Utagawa HIROSHIGE (1797-1858)
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Horikiri no hana shobu, “Iris Garden at Horikiri” from Meisho Edo hyakkei, “Hundred Famous Views of Edo.” Published by Uoya Eikichi, 1856-58 (this being 1857). Horikiri village on the Arakawa River, north of Edo, was famous for growing irises, chrysanthemums, morning glory and azaleas for the Edo market. One of the most popular prints from the set. Provenance: Purchased from me in 2008.
Fine early impression. Fine colour and condition. Signed Hiroshige ga.
Status: Available
Utagawa HIROSHIGE (1797-1858)
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Fukagawa, Suzaki, Juman-tsubo, “One Hundred Thousand Tsubo Plain, Suzaki, Fukagawa” from Mesho Edo hyakkei, “Hundred Famous Views of Edo.” The set published by Uoya Eikichi between 1856 and 1859 (this being 1857). An eagle hovers over the snowy coastal plain, Mt. Tsukuba and the Chiba mountains in the distance. Collectors at the beginning of the 20th century considered this the pre-eminent design from the set. Since then Ohashi has replaced it.
Very good impression and colour. Slight edge soil, otherwise very good condition. Signed Hiroshige ga.
Status: Available
Utagawa HIROSHIGE (1797-1858)
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Harima Tatsuyama, “Mount Tatsu [Dragon] in Harima [Province]” from a set of twenty prints Sankai mitate zumo, “Wrestling Matches Between Mountains and Sea.” A fanciful and imaginative title lacking in other Hiroshige sets. Comprises of ten prints of mountains and ten prints of harbours. A fine snow scene. Published by Yamadaya Shojiro, 1858. The title is in a wrestling umpire’s fan (gunbai).
Fine impression of the first edition: Later printings have a solid red in the title cartouche instead of variegated colour and lack other subtleties. Fine colour with oxidation. Very slight discoloration in top right margin and imperceptible centre fold, otherwise very good condition. Signed Hiroshige ga.
Status: Available
Katsushika HOKUSAI (1760-1849)
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Hokusai’s interpretation of a poem by Onakatomi no Yoshinobu Ason (921-991). From an unfinished set: Hyakunin isshu uba ga etoki, “Pictures of One Hundred Poems by One Hundred Poets Explained by the Nurse.” The poems are from an anthology Hyakunin isshu, “One Hundred People, One Poem Each” compiled by the poet Fujiwara no Teika (1162-1241). The poet speaks of his love as being like the fire kept by the guards at the gate to the Imperial Palace: It burns hot only at night. There is actually some doubt that the poem can be attributed to Yoshinobu. Shows a group of off-duty Imperial carriage guards relaxing around the smoking embers of a fire. The poet with his servant is seen sitting on the distant hill. Published by Eijudo, 1835-36. A considerable number of original drawings exist for the set that were not turned into prints and are in various museums and private collections.
Fine impression, colour and condition. Signed Saki no Hokusai Manji.
Status: Available
Katsushika HOKUSAI (1760-1849)
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A sheet of original studies, sumi on thin paper, 10.5 x 15 in; 26.6 x 38 cms. Of particular interest and importance is the self-portrait in the upper right, This is another version of the famous self-portrait at the age of 83 (1842) sent to his publisher. Illustrated in Hokusai Drawings, J. Hiller, Phaidon, 1966, ill. No. 110 from the Rijksmuseum voor Volkenkunde, Leiden, Netherlands. Provenance: Ex Henri Vever collection, seal bottom right.
One small wormhole, otherwise in very good condition.
Status: Available
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Utagawa TOYOKUNI I (1769-1825)
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A surimono showing the actor Ichikawa Danjuro II as Soga no Goro Tokimune holding the giant arrow prior to sharpening it on the large wetstone from the play Yanone Goro. From a series of surimono that paid tribute to the various generations of the Danjuro family. There are two versions of this set of surimono and some ambiguity as to which is the earlier. They are known with blank borders, lacking metallic pigments and signed Ko Toyokuni hitsu (except one design signed Toyokuni II and probably issued in 1833). The other, as here, is signed Toyokuni hitsu, has metallic pigments and the emblem of the Gogawa Poetry Club around the border. The poets were also changed for this issue. It seems that the first version was issued by the Danjuro Fan Club in 1825 and that the reissue, c 1830s, was by the Gogawa. One poem by Ryueishi. The finest design from the set.
