Utagawa KUNISADA (1786-1864)




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Kaido-maru (Kintoki) with his forest companion, a bear-cub, attacking a giant white monkey. The chubby Kintoki is always shown red-hued and wielding a giant axe. In this case he heaves a tree above his head. Published by Moritaya Hanzo, c 1827. Rare.

 

Very good impression. Fine colour. Slightly trimmed, otherwise very good condition. Signed Gototei Kunisada ga.

 

Status: Sold

 

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Ichiryusai HIROSHIGE (1797-1858)




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Suruga Satta no kaijo, “The Sea at Satta, Suruga Province” from Fuji sanjurokkei, “The Thirty-Six Views of Fuji.” The best design from the set published by Koeido (Tsutaya Kichizo), 4/1858. A huge wave breaks on the right releasing a flock of chidori. These birds were supposed to originate from the spume of these waves. Originally travellers on the Tokaido had to traverse the base of the cliff, to the left. However in 1655 a pass was cut in the cliff above. Fuji rises above the bay of Kiyomi. A very popular print.

 

Fine impression and colour. One or two very minor marks, otherwise very good condition. Signed Hiroshige ga.

 

Status: Sold

 

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Ichiryusai HIROSHIGE (1797-1858)




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The Sanza Theatre, Saruwaka-cho showing women on the balcony of a tea-house overlooking the street from an oban set Edo Meisho of approx. 45 prints published by Yamada-ya, 1853 – 1858, half being published in 1853. This design published 1858.


Fine impression and colour. Slight centre fold, otherwise good condition. Signed Hiroshige ga.


Status: Sold

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Katsushika HOKUSAI (1760-1849)




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Yoshiwara Station from a chuban Fifty-three Stations of the Tokaido. The set of 55 prints published by Iseya Rihei, c 1806. Unsigned but the original wrapper evidently had Hokusai’s signature. Two women, a man and boy press grapes.


Fine impression. Extremely fine colour. One small repaired wormhole near edge, otherwise fine condition.

 

Status: Sold

 

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Ichiryusai HIROSHIGE (1797-1858)




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Masaki yukibare no zu, “Clear Weather After Snow at Masaki” from a Toto Meisho, “Famous Sights of the Eastern Capital” set published by Kikakudo (Sanoki), the seal in red in right margin c 1832-35. There is confusion over how many prints belong to this series: The original set of twenty-one prints seems to have been extended to fifty-five in c 1839-42. The temple, under a deep layer of snow, is shown on the far shore. In the foreground two figures in yellow straw coats navigate the river. This is the best example of this design I have seen since the impression in my Catalogue 7, 1971, no 12.

Very fine impression and colour. Later editions have the black seal of Sanoki in right margin. Fine condition. Signed Hiroshige ga.

 

Status: Sold

 

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Tsukioka YOSHITOSHI (1839-1892)




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A triptych showing Ushiwakamaru (the young Minamoto Yoshitsune) holding the spear of Ise Saburo Yoshimori as he and his compatriots pass over Yahagi Bridge. From a set of triptychs Bidan musha hakkei, “Eight Views from Fine Tales of Warriors.” This being Descending Geese at Yahagi Bridge. Published 2/1868 by Kinseido. In fact this is based on an earlier version of this subject designed by Utagawa Yoshitsuya in 1861.

Very good impression, colour and condition. Signed Ikkaisai Yoshitoshi hitsu.

 

Status: Sold

 

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Yanagawa SHIGENOBU II (active c 1824-1860)




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A surimono: Sono shichi – Nushi aru hana, “The Flower with an Owner.” Round 7 from a series Hana-awase, “A Flower Competition.” Usually a poetry competition to produce the best poems using different flowers, although in this instance the flowers are actually familiar terms incorporating the word “flower.” A princess holding a helmet, with two others on the ground. Published c late 1820s for the Sugawararen Club. Poems by Kakumu Yamamori, Makinoya Ototaka and Ryuhosha Kiyokaze.


Fine impression, colour and condition. Signed Yanagawa Shigenobu.

 

Status: Sold

 

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Ichiryusai HIROSHIGE (1797-1858)




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Kawaguchi no watashi Zenkoji, “Ferryboats to Zenkoji Temple at Kawaguchi” from Meisho Edo hyakkei, the “One Hundred Views of Edo.” The set published between 1856 and 1858 (this being 1857) by Uoya Eikichi. This fine example of a first edition with the extra large margins has never been in an album.


