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: Sold
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.
Status: Sold
Katsushika HOKUSAI (1760-1849)
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An original painting by Hokusai showing wild boars, a parent and baby. Another “Wild Boar in the Moonlight” painting is in the Museum of Fine Arts, Boston, acc. No. 11.7430, ex William Sturgis Bigelow collection. The same broad background brushstroke shading is found on both paintings. Illustrated in Idemitsu Museum of Arts, vol. 9, Ukiyo-e Paintings, Kikuchi Sadao, 1976, pl. 84, p. 57. It was originally in the inventory of Yabumoto Soshiro, the largest antique dealer in Tokyo after he moved from Kyoto in the second half of the 20th century. Sumi and light colour on paper, 12.75 x 22 in; 32.4 x 56 cms. Signed Gakyorojin Manji hitsu rei hachi-ju-ichi (“at the age of 81”) with Fumoto-no-saki seal, so probably painted for the year of the boar, 1839. There are other paintings with the same signature and seal, e.g. The Harari Collection of Japanese Paintings and Drawings, volume 2, Jack Hillier, Lund Humphries, 1970, no. 142 “The Comet,” p. 258.
In very good condition. Recently remounted and sold with the old Edo-era box.
Status: Sold
Kishi RENZAN (1805-1859)
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An original painting by Renzan, also known as Gantoku. He was adopted by the Kishi family and trained by his father-in-law, Kishi Ganku, who founded the Kishi school. His fellow pupils were Yokoyama Kazan and Minwa Bumpo. After Ganku’s death, he became the leader of the school together with Gantai. Highly regarded in Japan, he painted the walls of the Room of the Wild Geese in the Kyoto Imperial Palace. Shows a fierce tiger, very much in the style of Ganku. This subject is usually found as a diptych with a dragon. But this painting seems to stand alone and was probably painted for a year of the tiger, 1842 (?). Sumi and light colour on silk. 37 x 14 in.; 94 x 35.5 cms. Interestingly, Renzan designed a surimono of this subject also for a Tiger year, 1842 or 1854.
Signed Kishi Bunshin with upper seal Kishi Bunshin and lower seal unread. In good condition although mount somewhat creased.
Status: Sold
Teisai HOKUBA (1771-1844)
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A large original painting, full colour on paper, 49 x 22.5 in; 124.5 x 57 cms. Shows a beauty caught in an autumnal breeze, the tree above shedding its leaves. One of Hokusai’s earliest and best pupils and, apart from painting , is also known for his surimono and book illustration. Famous for his meticulous paintings of beauties, Hokuba also produced these loose impromptu paintings using rapid brushstrokes. Painted in Bunka period (1804-1818).
Some slight rubbing of paper at top, but in surprisingly good condition given its size. Newly mounted. Signed Hokuba ga with Hokuba seal.
Status: Sold
Tsuji HOZAN (Fl. 1820-1840)
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An original painting, 31.5 x 12.5 in; 80 x 31.8 cms. Sumi and full colour on silk. The inscription on the inside of the box lid states that the painting is by Tsuji Hozan, a Shijo painter, and shows a “castle-toppling” courtesan under cherry blossom in the style of Toyokuni. (Castle-toppling is a term used for high-ranking courtesans who could, because of their beauty, cause havoc and influence the regimes of men of great power. [See Yoshitoshi’s Women, John Stevenson, Avery Press, 1986, p. 48, no. 10, “Looking feminine” from the set “Thirty-two Aspects.”]) Hozan is known for the fine illustrations to Bitchu meisho-ko (1822) and there is a fine pair of paintings in the BM, acc. no. 1983.1111, 0.3.1-2. However, there is some thought that Hozan was a pseudonyme for Aoi Sokyu (Shuho). Certainly, this pure Ukiyo-e painting shows great competence. Signed Hozan hitsu with seals Hozan and Dojin. In fine condition. Also, on the inside of the lid is a guarantee from Zangetsu’an Studio.
Status: Sold
Kawamata TSUNEMASA (Fl. 1716-1751)
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An original painting, sumi and full colour on paper, 27 x 10.5 in; 68.5 x 26.75 cms. Shows a parading courtesan with her kamuro. Tsunemasa’s small corpus of work shows him primarily painting portraits of beauties as well as mitate works alluding to classical themes. His delicate figures may have been an influence on Harunobu. Painted c 1745. In very good general condition. Signed Tsunamasa hitsu with Tsunemasa seal.
Status: Sold
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Kitagawa UTAMARO II (Fl. c 1807-1830s)
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An original painting, sumi and full colour on silk, 40.25 x 15.25 in; 102.25 x 38.75 cms. Shows a geisha reading a book and holding a shamisen likened to Manjusri (Japan: Monju), the bodhisattva of wisdom in Mahayana Buddhism. Often depicted riding or astride a lion representing the use of wisdom to tame the mind. As here where she straddles a large almost human-looking Shishi lion. Very few paintings by Utamaro II exist. See Bonhams auction, London 11/11/2010, lot 357. Also three bijin in Boston illustrated by Tsuji Nobuo in Nikuhitsu ukiyoe, Ukiyo-paintings: Museum of Fine Arts, Boston, Kodansha 2000, pl. nos. 6, 8, & 9. And a standing courtesan (yujo risshi zu) in the Tokyo National Museum, Japan. Viewing the paintings it’s evident Utamaro II was highly competent, not something we are aware of when comparing his prints to the work of Utamaro I, which are generally poor in comparison. Comes with a double-box, the second box inscribed “Painted by Utamaro II. A picture of a high-class geisha reading likened to Monju.” Inside the lid a guarantee from Kimura Suetsuke (a dealer and Ukiyo-e expert) dated 1979 (June of the sixth year of the sheep in the Showa period). Some slight loss of gofun but in good general condition. Signed Utamaro fude with two unread seals.
