Katsushika HOKUSAI (1760 – 1849)




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A rare surimono from a series Soramitsuyaren wakan buyu awase samban no uchi, “Japanese and Chinese Heroes for the Soramitsuya Circle.” ( A club named after its leader Soramitsuya Maeda. ) Shows Benkei in a tug-of-war with a Chinese beauty ( possibly Kosanjo according to Keyes ). Poems by Maeda, Magara and Komichi. Published 1820. Two other impressions illustrated in the Spencer Museum of Art, Surimono, Roger Keyes, Kodansha, 1984, no. 26, p. 74 ( catalogue no 110 ) and the Peter Morse collection catalogue, Ota Memorial Museum of Art, 1988, no. 184.


Fine impression, colour and condition. Extensive gold and silver. Signed Hokusai Taito aratame Katsushika Iitsu hitsu.



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Totoya HOKKEI (1780 – 1850)




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The Dragon King, Ryu-jin, presenting the tide-ruling jewels Nanjiu and Kanjiu. In Japanese folklore he ruled the sea and inhabited a spectacular castle in the depths of the ocean.


Fine impression and colour with extensive gold and silver. Minimal edge soil. Signed Hokkei.



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Katsushika HOKUSAI (1760 – 1849)




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A rare surimono from the series Umazukushi, “A Series of Horses” published 1822 ( Year of the Horse ). Shows the banks of the Sumida river, Komatomeishi, with the stone used for tethering horses bottom centre. This surimono is one of three that form a triptych. The complete set is in the Rijksmuseum, Amsterdam ( 1958: 293-294-295 ) and is illustrated in Matthi Forrer, Hokusai, Rizzoli, 1988, no. 265, p. 238 and elsewhere. The other two surimono were also in the Gerhard Schack collection, illustrated in Surimono, 1970, 77-78. Ex collection H. de Winiwater ( seal top right ).


Fine impression with gold and silver. Some soil and loss of the gold. Signed Fusenkyo Iitsu no fude.



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Wakai RYOUNTEI (Dates unknown)




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Shows a dancing shojo: A mythical creature with long red hair who lived near the sea and had an unquenchable thirst for sake. Published c.late 1820s. Rare: Another impression illustrated in One Hundred Surimono in the Collection of Sidney C. Ward, no.95, p.115.


Very fine impression with solid gold ground, other areas printed in gold and silver. Slight loss of gold ground, otherwise very good condition. Signed Morimaru aratame ( “changing his name to” ) Ryountei Wakai. A poet of the Tsubogawa ( the Asakusagawa ) Ren in Asakusa, Edo.



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Katsushika HOKUSAI (1760 – 1849)




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A rare long surimono complete with the attached invitation ( yokonagaban ). Mitate junidan soshi, “A Parody from Twelve Fairy Tales.” Shows Ushiwaka and prince Joruri. The invitation is to a dramatic recital with music ( joruri ) organised by Tokiwazu moji kiyo and has the names of the performers: Tokiwazu Komoji dayu; Kishizawa Koshikibu and others from the Kishizawa school. Another example ( lacking invitation ) is illustrated in Masterpieces Of Ukiyoe From The British Museum. Exhibition catalogue of collection of 300 prints from BM exhibited in Japan at Ueno Museum, Tokyo and Nara Prefectural Museum of Art, 1985, no. 194. But otherwise extremely rare as few of these prints can have been produced for this dramatic event. Sometimes the actual designs, without attachments, were reissued at a later date. An early design for Hokusai, c. 1800.


Fine impression with gauffrage. Slight fading and signs, as usual, of the foldmarks on the invitation: These invites were folded three times – once horizontally and twice vertically to form a neat packet. Otherwise very good condition. Signed Gakyojin Hokusai ga.



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Ryusai SHEGEHARU (1803-1853)




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A surimono diptych of actors. Shigeharu, according to contemporary accounts, was the only professional full-time actor/print designer. True shikishi-ban Osaka surimono are extremely rare: Anecdotally there are supposed to be some others in the vaults of the Victoria and Albert Museum, London.AA surimono of a sumo wrestler in a typical stance. The calligraphy above, being gold on a dark blue ground and which might be a guide to the wrestler, is too obscure to read. Although sumo is a rare subject for surimono, there are another two illustrated examples showing a very similar composition and pose. See: The Kunisada, no.100, p.147, Jewels Of Japanese Printmaking: Surimono Of The Bunka-Bunsei Era 1804-1830, Joan Mirviss, Ota Memorial Museum Of Art, 2000; and the ( attrib. to ) Shuntei, p.75, Surimono, Helena Markus, Firenze 1983. Published c late 1820s.


