOBU (1711-1785)




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A very fine original painting, sumi and colour on paper with extensive laquer and a large emossed gold floral pattern on the bijin’s kimono; other areas in gold. Image size 35.25 x 17.75 in; 89.5 x 45 cms. Shows an elegant beauty holding up an haori to slip it over the shoulders of a seated nobleman. There is a great feeling of tenderness between the couple in this beautiful painting. In fact Toyonobu produced a print of this exact subject but showing the actors Nakamura Kiyosaburo I as Okiku and Ichimura Kamezo I as Kosuke, a pair of lovers, who were in the play Fujito nikki in 7/1751. Toyonobu must have liked the design and produced this painting but of just the protagonists. See this link in google
for the published print.

Toyonobu was a pupil of Nishimura Shigenaga and his style is also indebted to Okumura Masanobu. Produced some of the most exquisite kakemono-e, hashira-e and large obans of this period which, when they come onto the market, fetch considerable sums of money. (See, for example, Christies auction, N.Y., 18/9/2002, lot 6, ex Vever collection.) For a fine collection of his work, see The Clarence Buckingham Collection of Japanese Prints. The Primitives, 1955, A.I.C., pp. 199 – 229, nos. 1 – 58. Signed Ishikawa Shuha Toyonobu zu with seals Ishikawa uji and Toyonobu. Illustrated in colour in the exhibition catalogue of the Fuchu Art Museum, Artists of the Three Capitals-Learning About Edo Through Kyoto and Osaka, Kaneko, Nobuhisa, Oto, Yumiko, 2012, No. 67, p. 92. The cataloguing gives the play as Hiyoku no kagamon but this is most likely a dance that served as the finale. Hiyoku can mean “wings abreast” and hiyoku no tori, the “hiyoku birds” were a mythical couple who shared a single pair of wings, i.e. two lovers. In fine condition, especially given the age. Painted c. 1751.

 

 

Status: Sold

 

 




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Utagawa KUNITSUGU (1800-1861)




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An original painting, sumi and colour on silk with extensive splashed and applied gofun. Image size 29.25 x 13.25 in; 74.25 x 33.75 cms. A rare pupil of Toyokuni. Another fine painting by him is in the Minneapolis Institute of Art showing Lady Tokiwa fleeing with her children in the snow. Gift of the Clark Center for Japanese Art and Culture, 2013.29.170. Shows an eloping (?) couple standing in heavy snow shielded by his umbrella. Signed Kunitsugu fude. Seal unread. Very good condition.

 

 

Status: Sold

 

 




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Katsukawa SHUNSHO (1726?-1792)




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An original painting, sumi and full colour on silk, 32.25 x 10 in; 82 x 25.5 cms. An important print artist and his paintings being considered one of the glories of Ukiyo-e. Produced a considerable number of hosoban actor prints from the late 1760s on as well as collaborating on the Ehon butai ogi illustrated book with Buncho in 1770 and Seiro bijin awase sugata kagami with Kitao Shigemasa in 1776. He had many pupils including Shunko, Shun’ei and Hokusai. Shows a court beauty reclining and reading a book. The painting of the face, hair and the lacquer stand holding the cloth screen are exceptional. Painted c. 1789. In very good condition.

 

 

Signed Katsu Shunsho ga with seal Jui.

 

 

Status: Sold

 

 




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Utagawa HIROSHIGE (1797-1858)




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An original painting, sumi and light colour on silk, 13.5 x 20.5 in; 34.5 x 52 cms. Shows the renowned Husband and Wife rocks, Meoto Iwa, “Married Couple Stones,” off Futami, Mie, Japan. At this time – c. late 1840s – many thin ropes were used to tie the couple together. They are now joined by a single large shimenawa – a rope of rice straw. The larger (male) rock called Izanagi has a small torii at the top. The smaller (female) rock is called Izanami. They are sacred to the Shinto religion and worshippers flock to the neighbouring Futami Okitama Shrine, which is dedicated to the food goddess Miketsu. The ancient Shinto custom of worshipping stones is called Iwakura. A fine Hiroshige painting.

 

 

Signed Hiroshige ga with large Ichiryusai seal. In good condition with interesting old mount.

 

 

Status: Sold

 

 




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Ichiryusai HIROSHIGE (1797-1858)




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A charming small painting in shijo style obviously from a gajo of such sketches. Shows a flowering plum branch loosely tied to another branch. Sumi and light colour on paper, 5.5 x 8 in; 14 x 20.25 cms. Signed Hiroshige ga with Ichiryusai seal. Slight centre fold (of course) otherwise good condition. Old mount with bamboo ends.