Superb impression of the first edition with beautiful bokashi and mica. Very fine colour and condition. Signed Hiroshige ga.

 

Status: Sold

 

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Hasegawa SADANOBU I (1809-1879)



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A chuban landscape from a set of at least 30 prints: Miyako meisho no uchi, “Famous Places in the Capital [Kyoto].” This design, Shijo-bashi yori Nawate-dori Yamato-bashi o nozumo, “View from Shijo Bridge Towards Yamato Bridge at Nawate Street.” A fine set, inspired by Hiroshige, but not slavish copies and some excellent designs (as the snow scene here). Published by Wataya Kihei-ban, 1858.

 

Fine, early impression. Fine colour and, apart from the usual imperceptible fold, fine condition. Signed Sadanobu ga.

 

Status: Sold

 

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Hasegawa SADANOBU I (1809-1879)



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A chuban landscape from a set of at least 30 prints: Miyako meisho no uchi, “Famous Places in the Capital [Kyoto].” This design, Ryoan-ji yuki [no] akebono, “Snowy Dawn at Ryoan-ji Temple.” A fine set, inspired by Hiroshige, but not slavish copies and some excellent designs (as the snow scene here). Published by Wataya Kihei-ban, 1858.

 

Fine, early impression. Fine colour and, apart from the usual imperceptible fold, fine condition. Signed Sadanobu ga.

 

Status: Sold

 

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Hasegawa SADANOBU I (1809-1879)



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A chuban landscape from a set of at least 30 prints: Miyako meisho no uchi, “Famous Places in the Capital [Kyoto].” This design, Toganoo monzen uchu, “Temple Entrance at Toganoo in the Rain.” A fine set, inspired by Hiroshige, but not slavish copies and some excellent designs (as the rain scene here). Published by Wataya Kihei-ban, 1858.

 

Fine, early impression. Fine colour and, apart from the usual imperceptible fold, fine condition. Signed Sadanobu ga.

 

Status: Sold

 

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Utagawa HIROSHIGE (1797-1858)



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Mochizuki from Kisokaido rokujukyutsugi no uchi, “The Sixty-nine Stations of the Kisokaido.” The set of seventy prints was started by Eisen and published by Hoeido in 1835, but in 1837 Hiroshige took over and completed the series with the publisher Iseya Rihei (Kinjudo). Shows travellers on the Uryu Slope between Yawara and Mochizuki. Mount Tateshima to the right. One of the finest designs from the set.

 

Fine early impression with gradation over the moon and woodgrain showing. Fine colour. Very slight centrefold and soil in left margin, otherwise very good condition. Signed Hiroshige ga.

 

Status: Sold

 

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Utagawa HIROSHIGE II (1826-1869)



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A view of Ama-no-hashidate, Tango Province, from Shokoku meisho hyakkei, the “Hundred Views of Famous Places in the Provinces.” An uncompleted set of 81 prints published by Uoya Eikichi between 1859-1861 (this being 10/1859). The place name can be translated as “Bridge to Heaven” and it’s considered to be one of the most beautiful areas in Japan. Seen here under a full moon.

 

Superb impression of the first edition: One of the earliest pulls from the blocks. Fine colour and condition. Signed Hiroshige ga.

 

Status: Sold

 

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Tsukioka YOSHITOSHI (1839-1892)




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A triptych: Honcho gito kurabe, “The Great Thieves of Japan, Compared.” Published by Iseki, 1865.

 

Superb impression, colour and condition. Extensive mica and burnishing. Signed Ikkaisai Yoshitoshi ga.

 

Status: Sold

 

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Utagawa KUNIYOSHI (1797-1861)



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The warrior Ju-unryu Kosonsho holding a sword and making a magical gesture with his other hand. A dragon encircles the rock he stands on. A design from the set Tsuzoku Suikoden goketsu hyaku-hachi-nin no hitori, “The Hundred and Eight Heroes of the Popular Suikoden, One by One.” Based on the Chinese novel Shui Hu Zhuan, attributed to Shi’Nai’an, which tells of a band of 108 brigands who operated from Liangshan Marsh. Published by Kagaya Kichiyemon, 1827-30. Robinson S.26.

 

Fine impression, colour and condition. Full size (unusual as these prints are overlarge obans and often trimmed). Signed Ichiyusai Kuniyoshi ga.