Very fine impression with metallic pigments. Fine colour and condition. Signed Toyokuni hitsu.
Status: Available
Attributed to Suzuki HARUSHIGE (Shiba KOKAN 1747-1818)
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A winter scene with a young courtesan on an engawa gazing at an upturned ladle resting in a water basin formed from a hollow tree trunk. Behind her a young beauty peers out through the shoji. The scene calls to mind the Bell of Damnation (Muken no kane) act in the play Hiragana Seisuiki where Umegae strikes the water basin with a ladle to produce gold coins. Harushige was the ukiyo-e go of Shiba Kokan, the first artist to try copper plate engraving and who studied oil painting and etching from books he saw in Nagasaki. For a time a pupil of Harunobu whose style his prints resemble. Extremely rare: I cannot, at the moment, locate another impression. Published c early 1770s.
Fine impression. Extremely good colour, the orange pigment partly oxidised. Possibly slightly trimmed left and bottom, otherwise very good condition.
Status: Available
Torii KIYOHIRO (Active 1737-1776)
Torii KIYOHIRO
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A large oban, 17.25 x 12.25 in; 44 x 35.2 cms, sumizuri-e with hand-applied colour. Shows two ama, abalone divers, on the seashore with nets in the background , abalone shells at their feet and an octopus in the waves below them. The poem above speaks of the salty sea breeze wafting across the shore. Published by Maruya Kuzaemon (Gyokeido) c late 1730s. Extremely rare: Another impression is in the Ritsumeikan University, https://www.dh-jac.net/db/nishikie/Z0164-003/portal/
Very good impression. Light soil, and lightly laid down. Faint fold marks, but generally good condition for its size and date. Signed Torii Kiyohiro hitsu.
Status: Available
Keisai EISEN (1790-1848)
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An amorous couple beside a screen decorated with a large chrysanthemum. From a set of twelve prints Keisei higo, “Secret Words of a Courtesan” published c 1822-25. Although coming under the heading of shunga, each print is an abuna-e design, without any graphic detail. Shows a courtesan with her client. She turns to tie the iwata-sash which indicates she is pregnant.
Fine impression. Very fine colour. Fine condition.
Status: Available
Tsukioka YOSHITOSHI (1839-1892)
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Kintaro rigyo o toru, “Kintaro Captures the Carp.” The “golden boy” of superhuman strength, a.k.a. Sakata no Kintoki and Kaidomaru, grapples with a giant carp which had been terrorizing the neighbourhood. There are conflicting stories about Kintaro’s origins but he is normally shown with his mother, Yama-uba, on Mount Ashigara where he developed a friendship with the mountain animals. The carp is associated with enormous strength and consequently needed great power to overcome it. From a set of fine vertical diptychs published by Matsui Eikichi, this design in 1885. It was republished by Hasegawa Tsunejiro in 1897. Arguably the best print from the set and one of Yoshitoshi’s finest designs.
Fine impression. Very good colour and condition. With full margins: This set often comes with the left margin, with the publication date, trimmed off. Signed Oju Yoshitoshi ga..
Status: Available
Tsukioka YOSHITOSHI (1839-1892)
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A vertical diptych showing Rochishin demolishing the temple gate on Mount Godai. There are conflicting versions of this event: Some suggest he gained entry to kill a gang of thieves. However, it seems that he was drunkenly staggering back to the temple after consuming a large quantity of wine and is barred entry by the monks. In a temper he demolishes the entrance and the large Buddhist guardian figure (Kongojin). The abbot dismisses him and sends him to a lesser temple. Rochishin ransui Godaisan Kongojin o uchikowasu no zu, “Picture of Rochishin in a Drunken Rage Demolishing a Guardian Statue (Kongojin) on Mount Godai.” Published by Matsui Eikichi, 1887. He figures in the Chinese classic Tales of the Water Margin, the Suikoden (jp. Suikoden) and is often referred to as the “Flower priest” because of his floral tattoos.
Very fine impression: This is the earliest state with a pigment used on the guardian’s torso that does not oxidise. (Exactly the same can be seen on the first editions of the Kinryusan Temple at Asakusa from Hiroshige’s 100 Views of Edo. Later printings use a different pigment on the huge lantern that oxidises badly.) It was also republished by Shimizuya Tsunejiro. Extensive burnishing. Fine colour. Very good condition. Signed Yoshitoshi.
