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.

 

 

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Utagawa HIROSHIGE (1797-1858)




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A view of the beautiful peninsula of Izu, Izu no sanchu, “In the Mountains of Izu Province” from Fuji sanjurokkei, the “Thirty-six Views of Fuji.” The set published by Tsutaya Kichizo, 1858. This area is about 100 km southwest of Tokyo and a popular place to visit.

 

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

 

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Utagawa HIROSHIGE (1797-1858)




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Sukiya embankment in snow, Toto Sukiya-gashi, from Fuji sanjurokkei, the “Thirty-six Views of Fuji.” The set published by Tsutaya Kichizo, 1858. The rampart on the inner side of the moat of Edo Castle on the right. Figures cross a bridge leading to Sukiya Gate. In the distance the long outer walls of the main residence of the Nabeshima Clan of Saga. Fuji on the horizon.

 

Very fine impression and colour. A very small repaired wormhole in top right margin, otherwise fine condition. Signed Hiroshige ga.

 

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Utagawa HIROSHIGE (1797-1858)




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Men punting rafts on the Sagami River from Fuji sanjurokkei, the “Thirty-six Views of Fuji.” The set published by Tsutaya Kichizo, 1858.This print was included in the background of the famous 1887 portrait of Pere Tanguy by Vincent Van Gogh. The river was sometimes referred to as the Ayu River because of the (then) abundance of sweetwater fish (ayu).

 

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

 

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Utagawa HIROSHIGE (1797-1858)




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Shimadai, grouper (probably Chilodactylus zonatus) and ainame, greenling (Hexagrammus otakii) together with red-berried nanten. Poem by Kanshunro Nushibito. Probably the first edition (Kruml 18a). From the second series of fish published by Yamasho c. 1840-42.

 

Fine impression, colour and condition. Signed Hiroshige ga.

 

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Utagawa HIROSHIGE (1826-1869)




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A pair of original kakejiku with two paintings on each. Possibly from the front and back cover pages of a first edition “One Hundred Famous Views of Edo” set. Sumi and colour, image size of each painting 13.5 x 8.75 in; 34.25 x 22 cms. Shows top left a bowl with – possibly – turnips and a poem. Below a wicker basket and bowl with a miniature plum tree and an adonis plant (the most popular plants for the New Year). On the right, at the top are two chidori with poem and below a sake barrel and a plum branch. The bottom two paintings are signed Hiroshige with Ichiryusai seal. In fact, there is another version of the chidori painting associated with a painting of a kago and lantern illustrated in the exhibition catalogue, Hiroshige – A Poetic Ukiyo-e Artist, Fukushima Minpo, 1971, no. 16. These are also possibly from the ends of a first edition set of prints. Hiroshige and Hiroshige II were known to make these paintings, presumably for special clients. Provenance: Ex Takeoka Toyota collection (1844-1931). The box dated (Taisho 11, 1922) and guaranteed by him. He was a famous collector from the Meiji to early Showa era. Paintings and mounts in very good condition.

 

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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.

 

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Utagawa HIROSHIGE (1797-1858)



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A half-block, 8.75 x 6.5 in; 22.5 x 16.5 cms, print showing a Japanese crane standing in water with a flowering plant (a variety of Berberis ?). Published c. late 1840s by Tsutaya Kichizo. Unidentified collector’s seal au verso.

 

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

 

Status: Sold

 

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Utagawa HIROSHIGE (1797-1858)



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A third-of-a-block (ko-tanzaku) print, 13.5 x 3 in; 34 x 7.25 cms, showing a sparrow and cherry blossom. Published c. mid 1840s. Unidentified publisher’s seal. These narrow panels are often poorly printed, but not in this case.

 

Very fine impression: beautiful gradation. Fine colour and condition. Signed Hiroshige hitsu.

 

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Utagawa HIROSHIGE (1797-1858)



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A bora, grey mullet (Mugil cephalus), together with camellia and Japanese asparagusudo. This impression is from the extremely rare first private edition for a poetry club with the judges’ names beside the kyoka poems by Higaki Kunifune and Toshinoto Haruki. From a set of ten prints published – most likely – by Eijudo around 1832-34. These prints were subsequently issued commercially by Eijudo with his seal and a kiwame seal (both missing here on the private printing) and with the judges’ names removed. Who the poetry group was is not known, but they must have been affluent and influential. Of the sixteen poets on the prints, four were certainly members of the Shingyoku Circle, which was affiliated to the Yomogawa. This was the group that commissioned, amongst others, Hokusai’s Horse and Shell series of surimono. There appear to be three other impressions known from the private edition: Sebastian Izzard, Hiroshige, The Ukiyo-e Society of America Inc., 1983, no. 5; Ukiyo-e art, no. 18, Memeorial exhibition of Hiroshige, The Japan Ukiyo-e Society, 1968 (C) no. 4; and Juzo Suzuki, Utagawa Hiroshige, Nihon Keizai Shinbun, 1970, no. 593. Provenance: Ex Stoclet collection.