 

 

Status: Sold

 

 




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Santo KYODEN (Kitao MASANOBU) (1761-1816)




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An original painting, full colour on paper, image size 47 x 15.5 in; 119.5 x 39.5 cms. A pupil of Kitao Shigemasa, he was one of the leading authors and illustrators of kibyoshi, ehon and kyoka anthologies. Also produced prints of beauties including the fine set of double-oban prints of courtesans in 1783-4: Yoshiwara keisei shin bijin awase jihitsu kagami. A controversial figure who ran foul of the authorities in 1789; he subsequently ceased using the name Kitao Masanobu and thereafter his paintings are always spontaneous in an abbreviated style, often quite slight and signed Kyoden. The example offered here showing a parading courtesan with her lantern behind her is more finished than most. The calligraphy above by Kyoden. In very good condition with box guaranteed by Tosuke Kimura.

 

 

Signed Kyoden gasan, “Painted and inscribed by Kyoden.” Seals Santo Kyoden, Seishu koji and another.

 

 

Status: Sold

 

 




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Utgawa HIROSHIGE (1797-1858)




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An original drawing, being a preparatory sketch for a painting, sumi and red under-drawing on paper, mounted as a kakemono. Image size 10.5 x 13 in; 26.5 x 33 cms. An unusual view of the Husband and Wife rocks, Meoto Iwa, “Married Couple Stones,” off Futami, Mie, Japan. They are sacred to the Shinto religion and worshippers flock to the neighbouring Futami Okitama Shrine, which is dedicated to the food goddess Miketsu. In this drawing the emphasis is on the worshippers and travellers seen here in the centre and right.

 

 

In very good condition. A spurious signature and seal bottom right. There are others drawings with the same signature and seal on otherwise perfectly genuine works.

 

 

Status: Sold

 

 




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Hosoda EISHI (1756-1829)




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An original painting, full colour on silk, 32.5 x 10 in; 82.5 x 25.5 cms. Shows a promenading courtesan under a full moon – presumably on the way to an assignation. She wears a vivid red over-garment decorated with iris and the under-garment has heavy mica applied. Eishi was of unusually high rank for an Ukiyo-e artist and is noted for his refined beauties – both painted and in woodblock form. They often have ink-wash backgrounds in the Edo-Kano technique learned as a pupil of Kano Eisen’in Michinobu (1730-90). His corpus is extensive and there are also many copies of his work. He had around thirty pupils including Eisho, Eiri and Eisui. Minor flaking of mica but in otherwise good condition. Signed Chobunsai Eishi hitsu with Eishi seal.
Status: Sold

 

 




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KAIGETSUDO School




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An original painting, full colour on paper, 39.75 x 15.25 in; 101 x 38.75 cms. Shows a beauty erotically biting a cloth. The kimono is decorated with a strong motif of flowering plants. The school was founded by Kaigetsudo Ando (1671-1743). He had a tight-knit atelier of artists who followed his style of large single standing beauties with bold drapery and small faces. There are many copies of the leading Kaigetsudo artists and it’s refreshing to have an unquestionably authentic painting of the period, c early 1710s. Minor imperfections but all in line with the age of the painting, otherwise good condition.
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Torii KOTONDO (1900-1976)




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An original painting, full colour on silk with touches of gold, 45.5 x 14.5 in; 115.5 x 36.75 cms. Shows the famous story of the demon Ibaraki of Rashomon (a gate south of the Imperial Palace in Kyoto). The tale relates how Watanabe no Tsuna cuts off the arm of the demon Ibaraki near the Rashomon Gate in 976 to free the neighbourhood of the beast. Watanabe locks the arm in a box. Subsequently he is visited by his wet nurse who asks to see the arm, whereupon she seizes it and flies off revealing her true guise as that of the demon. The story was made into a No play, Ibaraki, and later a Kabuki play. Kotondo is famous for his beauty prints of the late 1920s and early 1930s. In fine condition. Signed Kotondo ga with Kotondo seal.
Status: Sold

 

 




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Ichiryusai HIROSHIGE (1797-1858)




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A fine original painting by Hiroshige I, sumi on silk, image size 38 x 12.5 in; 96.5 x 31.75 cms. Shows an avenue of trees leading to a small bridge beneath a torii; bands of mist, and, in the distance, another torii and a lake or open sea with sails. A beautiful composition. I have not been able to identify the location: It was not unknown for Hiroshige to paint imaginary landscapes or use poetic license.