Status: Available
Utagawa KUNIYOSHI (1798-1861)
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Cao Cao (Jap. Shuso) and Pang De (Jap. Hotoku) in the Han river during the battle with Guan Yu. From a set of Chinese warrior prints: Tsuzoku sangokushi eiyu no ichinin, “Heroes of the Popular History of the Three Kingdoms.” Published by Joshuya Kinzo, c. 1836. Robinson S10.8 (although only known as a key-block proof). Rare.
Superb impression. Very fine colour and condition. As the day it was printed. Signed Chooro Kuniyoshi ga.
Status: Available
Tsukioka YOSHITOSHI (1839-1892)
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A triptych showing carp swimming beneath wisteria. A rare and extremely unusual subject in Yoshitoshi’s canon of work. Koi are symbols of love and friendship in Japan. The breeding of ornamental carp began in the 1820s. The outside world was unaware of the advances in breeding colour variations until an annual exposition in Tokyo in 1914. Published by Akiyama Buemon, 1889. There is an original drawing, most likely for this triptych, elsewhere on this site. A much sought after design.
Very fine impression. Fine colour. Completely untrimmed with the extra margins around. Fine condition. Signed Yoshitoshi ga.
Status: Available
Keisai EISEN (1790-1848)
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A vertical double oban showing a falcon on a pine branch with a large red sun above. This was a very popular subject and many artists produced versions in different formats. However, I cannot, at the moment, locate another impression of this design. Published by Kawaguchiya Uhei, c 1830s. Extremely rare.
Fine impression and colour. Slight soil and several expertly repaired wormholes, but otherwise very good condition. Signed Keisai Eisen ga.
Status: Available
Utagawa HIROSHIGE II (1829-1869)
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Nikko Shimofuri no taki, “Shimofuri Waterfall in Nikko” from Shokoku meisho hyakkei, “Hundred Views of Famous Places in the Provinces.” An uncompleted set of 81 prints published by Uoya Eikichi between 1859-1861 (this being 1859).
Fine impression, colour and condition. Signed Hiroshige ga.
Status: Available
Utagawa HIROSHIGE (1797-1858)
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A snow scene: Yushima Tenjin sakaue chobo, “Hilltop View, Yushima Tenjin Shrine.” The shrine is dedicated to scholars and is near Ueno Park. From the set Meisho Edo hyakkei, “One Hundred Views of Edo.” The set published by Uoya Eikichi 1856-58 (this being 1856). The set comprises 118 prints by Hiroshige and another by Hiroshige II. However, three prints are dated 10/1858, the month following Hiroshige’s death, and these are thought to be by Hiroshige II as well. They are: Ueno Yamashita, Ichigaya Hachiman and Bikunibashi.
Fine impression, colour and condition. Signed Hiroshige hitsu.
Status: Available
Utagawa HIROSHIGE II (1826-1869)
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Enshu Akiba enkei Fukuroi tako. Fukuroi, Enshu (Totomi) Province from the “Hundred Views of Famous Places in the Provinces.” An uncompleted set of 81 prints published by Uoya Eikichi between 1859 – 1861 (this being 1859). Shows kite flying with a distant view of Mount Akiba. It has been suggested that the release of confetti was to bring good luck for the forthcoming harvest.
Very fine impression of the first edition. Fine colour. Very slight soil, otherwise fine condition. Signed Hiroshige ga.
Status: Available
Kawanabe KYOSAI (1831-1889)
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A fine original Kyosai painting, full colour on silk, 47.5 x 16.5 in; 121 x 42 cms. Shows Emma, the King of Hell, walking with and holding an umbrella above a courtesan while a ghoulish oni looks on wearing a costume of gunnera leaves. Emma-O is the Japanese Buddhist version of Yama, the Hindu god of death. It was he who assigned people after death to one of the states of reincarnation. He is shown with the headdress, robes and holding the staff of a Chinese judge. The preparatory drawing for this painting is illustrated in Kawanabe Kyosai, In Honour of 100TH Anniversary of His Death, published by Ukiyoe Ota Kinen Bijutsuken, 1989, no. 61, p. 60. Kyosai was a draughtsman of great dexterity with a wild, often bizarre, imagination. Loved sake, sometimes painting under its influence. At an early stage studied under Kuniyoshi, then Maemura Towa and later Kano Chinshin before becoming an independent painter at 27. Adept at highly finished paintings but also produced a large corpus of spontaneous paintings.