 

Very fine impression. Fine colour. Centre fold (as usual as they were issued in folding album form), otherwise fine condition. Signed Ichiryusai Hiroshige ga.

 

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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.

 

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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.

 

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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.

 

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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 snow scene showing the Inokashira Benten Shrine and Inokashira Pond, Inokashira no ike Benzaiten no Yashiro no kei from a set Meisho setsugekka, “Famous Places of Snow, Moon and Flowers.” The pond was originally built to supply water for Edo. This is the first edition published by Zen c. 1842; it was subsequently republished by Maruya Jinpachi and there are further late editions without publisher’s seal, a different seal beneath Hiroshige’s signature and with a recut block giving larger snowflakes.

 

 

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

 

 

Status: Sold

 

 

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Utagawa HIROSHIGE (1797-1858)




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Suruga Miho no Matsubara, “Miho no Matsubara in Suruga Province” from Fuji sanjurokkei, the “Thirty-six Views of Fuji.” The set published by Tsutaya Kichizo, 1858. Shows the renowned pine trees with a majestic Fuji below a yellow sky. Many of these pines are now hundreds of years old.

 

 

Very 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 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).

 

Very good impression, colour and condition. Signed Toyokuni ga and Yuki no kei oju, “Snow landscape by request” Hiroshige hitsu.

 

Status: Sold

 

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Utagawa HIROSHIGE (1797-1858)



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An important original drawing by Hiroshige being an hanshita-e (preparatory sketch) for an unpublished series Toto meisho gojusan tsugi, “Fifty-Three Views of Edo.” Shows Nihonbashi with a daimyo’s cortege crossing. Warehouses in the background and a distant Fuji.

 

Probably executed c. early 1850s. Sumi on thin paper, 9.5 x 13.5 in; 24 x 34 cms. Extensive pentimenti. Sold “as is” with imperfections but in good condition. Provenance: Ex Huguette Beres collection, sold Sothebys, Paris, 27/11/2002, lot 177.

 

Status: Sold

 

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Utagawa HIROSHIGE (1797-1858)



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An important original drawing by Hiroshige being an hanshita-e (preparatory sketch) for an unpublished series Toto Fujimi junigatsu, “Mount Fuji Viewed from Edo in the Twelve Months.” This is February showing the Inari Bridge and the Minato Temple; boats in the foreground and Fuji in the distance.

 

Probably drawn c. early 1850s. Sumi on thin paper. Sold “as is” with imperfections but in good condition. Provenance: Ex Huguette Beres collection, sold Sothebys, Paris, 27/11/2002, lot 179.

 

Status: Sold

 

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Utagawa HIROSHIGE (1797-1858)




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A small drawing taken from an album of an old pine tree. Sumi and light colour on paper. Image size, 23.25 x 11 inches; 59 x 28 cms. Mounted as a painting. Very good condition. Signed Hiroshige.


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Utagawa HIROSHIGE (1797-1858)




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A fine and rare painting: Gunkaku zu, “A Flock of Cranes.” Hiroshige designed many fine kachoga during the 1830s through to the 1850s but there exist few paintings. This was a commissioned work from Hiroshige. The tancho ( “red crest” ) Japanese 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, image size 34.5 x 15.75 inches; 88 x 40 cms. In perfect condition with a futo-maki ( thick wooden roll to preserve the painting from damage ). New box. Signed Ojyu ( “commissioned” work ) Ichiryusai hitsu. ( A rare form of the signature used c. Tenpo 10 to 11 [ around 1839 – 40 ]. ) The Ichiryusai seal is also a rare form used around mid Tenpo period.


Status: Sold




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Utagawa HIROSHIGE (1787-1858)




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Hirame, olive halibut ( Paralichthys olivaceus ) and mebaru, black rock-fish ( Sebastes schlegeli ). Together with cherry blossom. Poem by Osaki Koharu. From the second series of nine fish prints published c 1840 – 42 by Yamasho ( Yamadoya Shobei ). Ex collection Felix Bracquemond ( 1833 – 1914 ). Japonisme in France usually starts with Bracquemond who was a graphic artist and designer and also worked with ceramics. He discovered Hokusai’s Manga in 1856 and used it as source material. He produced a number of etchings, often of birds and some with fish, obviously partly inspired by Japanese prints, including Hiroshige’s prints. So, it’s reasonable to suppose these were the actual prints he used as inspiration. Bracquemond’s initial: “B” accompanied the prints.