Fine impression with burnishing, silver and gold. Fine colour. Light backing with slight offsetting au verso, otherwise good condition. Signed Ryusai Shigeharu.



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Utagawa KUNIYASU (1794-1832)




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A surimono of a sumo wrestler in a typical stance. The calligraphy above, being gold on a dark blue ground and which might be a guide to the wrestler, is too obscure to read. Although sumo is a rare subject for surimono, there are another two illustrated examples showing a very similar composition and pose. See: The Kunisada, no.100, p.147, Jewels Of Japanese Printmaking: Surimono Of The Bunka-Bunsei Era 1804-1830, Joan Mirviss, Ota Memorial Museum Of Art, 2000; and the ( attrib. to ) Shuntei, p.75, Surimono, Helena Markus, Firenze 1983. Published c late 1820s.


Fine impression with gold and silver. Mica added to the dark blue ground. Good colour and condition. Signed Kuniyasu ga.



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Ichiyusai KUNIYOSHI (1797 – 1861)




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An extremely rare surimono. ( I have only located one other impression at the present moment: no. 192, p. 178, Heroes & Ghosts, Hotei publishing, 1998.) Shows Ichikawa Danjuro VIII in Shibaraku role. The voluminous robe and huge mon gives rise to some of the most dramatic and abstract designs in ukiyo-e. Published c.1830.


Fine impression with burnishing. Very good colour. Minimal soil and creasing. Signed Cho-o-ro Kuniyoshi ga.



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Kochoro KUNISADA (1786 – 1865)




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A surimono double actor portrait probably showing Ichikawa Danjuro VIII as Sukeroku and Matsumoto Koshiro ( V ? ) as Ikyu from the play Sukeroku, c 1859. This could be a commemorative surimono from the actors’ fan clubs. The inset busts are shown against a backdrop of beautifully printed foliage.


Superb impression. Fine colour. Very small edge wormage repaired, otherwise fine condition. Signed “Seventy three year old Toyokuni hitsu “.



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Aoigaoka HOKKEI (1780 – 1850)




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An unidentified fish amongst carnations. An apparently unrecorded surimono.


Fine impression and colour. Minor crease, otherwise good condition. Signed Hokkei.



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Totoya HOKKEI (1780-1850)




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Two swallows diving above a stream from a set Sanju-roku tori zukushi, “A Series of Thirty-six Birds and Animals”. The title in the shape of a rolled makimono top right. A takaramono printed in gold on blue with good luck symbols runs along the top. Produced for the Shipporen Poetry Club c1830. Poems by Fukubunro Arimasu and Kozanro Okikaze. Of the utmost rarity: Surimono, when encountered from this series, are invariably reprints or copies. Only known as a Meiji Akashi reprint. Others from the set are illustrated in: Vever I, 1974, lot 339; Gale Catalogued, Hillier 1970, no 253; Le Veel sale ( 3rd Part ) 1981, lot 165.


Fine impression and colour with sprayed blue pigment to simulate water drops. Very small repaired wormhole at bottom, otherwise very good condition. Signed Hokkei.



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Totoya HOKKEI (1780-1850)




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A deer with her fawn from a set Sanju-roku tori zukushi, “A Series of Thirty-six Birds and Animals”. The title in the shape of a rolled makimono top right. A takaramono printed in gold on blue with good luck symbols runs along the top. Produced for the Shipporen Poetry Club c1830. Poems by Fukukitei Karakusa and Eigado Soya. Of the utmost rarity: Surimono, when encountered from this series, are invariably reprints or copies. The only impression I have catalogued of this design. Others from the set are illustrated in: Vever I, 1974, lot 339; Gale Catalogued, Hillier 1970, no 253; Le Veel sale ( 3rd Part ) 1981, lot 165.


Fine impression and colour. Light pink ground. Minimal marks, otherwise very good condition. Signed Hokkei.



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Ichiyusai KUNIYOSHI (1797-1861)




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An excessively rare surimono, no.3 from a set Fuzoku onna Suikoden, “The Suikoden in the Customs of Women”. Shows a girl sitting on the shore, pipe in hand and her tobacco pouch on the side of a basket. Published for the Taikogawa poetry club, c1829. Ex Vever collection. Impressions from this set are nearly always copies.


Very fine impression with extensive silver and gold. Granules of gold ( actually brass ) scattered over the beach to simulate sand. Fine colour and condition. Signed Ichiyusai Kuniyoshi ga.