In very good condition. Signed Seisai Kyosai with Kyosai seal.
Status: Available
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Kawanabe KYOSAI (1831-1889)
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A fine original Kyosai painting, full colour on paper, 51.5 x 21.5 in; 131 x 54.5 cms. Shows Otafuku being carried across a river on the back of a blue oni. They look down with consternation at a red oni who has fallen into the water spilling his basket of mushrooms. The face of the blue oni takes on the appearance of Hyottoko, the male pairing of Otafuku. Known as the Goddess of Mirth, Otafuku is often shown with the Seven Gods of Good Fortune. There are various theories as to her origins and her face, in the form of a mask, has become ubiquitous. Kyosai was a draughtsman of great dexterity with a wild, often bizarre, imagination. Loved sake, sometimes painting under its influence. At an early stage studied under Kuniyoshi, then Maemura Towa and later Kano Chinshin before becoming an independent painter at 27. Adept at highly finished paintings but also produced a large corpus of spontaneous paintings.
In very good condition. Provenance: The inside of the lid on the box is signed and sealed by Mano Gyotei (Kyotei) who was Kyosai’s pupil and guarantees the painting. Sealed Kyosai.
Status: Available
Totoya HOKKEI (1780-1850)
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An original painting by Hokkei, full colour on silk, 41.5 x 19.25 in; 105.5 x 49 cms. Hokkei was one of the earliest and best pupils of Hokusai. Probably best known for his large output of surimono, but also produced illustrated books and paintings. Shows a beauty fulling cloth beside the Kinuta River, Settsu Province. She gazes at the full moon and a flight of geese. On each side of the stream is Japanese bush clover, associated in Japan with autumnal melancholy and unrequited love.
Signed Hokkei ga with Hokkei seal.
Status: Available
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Utagawa YOSHITSURU (Fl. c. 1840-50)
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A fine original drawing by Yoshitsuru who was a pupil of Kuniyoshi. Sumi and slight colour on thin paper lightly adhered to a card, 13.25 x 10 in; 33.5 x 25.5 cms. The head drawn in great detail. Probably for an unpublished set of warrior prints. Shows a bajutsu samurai attacking an enemy on horseback.
In good condition apart from minor defects associated with a drawing’s survival. Signed Isseisai Yoshitsuru ga.
Status: Available
Kitao MASANOBU (1761-1816)
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Shows a couple caught in a downpour, the man shielding his companion with an umbrella. They are on the shore of Lake Biwa, northeast of Kyoto. In the distance can be seen the famous ancient pine tree in the grounds of the Karasaki Shrine. An unsigned (few of Masanobu’s prints are signed or have publisher’s seals) chuban set Furyu Omi hakkei, “Fashionable Eight Views of Omi,” this being night rain at Karasaki. Wrote under the name Santo Kyoden. Was also a painter, and illustrator of his own novels while owning a tobacco accessory shop. Published c. 1783. Rare.
Fine impression and colour. Small backing paper at top two corners, otherwise fine condition.
Status: Available
Kitagawa UTAMARO (1753-1806)
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A beauty with a child on her back. Amagoi Komachi from a set Furyu nana Komachi, “Fashionable Seven Komachi.” Events from the life of Ono no Komachi, one of the six best waka poets of the Heian period. Published by Iseya Soemon, c. 1805.
Very good impression. Fine colour. Slight trimming, otherwise very good condition. Signed Utamaro hitsu.
Status: Available
Utagawa HIROSHIGE (1797-1858)
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Bingo, Abuto, Kannondo, “Bingo [Province], Abuto Kannon Temple” from Rokujuyoshu meisho zu, “Famous Views of the Sixty-odd Provinces” published by Koshimuraya Heisuke in 1853-56 (this being 1853). The spectacular position of this small Buddhist temple is at the tip of Cape Abusagi overlooking the Seto Island Sea. This is the first edition with the added cloud top left and extra bokashi. The red signature and title labels are double-printed to give a more saturated colour (also found on early impressions of the Thirty-six Views of Fuji set). Provenance: Purchased from me in 1982.
Fine impression, colour and condition. Signed Hiroshige ga.
Status: Available
Utagawa HIROSHIGE (1797-1858)
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Suruga, Miho no Matsubara, “Pine Beach of Miho in Suruga [Province]” from Fuji sanjurokkei, “Thirty-six Views of Fuji” published by Tsutaya Kichizo, 1858. A striking design with the yellow sky and one of the best prints from the set. The Miho peninsula has a seven-kilometre seashore lined with pine trees.
