Suzuki Jun NANREI (1775-1844)
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An original painting, sumi and very light colour on paper, 39.5 x 11.5 in; 99.5 x 29 cm. Nanrei was the consummate Shijo artist, much admired by J. Hillier who stated: “… if one wishes to study the Shijo artist par excellence with the gifts and the limitations that that title infers, it is Nanrei one turns to …..”(The Uninhibited Brush, J. Hillier, 1974, p. 306.) Born in Edo, he was a pupil of Watanabe Nangaku. He later travelled to Kyoto to best study under Azuma Toyo and Okamoto Toyohiko. Shows an Ise ebi, a spiny lobster from Ise Bay in Mie Prefecture which was a popular place to fish for them during the winter months. The kanji for ebi translates as “old man [of the sea]” because the bent back resembles an old man. Ebi is a symbol of longevity and is often served for special occasions.
Signed Nanrei with large unread seal. Poem above. Very good condition.
Status: Available
Price: £2900
Onishi CHINNEN (1792-1851)
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An original brush drawing, sumi on paper, 8.75 x 12.25 in; 22.2 x 31 cm. Another consummate Shijo artist. A samurai who studied painting under Watanabe Nangaku and Tani Buncho. He not only produced makimono and painting albums of great facility but also ehon such as Azuma no teburi, 1829 and Sonan gafu, 1834. Talking about this painting, J. Hillier in Japanese Drawings of the 18th and 19th centuries, exhibition catalogue, Washington D.C., 1980, cat. No. 105, p. 122 states that: “But it is under such duress that the innate skills of an artist like Chinnen is pushed to its limit: and the result can be breathtaking.” This is in fact an album leaf that has been expertly mounted by Paul Maruyama/Wills. Shows a reclining ox: a subject often tackled by artists to show their skill. Provenance: Ex Nathan Chaikin collection. Exhibited and illustrated in Jack Hillier, The Uninhibited Brush: Japanese Art in the Shijo Style, London, Hugh Moss, 1974, p. 321; Jack Hillier, Japanese Drawings of the 18th and 19th centuries, exhibition catalogue, Washington, D.C., 1980 and as above.
Large signature Chinnen hitsu with seal Sonan. In fine condition apart from the obvious fold associated with the album it has come from.
Status: Available
Price: £2800
Kobayashi KIYOCHIKA (1847-1915)
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An extremely unusual tall and narrow painting, sumi and light colour on paper, 55.5 x 4 in; 141 x 10 cm. Kiyochika was much influenced by imported Western lithographs and etchings and was an associate of Charles Wirgman (the English creator of the Japan Punch) and Shimooka Renjo (the early Japanese photographer). This is reflected in his woodcut views of Tokyo during a period of transition under the impact of Western influences. Shows the rear view of a lady walking, holding a large umbrella, under a snow-laden tree. The painting’s mount is made from momigami (kneaded paper) and has porcelain jikusaki (roller ends). Kiyochika concentrated on painting in his later years. Provenance: Sold by me in 1986.
Signed Kiyochika with Shin seal. Very good condition.
Status: Available
Price: £3200
Kitagawa UTAMARO (1753-1806)
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The ill-fated couple Ianoya Hanbei and Ochiya: the subjects of a famous double suicide in 1722 in Osaka. From a set Jitsu kurabe iro no minakami, “An Array of Passionate Lovers.” Ochiya was banished from the family home by Hanbei’s stepmother, Okuma. However, not able to live apart, they decide on their fate. Edoites were fascinated by these true-life dramas which were transformed into novels, Kabuki plays and, of course, ukiyo-e. Pubished by Nishimuraya Yohachi, c 1798. Provenance: Ex collection Walter Amstutz, sold Sotheby’s 15/4/1991, lot 137, page 240 of the sale catalogue. Rare: not listed in Yoshida, Shibui or the British Museum exhibition catalogue The Passionate Art of Kitagawa Utamaro, BM and Chiba City Museum, 1995.
Fine impression. Very good colour. Slightly trimmed around, otherwise very good condition. Signed Utamaro hitsu.
Status: Available
Price: £7500
Utagawa HIROSHIGE (1797-1858)
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Numazu Ashigarayama Fuji no yukibare, “Numazu: Mount Fuji and Mount Ashigara after Snow” from Gojusan tsugi meisho zue, “Famous Places on the Fifty-three Stations.” The so-called “Upright Tokaido.” Shows two travellers crossing a trestle bridge over the Kise River before entering Numazu village seen on the left. Mount Fuji in the distance. Published by Kichizo (Koeido Tsutaya), 1855. There are many late editions of this set with the skies on the two snow scenes printed black. A fine snow design.
Fine, early impression. Fine colour. Small thinned area bottom left margin and one pinhole, otherwise fine condition. Full margins. Signed Hiroshige ga.