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Totoya HOKKEI (1780-1850)




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A rare surimono with title: Enoshima kiko, Ryudo, “Record of a Journey to Enoshima”. A set of sixteen prints for the Manji-ren Club ( their swastika seal top right above title cartouche ). Each surimono has an association with Enoshima, as here, where the year of issue is 1833, a Snake Year, the reptile being the messenger of Benten whose shrine is situated at Enoshima. The scene shows a picnic party enjoying the view, while a couple explore the Dragon’s Cave on the right. In the distance the snows of Mount Fuji stand out in silver. Two other impressions illustrated in One Hundred Surimono in the Collection of Sidney C. Ward, no.28, p.35 and the second Le Veel sale. 1980, lot 149.


Very fine impression, colour and condition with silver, gold and gauffrage. Signed Hokkei.



Status: Sold

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Totoya HOKKEI (1780-1850)




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A rare surimono showing a tea-house on an inlet. A couple are being entertained by a waitress in an open room while another goes to collect fish from a man holding a fish-scoop. The shop sign indicates a magnificent view of Kanto ( the provinces situated east of the Hakone Barrier Station ).


Very fine impression, colour and condition. Extensive details in gold and silver. Signed Hokkei.



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Totoya HOKKEI (1780-1850)




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Shows a Shinto priest carrying a firebrand and running to avoid a large wave. In his left hand he carries me, an edible seaweed which he has gathered. This ritual was carried out at night on New Year’s Eve at the Hayatomo Myojin Shrine, in northern Kyushu. The shrine is seen, top right, beneath a black sky. Other examples of this rare surimono are illustrated in: Vever sale, Part 1, Sothebys, 1974, lot 336, p.315; Jewels of Japanese Printmaking: Surimono of the Bunka-Bunsei era 1804-1830, Joan B. Mirviss, 2000, no.48, p.97 ( colour ); One Hundred Surimono in the Collection of Sidney C. Ward, no.26, p.32; Surimono, Steff Schmidt and Setsuko Kuwabara, 1990, no.38, p.92. One of the finest surimono designs. Published c early 1830s.


Fine impression. The red of the firebrand turned, otherwise very good colour. Extensive flecked foam printed silver and the gold of the poems, against the black sky, intact. Very good condition. Signed Oju Hokkei hitsu.



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Ueda KOCHO (active c1800-1830s)




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A large Shijo surimono showing a party on a boating trip. ( One of the most underrated areas of ukiyo-e.) Rare.


Fine impression. The usual fold marks, otherwise good condition. Signed Kocho.



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Totoya HOKKEI (1780 – 1850)




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A surimono showing a courtesan with attendant holding a kite with an image of Danjuro in a shibaraku role. Title: Haru no machi, “The Series of Spring Town”. Issued by the Fundarikaren Club. Their emblem is repeated on the cloth sack the attendant carries on his back. Rare: This is the only genuine impression I have catalogued.


Fine impression and colour with gold and silver. Slight fading, otherwise fine condition. Signed Hokkei.



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Katsushika HOKUSAI (1760 – 1849)




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An exceptionally rare and very unusual koban surimono showing two onnagata actors. The only other recorded impression seems to be in Hokusai, Gian Carlo Calza, Electa, 1999, plate III.57. That has the months on the title slip of book for 1803 (and a poem top left). So this is an egoyomi and my impression must be either a proof or the first issue (same as Harunobu prints issued first without date, then with).


Very fine impression and colour. Signed Gakyojin Hokusai ga.



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Utagawa KUNISADA (1786 – 1864)




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An extremely rare surimono showing a seated beauty.


Fine impression and colour. The background blind-printed with a textured pattern. Signed Gototei Kunisada ga.



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Totoya HOKKEI (1780-1850)




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A young beauty holding a fallen kite from a series: Yanagi bantsuzuki “A Series of Willows”, sub-title: Yanagi yu “The Public Bath Willow”.


Fine impression and colour. Slight signs of mounting au verso, otherwise good condition. Signed Go Hokkei.



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Aoigaoka HOKKEI (1780 – 1850)




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A surimono from the set: Hanazono bamtsuzuki, “A Set for the Hanazono Group”. A series of at least seventeen prints published c1820s. Each image gives a positive injunction to start something on an auspicious day; as here: Ibori yoshi “A Good Day to Dig a Well”.


Fine impression, colour and condition. Signed Hokkei.



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HOKKEI (1780 – 1850)




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A surimono from the set: Hanazono bamtsuzuki, “A Set for the Hanazono Group”. A series of at least seventeen prints published c1820s. Each image gives a positive injunction to start something on an auspicious day; as here: Nyugaku yoshi “A Good Day to Start Studying”.


Fine impression. Slight turning of colour on border, otherwise very good colour and condition. Signed Hokkei.