 

Status: Sold

 

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Utagawa KUNIYOSHI (1797-1861)



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The apparition of the Sea Monk, Umibozu, looming above the sailor Kawanaya Tokuzo. The best design from the Tokaido gojusan tsui, Station 41, Kuwana. The legend has it that Tokuzo, against the advice of his peers, went to sea on the last day of the year. He subsequently experienced huge seas and the monster who demanded to know what was the most horrible thing he knew. He replied that his profession was the most horrid. Satisfied, the creature descended into the Stygian gloom and the storm abated. Published by Kojima-ya Jubei, c. 1845. Illustrated in Robinson, Kuniyoshi, HMSO, 1961, no. 49.

 

Fine impression. This is an alternative version to the norm with lighter printing to the waves. Fine colour. Slight edge soil, otherwise very good condition. Signed Ichiyusai Kuniyoshi ga.

 

Status: Sold

 

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Taiso YOSHITOSHI (1839-1892)



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Shows Kiyohime (Princess Kiyo) who fell passionately in love with the monk Anchin and endeavoured to pursue him across a swollen river to his monastery. Unable to cross she transforms herself into a serpent-like creature to enable her to reach the other side. One of a set of 26 prints with title: Wakan hyaku monogatari, “One Hundred Tales of China and Japan.” Published by Daikokuya Kinnosuke, 1865.

 

Very good impression, colour and condition. Signed Ikkaisai Yoshitoshi ga.

 

Status: Sold

 

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Taiso YOSHITOSHI (1839-1892)



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Shows the samurai Tawara Toda (“Lord of the Ricebag”) Hidesato slaying the monstrous centipede Mukade on the request of the Dragon King. Elated the king presents him with a bottomless bag of rice. Behind Hidesato is the centipede’s arch-enemy Otohime. One of a set of 26 prints with title: Wakan hyaku monogatari, “One Hundred Tales of China and Japan.” Published by Daikokuya Kinnosuke, 1865.

 

Fine impression with variegated cartouche and mica. Fine colour and condition. Signed Ikkaisai Yoshitoshi ga.

 

Status: Sold

 

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Taiso YOSHITOSHI (1839-1892)



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Shows Suma Urabe Suetake, one of the retainers of Minamoto Yorimitsu, meeting the apparition of the woman Ubume, who is to place a baby boy in his arms. One of a set of 26 prints with title: Wakan hyaku monogatari, “One Hundred Tales of China and Japan.” Published by Daikokuya Kinnosuke, 1865.

 

Very good impression, colour and condition. Signed Ikkaisai Yoshitoshi ga.

 

Status: Sold

 

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Utagawa YOSHIHARU (1828-1888)



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A fearsome beast looking over the shoulder of Senkaiji Chojun. One of a set Suikoden goketsu kagami, “Mirror of Heroes of the Suikoden.” The set published in conjuction with Yoshitaki and Yoshitsuya by Yamaguchiya Tobei, 1856.

 

Fine impression of the first edition with variegated cartouche. Fine colour. Trimmed at bottom, otherwise fine condition. Signed Ichibaisai Yoshiharu ga.

 

Status: Sold

 

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Taiso YOSHITOSHI (1839-1892)



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The ghost of the wicked Genta Yoshihira attacking his executioner Nanba Jiro at the Nunobiki waterfall from Shinkei sanjurokkaisen, “New Forms of Thirty-six Ghosts.”The set published by Sasaki Toyokichi, 1889-1892 (this being 1889). One of the two best designs from the set.

 

Very fine first edition. Fine colour and condition. Signed Yoshitoshi.

 

Status: Sold

 

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Utagawa KUNIYOSHI (1797-1861)




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Nichiren struggling up a snow-covered mountain near Tsukahara on the Island of Sado. The best design from Koso goichidai ryakuza, the “Illustrated Abridged Biography of the Founder.” Nichiren being the founder of the Buddhist Nichiren sect ( Nichiren shu – Kuniyoshi being a follower ) and indeed the set of ten prints may have been commissioned to mark the 550th anniversary of his death. Published by Iseya Rihei, c 1831. Like many great landscapes, there exist different states which causes confusion over which is the earliest. The basic difference is that the design is known with and without a horizon line and that there is at least one impression where the uninked, blind-printed line can be seen in a raked light (as indeed it can on this impression). It has been asserted that those impressions without are the earliest; however, it seems from this that the sumi block was probably cut initially with the line but the publishers thought that it looked aesthetically better without printing it, and it was subsequently removed. In any case, this is an extremely rare print and most surviving examples appear to be similar in impression. There is a break in the border to the left of the bottom of Kuniyoshi’s signature which could give a guide to the earliest states, but as this is often painted in, it is not reliable. The composition is based on a design in the illustrated book Bumpo sansui gafu by Kawamura Bumpo, published posthumously in 1824. Although not from a landscape set, this is considered one of the great 19th century landscapes.