Very good impression, colour and condition. Centre fold as per usual. Signed Hiroshige ga.


Status: Sold

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Utagawa HIROSHIGE (1787-1858)




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Shimadai, a grouper ( probably Chilodactylus zonatus ) and ainame, greenling ( Hexagrammus otakii ). Together with red-berried nanten. Poem by Kanshunro Nushibito. From the second series of nine fish prints published c 1840 – 42 by Yamasho ( Yamadoya Shobei ). Ex collection Felix Bracquemond ( 1833 – 1914 ). Japonisme in France usually starts with Bracquemond who was a graphic artist and designer and also worked with ceramics. He discovered Hokusai’s Manga in 1856 and used it as source material. He produced a number of etchings, often of birds and some with fish, obviously partly inspired by Japanese prints, including Hiroshige’s prints. So, it’s reasonable to suppose these were the actual prints he used as inspiration. Bracquemond’s initial: “B” accompanied the prints.


Very good impression, colour and condition. Centre fold as per usual. Signed Hiroshige ga.


Status: Sold

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Utagawa HIROSHIGE (1787-1858)




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Akodai, the rock-fish. ( Sebastes matsubarae ). Known as the medetai, good-luck fish. Together with bamboo grass. Poem by Suzugaki. From the second series of nine fish prints published c 1840 – 42 by Yamasho ( Yamadoya Shobei ). Ex collection Felix Bracquemond ( 1833 – 1914 ). Japonisme in France usually starts with Bracquemond who was a graphic artist and designer and also worked with ceramics. He discovered Hokusai’s Manga in 1856 and used it as source material. He produced a number of etchings, often of birds and some with fish, obviously partly inspired by Japanese prints, including Hiroshige’s prints. So, it’s reasonable to suppose these were the actual prints he used as inspiration. Bracquemond’s initial: “B” accompanied the prints.


Very good impression, colour and condition. Centre fold as per usual. Signed Hiroshige hitsu.


Status: Sold

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Utagawa HIROSHIGE (1787-1858)




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Inada, yellowtail or amberjack ( Seriola quinqueradiata ) and fugu, blowfish or puffer ( Fugu pardalis ). Together with plum blossom. Poem by Suzugaki. From the second series of nine fish prints published c 1840 – 42 by Yamasho ( Yamadoya Shobei ). Ex collection Felix Bracquemond ( 1833 – 1914 ). Japonisme in France usually starts with Bracquemond who was a graphic artist and designer and also worked with ceramics. He discovered Hokusai’s Manga in 1856 and used it as source material. He produced a number of etchings, often of birds and some with fish, obviously partly inspired by Japanese prints, including Hiroshige’s prints. So, it’s reasonable to suppose these were the actual prints he used as inspiration. Bracquemond’s initial: “B” accompanied the prints.


Very good impression, colour and condition. Centre fold as per usual. Signed Hiroshige hitsu.


Status: Sold

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Utagawa HIROSHIGE (1787-1858)




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Suzuki, Japanese sea perch ( Lateolabrax japonicus ) and kaneme-tai, red bream ( possibly Beryx splendens ). With shiso or beefsteak plant. Poem by Atsugaki. From the second series of nine fish prints published c 1840 – 42 by Yamasho ( Yamadoya Shobei ). Ex collection Felix Bracquemond ( 1833 – 1914 ). Japonisme in France usually starts with Bracquemond who was a graphic artist and designer and also worked with ceramics. He discovered Hokusai’s Manga in 1856 and used it as source material. He produced a number of etchings, often of birds and some with fish, obviously partly inspired by Japanese prints, including Hiroshige’s prints. So, it’s reasonable to suppose these were the actual prints he used as inspiration. Bracquemond’s initial: “B” accompanied the prints.


Very good impression, colour and condition. Centre fold as per usual. Signed Hiroshige ga.