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Aoigaoka HOKKEI (1780 – 1850)




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A surimono from the set: Hanazono bamtsuzuki, “A Set for the Hanazono Group”. A series of at least seventeen prints published c1820s. Each image gives a positive injunction to start something on an auspicious day; as here: Yudono hajine yoshi “A Good Day to Start Having a Bath”.


Fine impression. Slight turning of colour on border, otherwise very good colour and condition. Signed Hokkei.



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Aoigaoka HOKKEI (1780 – 1850)




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A surimono from the set: Hanazono bamtsuzuki, “A Set for the Hanazono Group”. A series of at least seventeen prints published c1820s. Each image gives a positive injunction to start something on an auspicious day; as here: Kadoide yoshi “A Good Day to Start a Journey”.


Fine impression. Slight turning of colour on border, otherwise very good colour and condition. Signed Hokkei.



Status: Sold

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Aoigaoka HOKKEI (1780 – 1850)




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A surimono from the set: Hanazono bamtsuzuki, “A Set for the Hanazono Group”. A series of at least seventeen prints published c1820s. Each image gives a positive injunction to start something on an auspicious day; as here: Sake zukuri yoshi “A Good Day to Make Sake”.


Fine impression. Slight turning of colour on border, otherwise very good colour and condition. Signed Hokkei.



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Totoya HOKKEI (1780-1850)




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A dragon emerging from dark clouds. An extremely rare surimono; the few other known examples being trimmed.


Fine impression, very good colour and condition. Signed Hokkei.



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Totoya HOKKEI (1780-1850)




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A langoustine and fish. An extremely rare surimono designed for the Gogawa Club (seal top right) and produced by Shunman sei.


Very good impression, colour and condition with blind-printing on fish. Signed Hokkei sha.



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Ichiyusai KUNIYOSHI (1797-1861)




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An uncut double chuban sheet with a title which appears to read: Yatsuatari doke komori, “Bats Blaming Each Other” but given the title “Bats Comic” by Japanese sources. A set of eight chuban prints published by Joshuya Kinzo, c. 1846. Excessively rare. The bottom sheet has an unidentified subject. Unrecorded ? And the top chuban seems to show a [ bat ] parody of the Chushingura. Unrecorded ?


Fine impressions and colour. Small backed binding holes and slight soil to corner. Signed Ichiyusai Kuniyoshi ga.



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Ichiyusai KUNIYOSHI (1797-1861)




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An uncut double chuban sheet with a title which appears to read: Yatsuatari doke komori, “Bats Blaming Each Other” but given the title “Bats Comic” by Japanese sources. A set of eight chuban prints published by Joshuya Kinzo, c. 1846. Excessively rare. The bottom design appears to show a [ bat ] Daimyo and female [ bat ] attendants. Unrecorded ? The top chuban shows Sukeroku, illustrated no. 249 in Utagawa Kuniyoshi, Exhibition to Commemorate the 200th Anniversary of Utagawa Kuniyoshi’s Birth, Japan 1996. Same impression also illustrated in Kuniyoshi, Juzo Suzuki, Tokyo 1992, pl. 435.


Fine impressions and colour. Small backed binding holes and slight soil to corner. Signed Ichiyusai Kuniyoshi ga.



Status: Sold

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Ichiyusai KUNIYOSHI (1797-1861)




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An uncut double chuban sheet with a title which appears to read: Yatsuatari doke komori, “Bats Blaming Each Other” but given the title “Bats Comic” by Japanese sources. A set of eight chuban prints published by Joshuya Kinzo, c. 1846. Excessively rare. The bottom design shows the stone steps at Toba. An impression illustrated in Utagawa Kuniyoshi, Exhibition to Commemorate the 200th Anniversary of Utagawa Kuniyoshi’s Birth, Japan 1996, no. 250. The top design appears to show a [ bat ] entertainer with a [ bat ] monkey. Unrecorded ?


Fine impressions and colour. Small backed binding holes and minor corner soil, otherwise very good condition. Signed Ichiyusai Kuniyoshi ga.



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Katsushika HOKUSAI (1760-1849)




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Three excessively rare prints ( from a set of four; missing third panel ) showing framed pictures of zodiacal animals; working straw models; and a seiryuto ( a sort of giant halberd ) which were on view in the garden of the Kinryuzan Temple, Asakusa, Edo. The models show a Chinese woman on a white elephant with the dimensions of the figures ( eg 5 shaku 5 su’n for figure and 1 take 2 shaku for the elephant ); Emperor Komei, with measurement; the seiryuto, with measurement; and Shuso, with measurement. Published by Tsuru Kin. Of the utmost rarity: The only other impressions appear to be the three sheets ( lacking left sheet ) in the Hokusai museum in Tsuwano, Japan, illustrated in the “Human Figure” volume of a 5 volume set by Dr. Nagata and an impression of the last sheet which was in the last Christies sale, London.