Status: Available
Price: £5800
Utagawa HIROSHIGE (1797-1858)
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Fujikawa sanchu no sato kyumei Miyakoyama Fujikawa, “Fujikawa: Mountain Village, Formerly called Mount Miyako” from Gojusan tsugi meisho zue, “Famous Places on the Fifty-three Stations.” The so-called “Upright Tokaido.” Shows travellers in heavy snow entering Fujikawa village down a steep slope. Published by Kichizo (Koeido Tsutaya), 1855. There are many late editions of this set with the skies on the two snow scenes printed black. A fine snow design.
Fine, early impression. Fine colour and condition. Full margins. Signed Hiroshige ga.
Status: Available
Price: £5800
Utagawa HIROSHIGE (1797-1858)
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Shoheibashi Seido Kandagawa, “Seido Shrine and Kanda River seen from Shohei Bridge” from Meisho Edo hyakkei, “One Hundred Famous Views of Edo.” Summer rain over the Kanda River with the Confucian temple on the hill to the right which was founded in the 17th century. The set was published by Uoya Eikichi between 1856 and 1858, this being 1857. There are many late editions of this set. Unidentified collector’s seal au verso. This is the rare first edition.
Fine impression of the first edition. Fine colour. Slight toning and two pinholes in left margin, otherwise fine condition. Full margins. Signed Hiroshige ga.
Status: Available
Price: £14000
Utagawa HIROSHIGE II (1826-1869)
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Taishu kaigan, a Dutch ship off the seashore of Tsushima Province from Shokoku meisho hyakkei, “One Hundred Views of Famous Places in the Provinces.” The Japanese island is located off the west coast of the island of Kyushu north of Nagasaki. Published by Uoya Eikichi between 1859 and 1861, this being 1860.
Fine impression of the first edition with variegated cartouche and burnishing on the boat. Fine colour. Album backing, otherwise fine condition. Full margins. Signed Hiroshige ga.
Status: Available
Price: £2200
Utagawa HIROSHIGE (1797-1858)
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An original drawing showing a study of a seated woman holding a rosary in front of an incense burner. Sumi and pentimenti on thin paper, 13 x 9.5 in; 33 x 24.5 cm. Sold “as is.”
Status: Available
Price: £1200
Utagawa KUNIYOSHI (1797-1861)
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Shows the actor Ichikawa Danjuro VIII as Misuji no Tsunagoro confronted by Seitaka top left, one of the attendants of Fudo Myo-o. From a set Mitate junishi no uchi, “Comparisons with the Twelve Signs,” this being Tori, “Cock.” Published by Kakumotoya Kinjiro, 1852.
Fine impression, colour and condition. Signed Ichiyusai Kuniyoshi ga.
Status: Available
Price: £800
Keisai EISEN (1790-1848)
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Shows Lord Hojo Tokimasa, Governor of Totomi Province, praying for good fortune to Benzaiten in the famous Shinto shrine on the island of Enoshima. She explains that his family will flourish for seven generations before she turns into a giant serpent and disappears. Published by Iwatoya Kisaburo (Eirindo), c late 1820s.
Fine impression and colour. Very good condition. Signed Keisai Eisen ga.
Status: Available
Price: £1500
Toyohara KUNICHIKA (1835-1900)
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The actor Ichikawa Danjuro VIII as Jiraiya from Kijutsu junishi no uchi, “Magic in the Twelve Signs of the Zodiac.” This design representing Rooster although what the connection the huge eagle has to this sign of the zodiac is not known (apart from the fact that roosters often fight off eagles to protect hens). Jiraiya and his wife Tsunade were experienced in the art of the shape-shifting magic of the toad and slug. Published by Ueki Rinnosuke, 1877. A fine and little known set.
Very good impression and colour. Slight trimming, otherwise very good condition. Signed Toyohara Kunichika fude.
Status: Available
Price: £480
Toyohara KUNICHIKA (1835-1900)
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The actor Bando Hikosaburo V as Inugami Hyobu from Kijutsu junishi no uchi, “Magic in the Twelve Signs of the Zodiac.” This design representing Dog. Hikosaburo represents a mythical dog spirit – a canine yokai. Dogs can be seen beautifully graded in the background. Published by Ueki Rinnosuke, 1877. A fine and little-known set.
Very good impression, colour and condition. Signed Toyohara Kunichika fude.
Status: Available
Price: £480
Toyohara KUNICHIKA (1835-1900)
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The actor Ichikawa Sadanji as the monk Raigo Ajari at the Mii-dera temple from Kijutsu junishi no uchi, “Magic in the Twelve Signs of the Zodiac.” This design representing Rat. Raigo transforms into a giant rat because of a grudge against the Emperor Shirakawa and ate the sacred manuscripts in the Enryaku -ji temple. Published by Ueki Rinnosuke, 1877. A fine and little-known set.
Very good impression, colour and condition. Signed Toyohara Kunichika fude.
Status: Available
Price: £480
Utagawa KUNISADA (1786-1865)
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A diptych showing Musashi-bo Benkei, renowned for his herculean strength, battling with the young Onzoshi Ushiwaka Maru (Yoshitsune) on Gojo Bridge. The story relates how Benkei (1155-1189) wandered 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 mountain tengu. Following Yoshitsune’s victory Benkei became Yoshitsune’s retainer. Published by Omiya Heihachi (Hei), c early 1830s. (This publisher produced many of Kunisada’s prints in the early 1830s.) Rare.