Fine impression and colour. Beautiful gradation with splashed gofun (oxidised). Slight centre fold, otherwise very good condition. Signed Ichiyusai Kuniyoshi hitsu.

 

Status: Sold

 

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Utagawa KUNIYOSHI (1797-1861)



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A triptych showing Ushiwakamaru (Minamoto no Yoshitsune, 1159-1189) and his manservant Onmaya Kisanta watching his loyal retainer, the warrior monk Benkei, dragging the giant Mii Temple bell up Mount Hiei. Benkei ga yuriki tawamure ni Miidera no tsurigane no Eizan e hikiaguru zu. Published by Ibaya Senzaburo, 1845-6. One of Kuniyoshi’s great designs. Rare.

 

Fine impression. Very good colour. Some edge strengthening on the back on centre sheet, otherwise very good condition. Full size: An extremely difficult design to find without trimming and illustrated examples often have the bell not aligning up because of this. Signed Ichiyusai Kuniyoshi ga.

 

Status: Sold

 

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Ichiryusai HIROSHIGE (1797-1858)




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The entrance to the Yoshiwara from a rare set of fourteen prints, Famous Places of the Eastern Capital, published by Sanoki in 1840-2.

 

Fine impression, colour and condition. Signed Hiroshige ga.

 

Status: Sold

 

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Utagawa HIROSHIGE (1797-1858) and Utagawa KUNISADA (1786-1865)



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A triptych showing Mitsuuji, the romantic hero of the Inaka Genji (“A Rustic Genji”) accompanied by a beauty looking out across a snow-covered garden to where a group of girls are building a giant snow rabbit. Hiroshige and Kunisada collaborated on a number of these Genji triptychs in the 1850s and this is one of the most charming. Published by Moriya Jihei of Kinshodo, 12/1854 (and therefore probably in anticipation of the following year, which was a Year of the Rabbit).

 

Fine impression. The early state with gradation behind the rabbit and bokashi on stream and in the sky. Fine colour. Fine condition. Signed Toyokuni ga on two outside panels and Yuki no kei oju, “Snow landscape by request” Hiroshige hitsu.

 

Status: Sold

 

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Ichiryusai HIROSHIGE ( 1797-1858 )




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Numazu, Shizuoka Prefecture, from the  so-called “Upright Tokaido”, Gojusan tsugi meisho zue. The 12th of the 53 Stations. At its peak in Edo times the town had 1200 buildings. It is now Numazu City. The old adage that familiarity breeds contempt certainly applies to this set, which was reprinted many times. Early printings, as here, enable us to appreciate this underrated series. One of the two snow scenes from the set showing figures crossing one of two trestle bridges. Published by Tsutaya, 1855.


Very good impression, colour and condition. Signed Ichiryusai Hiroshige ga.


Status: Sold

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Ichiryusai HIROSHIGE (1797-1858)




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Fireworks over Ryogoku Bridge from a rare set of fourteen prints, Famous Places of the Eastern Capital, published by Sanoki in 1840-2.

 

Fine impression, colour and condition. Signed Hiroshige ga.

 

Status: Sold

 

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Utagawa KUNIYOSHI (1797-1861)




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A view of Hara, Yoshiwara and Kanbara from Tokaido gojusan eki (shishuku meisho), “ Famous Views of the Fifty-three Stations of the Tokaido (Four at a Time)” although the set actually varies, showing between three and six per sheet. The set of twelve designs published by Tsuruya Kiemon and Tsutaya Kichizo, c 1835.

 

Very fine impression of the first edition. Fine colour. Some soil on reverse, otherwise very good condition. Signed Ichiyusai Kuniyoshi shuku zu (“Drawn together by Ichiyusai Kuniyoshi”).