Status: Sold
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. Shows two tancho ( “red crest” ) Japanese cranes flying down to a field suffused with the yellow of ripening rice. This crane ( Grus japonensis ) is the second rarest crane in the world, migrating to East Asia in the fall to spend the winter. There is also a resident flock in Hokkaido. Much loved by the Japanese, the crane was a symbol of luck, longevity and fidelity.Full colour on silk, 46 x 19.5 in; 117 x 49.5 cms. One small spot and minor loss of gofun on the rice, otherwise very good condition.
Signed and sealed Seitei. A beautiful composition.
Status: Sold
Katsukawa SHUNSHO ( 1726-1792 )
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An extremely important painting by one of the most important artists of his day. One of the great ukiyo-e print designers – especially of actor prints. He lived in Edo and first studied under Katsukawa Shunsui and Ko Sukoku. Little is known of his private life. He had many able pupils including Hokusai. The seal he used had Hayashi on the side of a jar ( tsubo ), hence he was called Tsubo. In 1776, together with Kitao Shigemasa, illustrated the famous book Seiro bijin awase sugata kagami. Also the Ehon butai ogi with Buncho in 1770.
This was one of the paintings chosen to be exhibited at the Isetan Department Store to commemorate the Tokyo Olympics in 1964. The exhibit arranged by The Mainichi Newspapers. A committee consisting of Mr. Seiichiro Takahashi, president of the Japan Art Academy, Mr. Issho Tanaka, director of the Tokyo National Cultural Assets Research Institute, Mr. Seiroku Noma, an historian, Mr. Muneshige Narasaki, chairman of the Ukiyoe Association, Mr. Sadao Kikuchi of the Tokyo National Museum, Mr. Teruji Yoshida, an Ukiyoe connoisseur, Mr. Fusui Kaneko, an Ukiyoe connoisseur, Mr. Yasunosuke Ogiwara, an Ukiyoe connoisseur, and other collectors vetted all the paintings and they represented the best that could be put together at the time. Full colour on silk including gold leaf. Exquisitly painted. Slightly creased otherwise in good condition. Double box with inscription in gold. Image size 39 x 12.5 in; 99 x 31.75 cms. Painted c 1781-9.
Signed Katsu Shunsho ga with seal. Ex collection Oda Eisaku, a famous art dealer and collector.
Status: Sold
Kawamura BUMPO (1779-1821)
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A pair of paintings, shosha and gyosha, a wood-chopper and fisherman in a mountainous landscape. Sumi on paper, image size 42.25 x 10.9 in; 108.3 x 27.7 cms. A highly talented Shijo painter and haiku poet who studied under Kishi Ganku and was much influenced by Chinese painting before developing his own individual style. Illustrated numerous ehon including Bumpo gafu, vols 1-3, 1807-13 (see following item); Kaido kyoka awase, 1811; Bumpo sansui gafu, 1824. Minor flaws but generally good condition. Each signed Bumpo with Nanzanju 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
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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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
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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Katsushika TAITO II (Active c. 1810-1853)
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An original fan painting, sumi and light colour on prepared paper, 7.5 x 21.5 in; 19 x 54.5 cms. Shows a badger disguised as a priest. This is the same story as is illustrated in Yoshitoshi’s Shingata sanjurokkaisen, “Thirty-six Supernatural Beings in New Forms” showing the badger at Morinji Temple that could turn itself into a teakettle. Taito II was given the go of Taito by Hokusai, whose pupil he was, in 1820. The fan has the original rib marks and has minor wear, but is in generally good condition. The paper treated with mica. Signed Taito hitsu with Hyaku seal.
Status: Sold
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
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
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
Utagawa HIROSHIGE (1797-1858)
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An original painting, sumi and light colour on paper, image size 13.5 x 20 in; 34.3 x 50.8 cms. Shows the Shiraito no Taki waterfall at Hakone. The water, originating from Mount Fuji, flows over the edge of a 20 meter high cliff in thin white streams reminiscent of silk threads (hence the name Shiraito). Sold with the lid of a previous box which has a guarantee by Kazuo Inoue (a well known expert on Ukiyo-e [1889-1946] dated 1943 which gives the painting as having been done 1845-1848). In very good condition. Signed Hiroshige with Ichiryusai seal.
Status: Sold
Kawanabe KYOSAI (1831-1889)
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An original painting, sumi on paper, image size 36.75 x 12 in; 93.3 x 31.7 cms. A draughtsman of great dexterity with a wild, often bizzare, imagination. Loved sake, sometimes painting under its influence. At an early stage studied under Kuniyoshi, then Maemura Towa and later Kao Chinshin before becoming an independent painter at 27. Adept at highly finished paintings but also produced a large corpus of spontaneous paintings. Shows a crow perched on a branch with a singing sparrow below. This was the subject he was most famous for and there were many copies.
In very good condition, remounted and with futomaki. Signed Joku Kyosai zu with seal Bankoku tobu, “Flying in, or to, many lands.”
Status: Sold