 

Signed Hiroshige ga with Ichiryusai seal. In very good condition having been recently remounted.

 

Status: Sold

 




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Mori SOSEN (1747-1821)




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An original fan painting of a baby tanuki amongst autumn grasses and beneath a full moon. Sosen was a close observer of nature (even, it is said, living for a while in the woods to closely observe the animals). He is best known for his monkey paintings, of which there are many copies. The tanuki, or Japanese raccoon dog, is frequently depicted in Japanese art and mentioned in the folklore. It was reputed to be a mischievous creature and a master of disguise. Sumi and colour on a gold-flecked paper ground; 8 x 20.5 in; 20.5 x 52 cms. Mounted as a scroll. Old mount and box. An inscription on the inside of the box reads: Kokou Souryo shintei, “Judged by Kokou Souryo.” On the outside the inscription reads: Shunsou-tanuki-senmen, “Autumn grass tanuki fan.”

 

Sosen hitsu. Painted c. 1800. Signed Sosen with seals Shusho. Good overall condition.

 

Status: Sold

 




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Hishikawa MOROSHIGE (Fl. 1684-1704)




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An original painting showing a go game being watched by beautifully attired ladies. Moroshige was the senior pupil of Hishikawa Moronobu, and, it is said, was the father of Furuyama Moromasa. Sumi and full colour with extensive gold on silk; 10.75 x 15 in; 27.5 x 38 cms. Newly remounted with futomaki and box. Provenance: Ex William Sturgis Bigelow collection. He was one of the first Americans to live in Japan and much of his extensive collection went to the Museum of Fine Arts, Boston. His original seal has been affixed to the side of the box.

 

Painted c. 1700. In very good condition. Rare: A fine painting and nice subject.

 

Status: Sold

 




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Watanabe SEITEI (1852-1918)




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Seitei ( Shotei ) specialised in kachoga; was famous in this area, and regarded as the leading exponent. Technically brilliant. A complete set of three paintings showing, right, Hana shobu, “ Iris Flower; centre, Matsu ni koi, “Pine Tree and Carp”; and left, Shobu, “Iris.” Each painting in full colour on silk, image size 47.5 x 20 inches; 120.75 x 51 cms. Signed Seitei. Fine condition. With original double box, signed and sealed.



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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: Sold

 




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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: Sold

 

 




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Ichiryusai HIROSHIGE (1797-1858)



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An extremely rare aiban print showing a shimadai, grouper, (probably Chilodactylus zonatus) and an aji, horse-mackerel, (Caranx trachurus). From a set of eight prints of various fish published c. late 1830s.

 

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

 

Status: Sold

 

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Kitao MASAYOSHI (1764-1824)




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A falcon and camellia. One design from the album: Kaihaku raikin zui, A Compendium of Pictures of Birds Imported from Overseas. The first edition published by Gungyokudo Matsumoto Zembei, 2/1789. Copies of the first two editions are excessively rare and it was then reissued with the plates signed Keisai (as here). However this print does not appear to be from an album and judging from the quality of printing must be from the first printing with signature and when some prints were issued separately. Designs that appear on the market from this publication are invariably on thin paper and poor impressions.


Fine impression with beautiful gradation and blind printing. On thick deluxe hosho Fine colour. Very minor soil, otherwise fine condition. Signed Keisai Utsusu.



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Ichiryusai HIROSHIGE (1797-1858)




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Koi, carp (Cyprinus carpio) from the second series of ten fish prints published by Yamasho, c 1840-42. The first series was issued privately for a poetry group ( probably the Shingyoku Circle ) with judges’ names and extra poems. Poem above by Makuzu. These prints are of the utmost rarity as probably only enough for the Circle were printed and they never come onto the market. Due to their popularity this first series was published commercially and a second set was commissioned. The best design from the second set. Other examples: Vignier and Inada, Vol. VI, pl. LXIX, no. 265 and Tamba, no. 424.

 

Very good impression. Early state: See Andon 49, Hiroshige: A shoal of red herrings, number 12. This is Kruml c with the b Ichiryusai seal. Fine colour. Slight trimming left and top, otherwise very good condition. Signed Hiroshige hitsu.