 

Status: Sold

 

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Utagawa KUNIYOSHI (1797-1861)




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Travellers viewing Mount Asama. Usui-toge yori Asama o miru zu, “A View of Mount Asama from Usui Pass.” From Kuniyoshi’s best landscape set. Of the utmost rarity with most extant impressions differing. This and the impression in the Museum of Fine Arts, Boston, are similar, without the smoke coming from the cone of Asama (the most active volcano on Honshu). Other impressions are in: The British Museum, 1948, 0410, 0. 108, which has gradation up the left side of the mountain; the Metropolitan Museum of Art, JP 1424, with gradation down from the summit; and Worcester Art Museum which is similar to the Mets, 1901.692. Published by Yamaguchiya Tobei, c 1836. I have only had one other impression in over forty-five years of dealing.

 

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

 

Status: Sold

 

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Ichiyusai HIROSHIGE II (1829-1869)




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A view of a smoking Mt Asama, Shinano Province from Shokoku meisho hyakkei, the ‘One Hundred Views of Famous Places in the Provinces’. Published by Uoei, Sheep 9 ( 1859 ).


Very good impression, colour and, apart from one small spot, very good condition. Signed Hiroshige ga.



Status: Sold

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Yashima GAKUTEI (1786-1868)



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A surimono showing plum blossom and fugu (blowfish or puffer, Fugu pardalis). These fish are infamous for being poisonous, mainly from their liver and are expensive delicacies in the winter. Extremely rare: Two other genuine impressions are in the Museum of Fine Arts, Boston, acc. no. 21.9297 and illustrated in Coloured in the Year’s New Light, Japanese surimono from the Becker collection, Daniel McKee, 2008, Johnson Museum of Art, Cornell University, no. 15. There are also copies of this surimono which is how one will come across it. Poems above by Mahmansai Iedaru and Kanayaen Mahiro. Published c. late 1810s. Gakutei is best known for his surimono but he was also an accomplished painter and produced a fine set of landscape prints of views of Tempozan.

 

Fine impression and colour. One small repaired wormhole, otherwise very good condition. Signed Gakutei Harunobu.

 

Status: Sold

 

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Utagawa HIROSHIGE II (1826-1869)



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The Seven Ri Beach, Sagami Province, Sagami Shichirigahama, from an unfinished set Shokoku meisho hyakkei, “One Hundred Views of Famous Places in the Provinces.” Published by Uoya Eikichi between 1859 and 1861 (this being 1859). A popular area during Edo times as one could get a view of both Mount Fuji and Enoshima at the same time. The Ri in the title is an old unit of measurement. This design obviously bears comparison with both Hiroshige’s “wave” from the Thirty-Six Views of Fuji and Hokusai’s “wave” from a series with same title.

 

Superb impression of the first edition. (Extremely rare in this state.) Very fine colour and condition. Signed Hiroshige ga.

 

Status: Sold

 

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Utagawa HIROSHIGE II (1826-1869)



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The Dragon’s Maw Mountain, Bizen Province, Bizen tatsu-no-kuchi yama from an unfinished set Shokoku meisho hyakkei, “One Hundred Views of Famous Places in the Provinces.” Published by Uoya Eikichi between 1859 and 1861 (this being 1860). Shows a lone figure battling a heavy rainstorm in a steep-sided canyon.

 

Superb impression and colour. The extremely rare first edition with gradation on the figure’s straw cape and bokashi clouds. The best quality red pigment is used and double-printed in the cartouches. Fine condition. A masterpiece in this state. Signed Hiroshige ga.

 

Status: Sold

 

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Utagawa HIROSHIGE (1797-1858)



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Suruga Satta no kaijo, “The Sea at Satta, Suruga Province” from the set Fuji sanjurokkei, “The Thirty-Six Views of Fuji.” The series published by Tsutaya Kichizo, 1858. Shows the coast of Oyashirazu at Satta on the west side of Suruga Bay with a large wave about to break on the coast. The spume from the wave is supposed to turn into chidori and they can be seen here flying away. This area is on the Tokaido Road between Edo and Kyoto and, previous to 1655, travellers had to circumvent the cliffs – some of which are 300-400 metres tall – by way of the base, near the sea. However, in that year, to facilitate the journey a pass was cut in the rock above the cliff. The best design from the set. Early impressions of this set were particularly well printed as a tribute to Hiroshige’s life. Late editions have a signature label printed in yellow instead of red.

 

Fine impression and colour. Trimmed close at bottom left, otherwise fine condition. Signed Hiroshige ga.