Fine early impression and colour with the red signature and title labels double-printed to give a more saturated colour. Fine condition. Signed Hiroshige ga.
Status: Available
Utagawa HIROSHIGE (1797-1858)
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Tango, Ama no hashidate, “Tango [Province], Ama no hashidata” from Rokujuyoshu meisho zu, “Famous Views of the Sixty-odd Provinces” published by Koshimuraya Heisuke in 1853-56 (this being 1853). Shows the “Heaven’s Bridge” peninsula of pine trees extending into Miyazu Bay. One of the Nihon sankei, “Three Famous Views of Japan.”
ga.
Very good impression and colour. (The success of this print depends entirely on the bokashi clouds wiped across the design: Impressions vary depending on the dexterity of the printer.) Margins trimmed, otherwise very good condition. Signed Hiroshige ga.
Status: Available
Utagawa HIROSHIGE (1797-1858)
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Tokaido hidari Fuji, “Fuji Seen from the left on the Tokaido [Road]” from Fuji sanjurokkei, “Thirty-six Views of Fuji” published by Tsutaya Kichizo, 1858. Shows travellers on the Tokaido Road at Oiso with workers in rice paddies beyond.
Fine early impression and colour with the red signature and title labels double-printed to give a more saturated colour. Bottom margin trimmed close, otherwise fine condition. Signed Hiroshige ga.
Status: Available
Utagawa HIROSHIGE (1797-1858)
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Seki from a Tokaido set published by Maruya Seijiro, 1850-51, hence it is often referred to as the Marusei Tokaido. Also known as the Reisho Tokaido because the title “Tokaido” is written in formal script. Below is the station number 48. Seki was located where the two highways of Tokaido and Ise-ji meet. Seki means “barrier checkpoint.” Figures pass beneath a torii gate on a snowy hillside.
Fine impression and colour. Minor edge soil, otherwise very good condition. Signed Hiroshige ga.
Status: Available
Utagawa HIROSHIGE (1797-1858)
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The Kinuta (or Toi) river in Settsu Province from Shokoku Mu Tamagawa, “Six Crystal Rivers in Various Provinces.” Published by Maruya Kyushiro, 1857. Shows two women fulling cloth beneath a full moon. An autumnal night activity. Kinuta is the name given to the mallet used to beat the cloth.
Fine impression and colour. Small repair top left corner and slight edge soil, otherwise good condition. Signed Hiroshige ga.
Status: Available
Utagawa KUNIYOSHI (1797-1861)
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A dramatic shini-e (“memorial picture”) of the kabuki actor Nakamura Utaemon IV. Unsigned, as is usual with this sort of print, but the attribution to Kuniyoshi is certain: An original Kuniyoshi preparatory drawing for this print exists in the Rijksmuseum, Leiden (3513-663). Utaemon is shown in the role of Taira Kiyomori, the leader of the Taira Clan, seen here dressed as a monk. The print gives the date of his death as 17/2/1852. The tanka poem, above, is by Kuniyoshi’s friend the poet Umeya Kakuju (Murota Matabei).
Fine impression and colour. Slight trimming and centre fold, otherwise very good condition.
Status: Available
Utagawa KUNIYOSHI (1797-1861)
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A fine chuban design showing Keyamura Rokusuke (aka Kida Magobee Muneharu), a famous farmer turned samurai and sumo wrestler of incredible strength, doing penance for seven days under the waterfall at Hikosan Gongen praying for his mother. Two Tengu watch from above. Waterfalls were one of the go-to-places to perform filial piety as they were considered to purify the soul in Shinto/Buddhist culture. From a set Honcho nijushiko, “Twenty-four Paragons of Filial Piety of our Country.” Published by Murataya Tetsu, 1843-6.
Fine impression and colour. Small nick out of top, otherwise very good condition. The signature Ichiyusai Kuniyoshi ga is on the extreme left edge and is often trimmed.