 

Status: Sold

 

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Katsushika HOKUSAI (1760-1849)




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Cuckoo and azaleas from the so-called Small Flower series of ten chuban prints published c 1832. Amongst the most sought after of Hokusai’s prints. The first edition was published by and has the seal Eijudo. A later edition (as here) has combined manji and kiwame seal ( and some are printed on thin Chinese-style paper ), and there are also impressions extant without any seals which probably constitute a third state. All impressions are rare and the first state excessively so. Indeed, these prints are considered even rarer than the larger bird and flower set Hokusai designed c 1833. The printing and colour on this set comes close to surimono quality. Each print has a Chinese poem written in hiragana.


Fine impression. Slight fading, otherwise very good condition. Signed Zen Hokusai Iitsu hitsu.


Status: Sold

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Utagawa KUNIYOSHI (1797-1861)




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An extremely rare diptych, Shoki-san jaki ni sokko, “Shoki-San, Quick-Acting Medicine to Remove Evil Spirits.” Images of Shoki were used to ward off evil spirits and illness, especially during the Boys’ Festival. Published 1858 by Enshuya Hikobei. Provenance: Purchased from me in 1994.


Extremely fine impression. Fine colour and condition. Signed Ichiyusai Kuniyoshi fude with Yutaka seal.

 

Status: Sold

 

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Utagawa KUNIYOSHI (1797-1861)




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A triptych Akazawa-yama o-sumo showing the most famous sumo match in Japanese history between Kawazu Saburo Sukeyasu and Matano Goro Kagehisa at Akazawa mountain. Also famous as Kawazu used a new sumo hold wrapping a foot around his opponent’s leg and encircling the neck with one arm, a manoeuvre that became known as the Kawazu hold. The event took place in 1176 before Shogun Minamoto Yoritomo where Kawazu defeats the popular bully Matano. Subsequently Kawazu was murdered, quite unrelated to the bout. His sons swear revenge and their story becomes the Soga monogatari. Kawazu is shown here throwing Matano to the ground, the referee to the left. Published 1858 by Maruya Kyushiro. Robinson T353. Provenance: Purchased from me in 1994.


Superb impression and colour. One small thinned area, otherwise very fine condition. Probably the finest impression extant of this famous design. Signed Kuniyoshi ga and Ichiyusai Kuniyoshi ga.

 

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Utagawa KUNIYOSHI (1797-1861)




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Kwaido Maru (Kintoki) seizes Raijin, the Thunder God, with one hand while holding his thunder drums with the other. A thunderbolt falls to earth causing flashes of lightning. A fine and rare set: Honcho musha kagami, “Mirror of Warriors of our Country.” The set published by Tsujioka-ya Bunsuke, 1855. Robinson S87.6.


Fine impression. Slightly trimmed, otherwise very good condition. Signed Ichiyusai Kuniyoshi ga.

 

Status: Sold

 

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Utagawa KUNIYOSHI (1797-1861)




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A triptych showing the famous archer Minamoto no Yorimasa preparing to shoot the monster Nue on the roof of the Shishinden Palace. The story relates how in 1153 the sixteen year old Emperor Konoe was having difficulty sleeping due to the shrieks and scratchings emanating from the palace roof. Guards informed him that a black cloud descended there every night. Yorimasa was called upon to investigate and he brought down the beast – a composite creature, part monkey, badger, tiger, dragon and snake which was duly despatched by his retainer Hironao no Hayata (Tadazumi no Hayata). Subsequently Konoe sleeps soundly and rewards Yorimasa with a fine sword and a court beauty Yorimasa loves. An exceptional design published 1842-3 by Yamashiroya Shinroku. Robinson T112. Provenance: Purchased from me in 1994.


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

 

Status: Sold

 

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Ichiryusai HIROSHIGE (1797-1858)




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A newly discovered painting of a three-clawed Kano-style dragon amongst clouds. Although a subject popular with Japanese artists (and especially Chinese artists where the subject derives from), this appears to be the only such painting by Hiroshige extant. He did, however, produce two prints of the subject – a surimono and a large panel, both of around the same date. The signature indicates a date after 1840 and it was most likely painted for the Dragon Year 1844. Blue and brown ink on paper with extensive splashed ink. Image size 34.5 x 10.5 in; 87.7 x 26.7 cm. The mount uses a ryu-mon (dragon pattern) motif to match the subject. Very good condition. Signed Ichiryusai Hiroshige hitsu with Ichiryusai seal.