Status: Sold

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Utagawa HIROSHIGE (1787-1858)




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Katsuo, bonito ( Katsuwonus pelamis ). Also called ocean bonito, stripe-bellied bonito and striped tuna. Together with three sprigs of cherry ( sakura ). Poems by Toshinoto Haruki and Toshihiro Machikado. From the first series of eleven fish prints published c 1840 – 42 by Yamasho ( Yamadoya Shobei ). Ex collection Felix Bracquemond ( 1833 – 1914 ). Japonisme in France usually starts with Bracquemond who was a graphic artist and designer and also worked with ceramics. He discovered Hokusai’s Manga in 1856 and used it as source material. He produced a number of etchings, often of birds and some with fish, obviously partly inspired by Japanese prints, including Hiroshige’s prints. So, it’s reasonable to suppose these were the actual prints he used as inspiration. Bracquemond’s initial: “B” accompanied the prints.


Very good impression, colour and condition. Centre fold as per usual. Signed Hiroshige ga.


Status: Sold

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Utagawa HIROSHIGE (1787-1858)




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Tobiuo, flying fish ( probably Prognichthys ) and ishimochi also called guchi or shiroguchi, white croaker ( probably Argyrosomus argenatus ). Together with a single lily. Poem by Toshigaki Maharu. From the second series of nine fish prints published c 1840 – 42 by Yamasho ( Yamadoya Shobei ). Ex collection Felix Bracquemond ( 1833 – 1914 ). Japonisme in France usually starts with Bracquemond who was a graphic artist and designer and also worked with ceramics. He discovered Hokusai’s Manga in 1856 and used it as source material. He produced a number of etchings, often of birds and some with fish, obviously partly inspired by Japanese prints, including Hiroshige’s prints. So, it’s reasonable to suppose these were the actual prints he used as inspiration. Bracquemond’s initial: “B” accompanied the prints.


Very good impression, colour and condition. Centre fold as per usual. Signed Hiroshige ga.


Status: Sold

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Utagawa HIROSHIGE (1787-1858)




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Shiroamadai, white horsehead ( Latilus argentatus ) and omonhata, rock cod ( Epinephalus areolatus ). Together with Japanese horse radish, wasabi. Poem by Atsugaki. From the second series of nine fish prints published c 1840 – 42 by Yamasho ( Yamadoya Shobei ). Ex collection Felix Bracquemond ( 1833 – 1914 ). Japonisme in France usually starts with Bracquemond who was a graphic artist and designer and also worked with ceramics. He discovered Hokusai’s Manga in 1856 and used it as source material. He produced a number of etchings, often of birds and some with fish, obviously partly inspired by Japanese prints, including Hiroshige’s prints. So, it’s reasonable to suppose these were the actual prints he used as inspiration. Bracquemond’s initial: “B” accompanied the prints.


Very good impression, colour and condition. Centre fold as per usual. Signed Hiroshige hitsu.

Status: Sold

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Utagawa HIROSHIGE (1787-1858)




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A vertical diptych showing a multitude of cranes flying up from a cresting wave to a large red sun. In fact this diptych was used by an Edo publisher as end sheets to albums – usually sets of Hiroshige landscapes. Rare: Invariably it is impossible to match the two sheets as the bottom design is always graded blue at the top. Another matching impression is illustrated pl. 143 in Four Hundred Ukiyoe Woodblock Prints From The Museum Of Art, Rhode Island School Of Design, Abby Aldrich Rockefeller Collection Of Japanese Prints, 1990. Published 5/1858.


Fine impression and colour. Small expertly repaired binding holes, otherwise good condition. Collector’s seal bottom right on each sheet. Signed Hiroshige fude.



Status: Sold

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Utagawa HIROSHIGE (1787-1858)




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Azuma no Mori no koji “ The Old Story of Azuma” from a set Toto kyuseki tsukushi, “Old Edo Stories, Illustrated.” Exceptionally rare: Four other designs from the set came up at the Orange and Thornicraft sale, Sothebys, 25/3/1912, lot 440. And another impression of this design is illustrated in Hiroshige, The Albuquerque Museum, 1983, no. 722, pl. 74. Shows the concubine Tachibana Hime about to throw herself from the prow of the boat to appease the sea-gods and protect her lord Yamato Take. This she did despite him vowing to marry Miyazu Hime on his return. Published by Wakasa-ya, c 1845. A wonderful design.


Fine impression, colour and condition. Almost mint. Signed Hiroshige ga.



Status: Sold

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Utagawa HIROSHIGE (1787-1858)




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Masaki atari yori Suijin no mori uchikawa Sekiya no sata o miru zu, “View of Suijin Grove and Sekiya Village, Seen From Near Masaki” from Meisho Edo hyakkei, the “One Hundred Views of Edo” published by Uoei between 1856 and 1858 ( this being Snake 8, 1857 ). One of the great designs from the set, the view encapsulated by a semi-circular screen.


