Torii KIYONAGA (1752-1815)



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A fine actor design from a series of at least 31 such degatari prints (showing singing or chanting at a theatre). A scene from Shosa Hatsuhige yakko tanzen, played at the Ichimura-za theatre November 1783. Shows Nakamura Nakazo as Tanzen seated with a fan looking at Onoe Matsusuke as a young lady (in reality a white fox). To the right Ichimura Uzaemon as a yakko. The chanters Tomimoto Buzen-dayu and Tomimoto Itsuki-dayu at the back accompanied by Namizaki Tokuji. Published by Nishimura, 1783. See Hirano, Kyonaga, Museum of Fine Arts, Boston, no. 544, pl. LXXX.

 
 

Very good impression and colour. Slight edge soil, otherwise very good condition. Signed Kiyonaga ga.

 
 

Status: Available

 
 

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    Torii KIYONAGA (1752-1815)



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    Shows Benkei humourously kneeling to tie his slipper prior to the fight on Gojo Bridge. The story relates how Benkei, of Herculean strength, was subdued by the young Onzoshi Ushiwaka Maru (Yoshitsune) on Gojo Bridge. Benkei was wandering around Kyoto with the intention of relieving 1000 samurai of their swords. One night, with one more sword to go, he saw Yoshitsune playing a flute and wearing a golden sword at the Gojotenjin Shrine. They agreed to fight on Gojo Bridge in southern Kyoto. However, Yoshitsune was too agile for Benkei and had been educated in the secrets of fighting by the tengu. Following Yoshitsune’s victory Benkei became Yoshitsune’s retainer. Published by Nishimura-ya Yohachi.

     
     

    Very good impression. Slight soil and weakening along chain lines, otherwise good condition. Signed Kiyonaga ga.

     
     

    Status: Available

     
     

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      Torii KIYONAGA (1752-1815)




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      A chuban print showing a woman at a washtub watched by a small child. Another woman is hanging a kimono out to dry. Without any series title but with a scalloped cloud above which may have been intended to have a title. Published c. late 1770s. Rare: Not listed in Hirano, Chie Hirano, Kiyonaga, MFAB, 1939.

       

       

      Superb impression, colour and condition. Possibly a proof impression. Signed Kiyonaga ga.

       

       

      Status: Sold

       

       

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        Torii KIYONAGA (1752-1815)



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        One of the great Ukiyo-e artists exemplifying what is called the classical school. He was a pupil of Kiyomitsu and was adopted by the Torii family, inheritating the estate, and was the last major member of the Torii School. From a set Jittai e-fuzoku, “Ten Forms of Manners in Pictures.”A fine design showing a standing beauty looking down at another girl who is raising herself from a futon. The grey back of a screen daringly cuts the design in two. Published by Takasu Soshichi, c. 1794. Provenance: Ex Vever collection (seal bottom right), sold Sothebys, Vever sale, Part 1, 26/3/1974, lot 165. This actual impression illustrated in the seminal Kiyonaga, Chie Hirano, MFA Boston, no. 969, pl. LXI. Another unidentified collector’s seal au verso. Rare.

         

        Fine impression. Very good colour with yellow ground. Some expert restoration around edge, otherwise very good condition. Signed Kiyonaga ga.

         

        Status: Sold

         

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          Torii KIYONAGA (1752–1815)


          Torii-KIYONAGA-1752-to-1815-actors29

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          A fine actor design from a series of at least 31 such degatari prints ( showing singing or chanting at a theatre ). A scene from Shosa Hatsuhige yakko tanzen, played at the Ichimura-za theatre, November 1783. Shows Nakamura Nakazo as Tanzen seated with fan looking at Onoe Matsusuke as a young lady ( in reality a white fox ). To the right Ichimura Uzaemon as a yakko. The chanters Tomimoto Buzen-dayu and Tomimoto Itsuki-dayu at the back accompanied by Namizaki Tokuji. Published by Nishimura 1783. See Hirano, Kiyonaga, Museum of Fine Arts, Boston, no. 544, pl. LXXX.

          Very good impression and colour. Slight soil, otherwise very good condition. Full size. Signed Kiyonaga ga.

          Status: Sold

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            Torii KIYONAGA (1752 – 1815)



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            A chubby red Kintaro acting as an umpire for two battling tengu. Other tengu in baskets behind him and at his side a bear also watches. These tengu – winged, beaked and clawed creatures – lived in the mountains and forests. It is narrated that as a toddler he was observed shaking and tearing at a large tree in which there was a nest of tengu fledglings, which he took home in a basket. Kiyonaga designed at least 28 of these Kintaro prints, see Kiyonaga, Chie Hirano, Museum of Fine Arts, Boston, 1939, nos. 979 – 1006 ( this being 1005, PLLXV ). Published by Nishimura, 1812. Rare.

            Very good impression and colour. Minor edge soil and signs of mounting au verso. Signed Kiyonaga hitsu.

            Status: Sold

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              Torii KIYONAGA (1752-1815)



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              A chuban print showing two geisha, one seated with a loose yukata, the other standing beside her. Choka no sekisho, “The Afterglow of Late Summer” from an early set: Shiki hakkei, “Eight Scenes of the Four Seasons.” Published 1779 by Eiju han. Illustrated in Images of Eighteenth-Century Japan, David Waterhouse, ROM, 1975, no. 95, p. 149 and Hirano, Kiyonaga, Museum Of Fine Arts, Boston, 1939, no. 185 and pl. XVI. ( Chie Hirano is the standard source on Kiyonaga and she illustrates the complete set. )

              Fine impression. Some “turning” of colours, otherwise very good condition. Signed Kiyonaga ga.

              Status: Sold

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