 

Status: Sold

 




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Utagawa KUNIYOSHI (1797-1861)




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Hironao no Hayata (Tadazumi no Hayata), Yorimasa’s retainer (see the triptych by Kuniyoshi of the same subject on this update), grappling with the composite beast Nue on the roof of the Shishinden Palace. Forked lightning bounces around him. One of the best designs from Honcho Suikoden goyu happyaku-nin no hitori, “Eight Hundred Heroes of our Country’s Suikoden, One by One.” Published by Kagaya Kichiemon, 1830-31.


Very good impression and colour. Slight trimming, otherwise very good condition. Signed Ichiyusai Kuniyoshi ga.

 

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Isoda KORYUSAI (FL c 1764-1788)




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A superb original painting, full colour on silk, showing a beauty running in a late snowfall. Cherry blossom above. A leading artist of his time who produced some of the best bijin and kacho prints of the 1770s before concentrating on painting. Image size 40.25 x 14.25 in; 102.5 x 36 cm. Good condition. Painted c 1778. Signed Koryusai ga with seal Masakatsu, no in.

 

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Ichiryusai HIROSHIGE (1797-1858)




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Tobiuo, flying fish (probably Prognichthys) and ishimochi also called guchi or shiroguchi, white croaker, (probably Argyrosomus argenatus). Together with a single lily. Poem by Toshigaki Maharu. From the second series of ten fish prints published by Yamasho, c1840-42.The first series was issued privately for a poetry group ( probably the Shingyoku Circle ) with judges’ names and extra poems. These prints are of the utmost rarity as probably only enough for the Circle were printed and they never come onto the market. Due to their popularity this first series was published commercially and a second set was commissioned.

Fine, early impression with mica on the flying fish. Fine colour and condition. Full size and no centre fold. Signed Hiroshige ga in blue (which I have never seen).

 

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Ichiryusai HIROSHIGE (1797-1858)




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Fujikawa from the so-called “Upright Tokaido.” One of the two snow scenes from the set. Shows travelers coming and going at the edge of the village. Published by Tsutaya, Hare 7, 1855.

 

 

Very good impression with wood-grain evident in the sky. Very good colour. Trimmed close, otherwise very good condition. Signed Hiroshige ga.

 

 

Status: Sold

 

 

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Kikukawa EIZAN (1787-1867)




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A triptych showing a street thronged with people in front of the famous department store Iwaki Masuya, giving a good cross-section of the inhabitants of the city at this time. The store specialised in silk and textiles and was one of the most important in Edo having, at one point, 500 employees in its stores. Hiroshige designed another triptych of this subject in c. 1850.

 

 

Published by Mikawaya Seiemon, c. 1815. Rare.

 

 

Fine impression. Extremely fine fresh colour. Fine condition. Full size. Signed Kikukawa Eizan fude.

 

 

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Utagawa HIROSHIGE II (1826-1869)




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A snow scene showing Muro Harbour in Harima Province, Banshu Muro-tsu shinkei, “Actual View of Muro Harbour Banshu [Harima] Province.” From Shokoku meisho hyakkei, “One Hundred Famous Views in the Various Provinces.” The set published by Uoya Eikichi, 1859-61 (this being 1859). An uncompleted set with only 81 prints known. Beyond the harbour can be seen the Inland Sea, the Seto Inland Sea aka Setouchi.

 

 

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

 

 

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Utagawa HIROSHIGE (1797-1858)




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Shoheibashi Seido Kandagawa, “Seido Shrine and Kanda River Seen from Shohei Bridge.” The scene under light rain and is near present day Akihabara. From the set Meisho Edo hyakkei, “One Hundred Views of Edo.” The set published by Uoya Eikichi 1856-58 (this being 1857). The set comprises 118 prints by Hiroshige and another by Hiroshige II. However, three prints are dated 10/1858, the month following Hiroshige’s death, and these are thought to be by Hiroshige II as well. They are: Ueno Yamashita, Ichigaya Hachiman and Bikunibashi.

 

 

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

 

 

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Utagawa HIROSHIGE (1797-1858)




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Azuma no mori yoru no ame, “Evening Rain at Azuma Shrine.” From a fine and rare early set Edo kinko hakkei, ”Eight Views in the Environs of Edo.” Shows figures walking along a dike beside the Kita Jumagawa. Azuma Shrine is seen amongst trees to the left. This set was first published privately for the Taihaido Poetry Club by the publisher Sanoya Kihei (Kikakudo) c 1837-8. (Similar to Hiroshige’s first set of fish prints.) For obvious reasons examples of these prints are of the utmost rarity. An entire set is in the Baur Collection, Matthi Forrer, 1994, nos. G492 – G499, this being G498. They have the copyright owner’s name in the left border, Taihaido Nomimasu, who was the head of the poetry club. They also have three poems on each design. The commercial edition, as here, has one or two poems and loses the Taihaido name. (Again, similar to the fish series.) These prints, initially not intended for commercial consumption, are more refined with a greater degree of care taken with the cutting of the blocks. Contrary to later sets, figures are small, pigments are subdued and large foreground objects are not in evidence yet. One of Hiroshige’s finest sets. Rare.