Status: Available
Utagawa KUNIYOSHI (1797-1861)
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The general Morozumi Masakiyo, Lord of Bungo and a retainer of the Takeda Clan (Shingen of Kai Province) in a battle with the Uesugi Clan (Kenshin of Echigo Province), the wars taking place between 1553 and 1563. From a set Koetsu yusho den, “Stories of Courageous Generals of the Provinces of Echigo and Kai.” Masakiyo is shown committing suicide by inserting his sword into his mouth while being blown up by a land-mine. As with so much in Japan, the land-mine originated in China from early times. Published by Sumiyoshiya Masagoro, c. 1848-9. One of the “three great deaths” of these wars. A fine design.
Fine impression and colour with extensive sprayed pigment around the exploding mine. Trimmed slightly on the right, otherwise very good condition. Signed Ichiyusai Kuniyoshi ga.
Status: Available
Tsukioka YOSHITOSHI (1839-1892)
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Shows Endo Morito about to murder Kesa Gozen’s husband in his bedroom. Morito became enamoured of Kesa Gozen although she was married to a palace guard. She eventually succumbs to his advances on the condition that he kills her husband. However, she takes the place of her husband in bed and is subsequently killed by him. Full of remorse Morito changes his name to Mongaku and does penance under the Nachi Falls. A famous scene much depicted in Japanese art. From a set Yoshitoshi musha burui, “Yoshitoshi’s Courageous Warriors.” Published by Kobayashi Tetsujiro, 1883.
Fine impression: This is the first edition with three-colour cartouche and small red seals in left margin. There are late editions of this set. It was republished by Tsunajima Kamekichi in 1886. Fine colour and condition. Signed Taiso Yoshitoshi ga.
Status: Available
Tsukioka YOSHITOSHI (1839-1892)
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Shows Sagami Jiro Taira no Masakado on horseback attacking an opponent and having cut his sword in two. From a set Yoshitoshi musha burui, “Yoshitoshi’s Courageous Warriors.” Published by Kobayashi Tetsujiro, 1883.
Very fine impression: This is the first edition with three-colour cartouche and small red seals in left margin. There are late editions of this set. It was republished by Tsunajima Kamekichi in 1886. Fine colour. Slight soil bottom edge, otherwise very good condition. Signed Taiso Yoshitoshi ga.
Status: Available
Tsukioka YOSHITOSHI (1839-1892)
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Shows Kon Sosho (Chin. Gongsun Sheng), a famous character from the Chinese popular novel Tales of the Water Margin (Jap. Suikoden). A Taoist sorcerer known as “Dragon in the Clouds” he was able to conjure up wind and rain, as here, where he is seen standing on a rocky promontory summoning up the Storm Dragon from the sea. From the set Wakan hyaku monogatari, “One Hundred Ghost Stories of China and Japan,” published by Daikin, 1865.
Fine impression and colour. Small backed wormhole in top right corner and has original album backing, otherwise very good condition. Signed Ikkaisai Yoshitoshi ga.
Status: Available
Kikugawa EIZAN (1787-1867)
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The geisha Hinaogi of the Daikokuya preparing to play the koto. She is adjusting the tsume (plectra) on her fingers that were used to pluck the strings. The title is enigmatic: It reads Ka getsu kai, “Harbinger of Moon and Flower” and if the character for “moon” is omitted it reads “oiran” (the highest ranking courtesan). Published by Enomotoya Kichibei, c. early 1830s. There is in fact a later copy of this print by Kunisada.
Fine impression. Excellent colour. Very good condition. Signed Eizan hitsu.
Status: Available
Utagawa KUNISADA (1786-1865)
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Momotaro, “Peach Boy” with two of his companions: the talking dog and monkey battling an oni on Onigashima. Momotaro invokes a storm with thunder and lightning using Raijin’s drums. The story relates how an old childless couple discovered the child in a peach floating down a river. They adopted him and he evolved into a child of enormous strength. Published by Kawaguchiya Uhei, 1818-20. Very Rare.
Very good impression and colour. Backed, centre fold and slight trimming. Signed Gototei Kunisada ga.
Status: Available
Utagawa YOSHIHARU (1828-1888)
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Shows Hakujisso Hakusho (Chin. Bai Sheng) subduing a giant bird with a bamboo pole. From a set Suikoden goketsu kagami, “Mirror of Heroes of the Suikoden” published by Yamaguchiya Tobei, 1856. This is the first edition with gradation on the bird’s beak and elsewhere and the signature cartouche printed in red. Later editions lack these refinements.
Very fine impression. Fine colour. Slightly trimmed, otherwise very good condition. Signed Ichibaisai Yoshiharu ga.
Status: Available