Very good impression and colour. Slight edge soil and minor marks, otherwise good condition. Unsigned, but, as stated, fully catalogued by the Hokusai museum.



Status: Sold




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Ichiyusai KUNIYOSHI (1797-1861)




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Figures with bizarre heads from a rare set of prints Tsukumono ken, Rock, paper, scissors by things “tsuku” ( a form of game song ). Published by Iba-ya Sensaburo, 1847/8.


Fine impression and colour. Small binding holes down edge, otherwise good condition. Signed Ichiyusai Kuniyoshi ga.



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Ichiyusai KUNIYOSHI (1797-1861)




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Figures with bizarre heads from a rare set of prints Tsukumono ken, Rock, paper, scissors by things “tsuku” ( a form of game song ). Published by Yebi-ya Rinnosuke, 1847/8.


Fine impression and colour. Small binding holes down edge, otherwise good condition. Signed Ichiyusai Kuniyoshi giga.



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Attributed to Ichiyusai KUNIYOSHI (1797-1861)




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A giga print called Ue-shita-e. These designs can be viewed upside down. Depicts various faces including a frog; tengu; the great general Zhanghi in the Three Kingdoms, and the tyrant King Zhou of the Yin Dynasty. Published by Ezakiya Tatsuzo, c 1842. Another impression ( from the Museum of Paper, and attributed to Kuniyoshi ) is illustrated in Edo no Asobi-e, no.2 and back cover. Rare.


Very good impression and colour. Slight centre fold, otherwise good condition.



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Utagawa KUNISADA (1786-1865)




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A print with title: Kaso-zaiku, “Bamboo Basket Work”. Shows a peacock, an oni, cat, and shishi lions built of bamboo by the craftsman Naniwa ( Osaka ) Kazuda Shohichiro. An early and possibly unrecorded Kunisada print. Published by Kawaguchiya Heikichi c 1820’s.


Good impression. Slightly trimmed, backed and some fading. Signed Oju ( “ by special request” ) Kunisada ga.



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Ichiyusai KUNIYOSHI (1797-1861)




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Triptych showing the opening of the new Ryokoku Bridge which took place Hare year (1855), 11th month, 23rd day. An interesting print showing leading dignitaries of the day walking across the bridge. Print published by Iba-ya Sensaburo, 1855.


Very good impression. colour and condition. Signed Ichiyusai Kuniyoshi ga.



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Suiken CHIKUYOU (active late 19th century)




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Presumably a pupil of Chikanobu. An interesting triptych showing silkworm culture at the Imperial Court: Kyuchuu Yousan no zu. The women elegantly attired in European-style costumes. Published 1888.


Good impression, colour and condition. Signed Suiken Chikuyou.



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Okumura MASANOBU (c.1686-1764)




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A major artist attributed with the invention of the hashira-e and uki-e and who may have been the first to change from hand colouring to colour printing. Tera no kashi, “Sweets From a Temple” from Masanobu’s most highly regarded shunga set: Someiro no yama neya no hinagata, “Mountains of Dyed Colours, Examples of Bedrooms.” Published c. 1735. Sub-title: Sato Kosho sai, Kichisaburo. Shows a young monk copulating with a beauty in the vicinity of a temple. Hence the punning title. Four other illustrations from this set illustrated in Shunga, Tom and Mary Evans, 1975, 5.64 – 5.67. Extremely rare.


Very good impression. Careful contemporary hand colouring ( as all prints for this series ). The red pigment with gum added. Centre fold ( as per usual ) with repair at top edge. Slight soil, otherwise very good condition for this period. Unsigned.



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OSAKA SCHOOL (c.1830)




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A complete set of twelve oban shunga prints. Printed with sumi outline blocks only, omitting the colour blocks and coloured by hand instead. Extensive details hand applied and with grey mica grounds and other areas with mica. This set was either a special one-off commission for a valued client or one set of a deluxe edition for clients who were willing to pay considerably more than for the printed version: It obviously took much longer to colour by hand. There are other examples of this in ukiyoe with prints and books. For an illustration of one design from the printed commercial edition see: Shunga, Marco Fagioli, Musee d’Ixelles – Museum van Elsene, 1989, cat. 84, p. 128. Probably unrecorded. Six prints ( of twelve ) illustrated.


Centre folds ( as per usual ). Some soil and edge damage on one or two designs. Unsigned.



Status: Sold




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