Superb impression of the first edition. Fine colour. One very small thinned spot, otherwise very good condition. Signed Hiroshige ga.


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Utagawa HIROSHIGE (1787-1858)




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Konodai Tonegawa fukei, “View of Konodai and the Tone River” from Meisho Edo hyakkei, the “One Hundred Views of Edo” published by Uoei between 1856 and 1858 ( this being Dragon 5, 1856 ). Shows the river disappearing in the distance with Mt Fuji on the horizon. The scene being admired by three travellers on the rocky outcrop at left.


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


Status: Sold

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Utagawa HIROSHIGE (1787-1858)




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Oniwakamaru, the young Benkei, battling with the giant red carp that swallowed his mother. From a set Yoshitsune ichidai zu. Of the utmost rarity: Stewart in Subjects Portrayed in Japanese Colour-Prints, Kegan Paul, 1922, p. 318, states that only one design ( not this ) was known at that time. It is unknown how many prints were designed for this set. Published c. 1845. A wonderful design and shows that Hiroshige could excel in other areas apart from landscapes.


Fine impression and colour. Slight discolouration in margins, otherwise good condition. Signed Ichiryusai Hiroshige ga.


Status: Sold

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Utagawa HIROSHIGE (1787-1858)




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Awabi or tokobushi, abalone or “sea-ear” and sayori, Japanese half-beak or snipe-fish, together with peach blossom from the first series of ten prints published by Eijudo, c. 1832-4.


Good impression. Very good colour. Slight creasing, otherwise good condition. Signed Ichiyusai Hiroshige ga.


Status: Sold

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Utagawa HIROSHIGE (1797-1858)




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The sea shore at Izu from the set Fuji sanjurokkei, the “Thirty-six Views of Mount Fuji.” The series published by Sanoya Kihei, 1852. This chuban set is now recognised as one of Hiroshige’s finest series and this is the best design. Late editions are not known which probably partly explains why the set was overlooked as it has always been rare. The heaving sea produces a wave that mimics the outline of Fuji.


Fine impression, colour and condition. Signed Hiroshige ga.


Status: Sold

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Utagawa HIROSHIGE (1797-1858)




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Sakanoshita fudesute mine, “The Peak of Fudesute Mountain from Sakanoshita.” Fudesute means to “throw away brush” which alludes to the story of the artist Motonobu Kano who, unable to capture the beauty of this view, threw his brush away. From the Fifty-three Stations of the Tokaido. The set published by Hoeido and Senkakudo, c. 1833-4.


Fine impression and colour. The seals very crisp. Very early impression: much better than the example in Ukiyoe Taikei. ( First edition ? ) Probably no other set went into so many reprints and there are a plethora of coarse impressions extant. Proof of how popular the designs were with the public. Indeed, it is stated that the first two hundred sets sold out in a matter of hours. Slight edge soil, otherwise good condition. Signed Hiroshige ga.


Status: Sold

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Utagawa HIROSHIGE (1797-1858)




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Otsu hashirii chamise, “The Running Well Teahouse at Otsu” from the Fifty-three Stations of the Tokaido. The set published by Hoeido and Senkakudo, c. 1833-4. Shows the teahouse with the eponymous well at far left. So-called because of the water that gushed from it. Rice cakes in Otsu borrowed the name and were called Shirii rice cakes. This is the extremely rare first state of the first edition with the mountain in the background ( missing on all later editions ) and gradation on the tea house roofs. Ukiyoe Taikei, vol. 14, no 54 shows the first edition but second state without gradation. Other first editions were in the Happer sale, Sothebys, 26/4/1909, lot 141 and Metzger auction, AA Galleries, NY, 13/11/1916, lot 157.


Fine impression with very crisp seals and the mountain beautifully graded in grey ( some impressions being in blue ). Probably no other set went into so many reprints and there are a plethora of coarse impressions extant. Proof of how popular the designs were with the public. Indeed, it is stated that the first two hundred sets sold out in a matter of hours. Fine colour. Slight thinning in centre with backing support and small repairs top and bottom margins, but generally very good condition. Signed Hiroshige ga.


Status: Sold

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Utagawa HIROSHIGE (1787-1858)




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An original Hiroshige brush drawing of an aji ( also muroaji ), horse-mackerel; awabi, abalone, and two ginger roots. On thin Japanese paper, 9 x 6.75 in, 22.9 x 17 cms. Beautifully signed Hiroshige hitsu. Probably a small present for a friend. Ex collections Hayashi ( seal bottom right ) and Oeder. Very good condition.


Status: Sold

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