 

 

Very fine impression. Fine colour and condition with large margins. Signed Hiroshige ga.

 

 

Status: Sold

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Utagawa HIROSHIGE (1797-1858)




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Haneda no rakugan, “Descending Geese at Haneda.” From a fine and rare early set Edo kinko hakkei, ”Eight Views in the Environs of Edo.” Planes now descend here. This set was first published privately for the Taihaido Poetry Club by the publisher Sanoya Kihei (Kikakudo) c 1837-8. (Similar to Hiroshige’s first set of fish prints.) For obvious reasons examples of these prints are of the utmost rarity. An entire set is in the Baur Collection, Matthi Forrer, 1994, nos. G492 – G499, this being G492. They have the copyright owner’s name in the left border, Taihaido Nomimasu, who was the head of the poetry club. They also have three poems on each design. The commercial edition, as here, has one or two poems and loses the Taihaido name. (Again, similar to the fish series.) These prints, initially not intended for commercial consumption, are more refined with a greater degree of care taken with the cutting of the blocks. Contrary to later sets, figures are small, pigments are subdued and large foreground objects are not in evidence yet. One of Hiroshige’s finest sets. Rare.

 

 

Very fine impression. Fine colour. Minimal edge soil, otherwise fine condition with large margins. Signed Hiroshige ga.

 

 

Status: Sold

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Utagawa HIROSHIGE (1797-1858)




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Koganeibashi no sekisho, “Evening Glow at Koganei Bridge.” From a fine and rare early set Edo kinko hakkei, ”Eight Views in the Environs of Edo.” This area was famous for its cherry trees and visitors are seen cherry viewing. It is also where the Tamagawa-josui was made to draw water from the Tama River into Edo. This set was first published privately for the Taihaido Poetry Club by the publisher Sanoya Kihei (Kikakudo) c 1837-8. (Similar to Hiroshige’s first set of fish prints.) For obvious reasons examples of these prints are of the utmost rarity. An entire set is in the Baur Collection, Matthi Forrer, 1994, nos. G492 – G499, this being G495. They have the copyright owner’s name in the left border, Taihaido Nomimasu, who was the head of the poetry club. They also have three poems on each design. The commercial edition, as here, has one or two poems and loses the Taihaido name. (Again, similar to the fish series.) These prints, initially not intended for commercial consumption, are more refined with a greater degree of care taken with the cutting of the blocks. Contrary to later sets, figures are small, pigments are subdued and large foreground objects are not in evidence yet. One of Hiroshige’s finest sets. Rare.

 

 

Very fine impression. Fine colour. Small edge nibble on top border and minimal edge soil, otherwise fine condition with large margins. Signed Hiroshige ga.

 

 

Status: Sold

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Ichiyusai HIROSHIGE II (1826-1869)




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Suo Iwakuni Kintaibashi, “The Bridge of the Brocade Sash at Iwakuni in Suo Province.” From an uncompleted set: Shokoku meisho hyakkei, “One Hundred Views of the Provinces.” Published by Uoei between 1859 – 1861 (this being 1859). Shows the beautiful five-arch bridge spanning the Nishiki-gawa under heavy snow. The village of Nishikimi in the foreground. The bridge was built in 1673 using massive stone pilings because earlier bridges had been swept away. It was destroyed in 1950 due to a typhoon but rebuilt in 1953. The best print from the set and probably Hiroshige IIs finest design.

 

 

Fine impression of the first edition with mica applied. Fine colour. Minor edge discolouration, otherwise very good condition. Later editions lack the variegated cartouche and the colour-banded publisher’s seal in left margin. Signed Hiroshige ga.

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Utagawa HIROSHIGE (1797-1858)




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Fujikawa from the so-called “Upright Tokaido.” One of the two snow scenes from the set. Shows travellers coming and going at the edge of the village. Published by Tsutaya, Hare 7 (1855).

 

 

Very good impression and colour. Several small blemishes, otherwise very good condition. Signed Hiroshige ga.

 

 

Status: Sold

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