 

Status: Sold

 

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Utagawa HIROSHIGE (1797-1858)



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A fine snow scene: Iki Shisaku, “Shisaku in Iki Province” from a set of sixty-nine prints plus title page Rokuju yoshu meisho zue, “Famous Places in the Sixty-Odd Provinces.” Published by Koshimuraya Heisuke, 1853-1856 (this being 1856). This far-flung region of Japan at the southern tip of the main group of islands is evocatively captured here.

 

Superb impression of the very rare first edition with variegated cartouche and bokashi clouds. Fine colour and condition. Signed Hiroshige ga.

 

Status: Sold

 

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Utagawa HIROSHIGE (1797-1858)



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Awa Naruto no fuha, “Angry Seas at Naruto, Awa” from a set of sixty-nine prints plus title page Rokuju yoshu meisho zue, “Famous Places in the Sixty-Odd Provinces.” Published by Koshimuraya Heisuke, 1853-1856 (this being 1855). The most famous design from the set. This area of sea between the islands of Shikoku and Honshu , where the waters of the Inland Sea and Pacific Ocean meet, is famous for its whirlpools. Hiroshige returned to this theme in a triptych setsu-getsu-ka set where the whirlpools represent “Flower.”

 

Very good impression, colour and condition. Signed Hiroshige ga.

 

Status: Sold

 

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Utagawa HIROSHIGE (1797-1858)




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A complete Tokaido set of 56 prints printed four-to-a-sheet on fourteen sheets, uncut. Each sheet has an indication of where it is to be cut. Published by Aritaya Seiemon, 1845. Extremely rare complete.

 

 

Fine impressions and colour. Centre folds and some soil at bottom on some sheets. One sheet restored, but overall in good condition. Each design signed Hiroshige ga.

 

 

Status: Sold

 

 




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Keisai EISEN (1790-1848)



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Although Eisen produced a considerable number of bijin-e and surimono, his best work was in landscape design and amongst these the finest are this set and a few designs for the Kisokaido. Kirifuri-no-taki, santaki no sono ikkei, “Kirifuri Waterfall – View of One of the Three Falls.” From a set Nikkozan meisho no uchi, “Celebrated Views in the Nikko Mountains.” The set of eight prints published by Yamamotoya Heikichi, c. mid 1840s. The set obviously invites comparison with Hokusai’s earlier waterfall set but they are chunkier, more prosaic and with the movement of the water more defined. Shows travellers admiring the fall. A stone Jizo figure on the right (guardian of travellers). Rare.

 

Fine impression. (There do not appear to be late impressions of this set – presumably it was not popular at the time.) Fine colour. Imperceptible fold, otherwise fine condition. Signed Eisen utsusu.

 

Status: Sold

 

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Keisai EISEN (1790-1848)



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Although Eisen produced a considerable number of bijin-e and surimono, his best work was in landscape design and amongst these the finest are this set and a few designs for the Kisokaido. Somen-no-taki, “Somen Waterfall.” From a set Nikkozan meisho no uchi, “Celebrated Views in the Nikko Mountains.” The set of eight prints published by Yamamotoya Heikichi, c. mid 1840s. The set obviously invites comparison with Hokusai’s earlier waterfall set but they are chunkier, more prosaic and with the movement of the water more defined. Shows travellers at the base of the fall.

 

Fine impression. (There do not appear to be late impressions of this set – presumably it was not popular at the time.) Fine colour. Imperceptible fold, otherwise fine condition. Signed Eisen utsusu.

 

Status: Sold

 

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Furuyama MOROMASA (C. 1712-1772)




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A rare artist, possibly the son and pupil of Furuyama Moroshige. Shows the famous poet Saigyo Hoshi (1118-1190) gazing up at the courtesan Eguchi as the Bodhisattva Fugen on a white elephant. The poet is famous for his long poetic journeys around Japan but especially to northern Honshu. Fugen is known for offering shelter to travelling monks. A large panel, 27.5 x 6.5 in; 70 x 16.5 cms. Coloured by hand in tan, yellow, beni, brown, and sumi. Published c. 1740s by Igaya. Provenance: Sold Christies, New York, 31/10/1995, lot 10.

 

Fine impression. Slight soil and creasing. Several small restored areas but generally very good condition for the date. Signed Getsugetsudo Furuyama Moromasa.

 

Status: Sold

 

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