Fine impression, colour and condition. A wonderful example of kimetsubishi (enhancing the natural woodgrain) printing on the wooden bridge. Signed Kochoro Kunisada ga.
Status: Available
Price: £3200
Tsukioka YOSHITOSHI (1839-1892)
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Dai ichidai Jimmu tenno, the first Emperor of Japan, from a set Dai Nihon shiryaku zue, “Short Illustrated History of Great Japan.” Jimmu (711-585 BC), the founder of the Imperial dynasty, launched his military expedition from Hyuga and captured Yamato. He is shown holding his yumi bow with the golden kite (kinshikyu) perched on it emanating a blinding light which astounds his followers. The bird was sent by the sun goddess Amaterasu to assist Jimmu on his eastern campaign. The designs in the set are on partially unrolled scrolls (makimono). Published by Yamaguchiya Tobei (Kinkodo), 1880-84. This is the first edition with variegated title cartouche. Rare.
Fine impression, colour and condition. Signed Taiso Yoshitoshi.
Status: Available
Price: £2200
Tsukioka YOSHITOSHI (1839-1892)
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Fukuhara densha kaii no zu, “Strange Apparitions.”A triptych showing Taira no Kiyomori, leader of the Taira clan, on the terrace of his palace in Fukuhara haunted by the apparition of the skulls of past enemies in his snowy garden – primarily the Minamoto clan – that he has killed. Based on a scene from the Heike Monogatari, “The Tale of Heiki.” The title label: Shinyo rokkaisen, “New Selection of Six Ghosts.” Kiyomori was made Dajo-daijin, “Chancellor of the Realm” from 1167 until his death and was the power behind the Imperial throne. Published by Funazu Chujiro, 1882. This is the first edition with brown title label (later green).
Fine impression and colour. Several small wormholes and light album backing, otherwise good condition. Signed Oju Yoshitoshi ga.
Status: Available
Price: £3800
Utagawa YOSHIKAZU (Fl. 1850-70)
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Triptych showing an American steamship. Amerika jokisen, nagasa yonjuken, haba rokken, “American Steamship: Measuring Two Hundred and Sixty Feet long and Forty Feet wide.” Published by Maruya Jinpachi (Enjudo), 1861. A fine depiction.
Very fine impression and colour; light burnishing on boat. Album backing; two sheets connected, otherwise fine condition. Signed Ichikawa Yoshikazu ga.
Status: Available
Price: £5800
Utagawa KUNIYOSHI (1797-1861)
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A triptych of Yokohama Honcho no zue, “Honcho [Main Street] in Yokohama.” Shows the busy street one year after the port opened to foreign trade on 2nd June 1859. The Mitsui store is seen at left and the street is thronged with tradesmen and Japanese and foreign visitors. Originally the fishing village was chosen to protect foreign residents from the hostile marauding samurai on the nearby Tokaido road. The town expanded rapidly speaking a fusion language of Japanese, Dutch and English. Photographs by Kusakabe Kinbei around 1880 show the street tree-lined. Published by Izumiya Ichibei (Kansendo), 1860.
Fine impression and colour. Album backing; two sheets connected, otherwise fine condition. Signed Ichiyusai Kuniyoshi ga.
Status: Available
Price: £2800
Ichiryusai YOSHITOYO (1830-1866)
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A dramatic triptych showing the samurai Nitta no Shiro Tadatsune, having crawled into a cave on Mt. Fuji, brandishing a firebrand that reveals the Deity of Mt. Fuji (Shinto); or the Goddess Kannon (Buddhist) surrounded by a dragon. Tadatsune is surrounded by bats. Yoshitoyo was a pupil of Kunisada and then Kuniyoshi. Published 1862. Seal unread.
Very good impression, colour and condition. Signed Ichiryusai Yoshitoyo ga.
Status: Available
Price: £4200
Utagawa HIROSHIGE II (1826-1869)
The complete 6-sheet Kanagawa: Noge Yokohama, an evening scene showing an aerial view of Yokohama with an American ship entering the port on the far left. The two triptychs were published separately: the left 2/1861 and 6/1861 on the right but form a complete design. Very rare complete.
Fine impression and colour. Album backing; two sheets connected on each triptych and small pin holes on borders of two sheets, but otherwise fine condition. Signed Hiroshige ga.
Status: Available
Price: £4200
Shibata ZESHIN (1807-1891)
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A very large sumi print showing a crow on a branch. A quite exceptional print printed on one sheet of paper, 29.5 x 17.25 in; 75 x 44 cm. A tour de force of block cutting brilliantly duplicating Zeshin’s sumi brush strokes. Exceptionally rare: quite possibly the only impression extant.
Fine impression. Very good condition. Signed Zeshin with seal Shibata Junzo (?).
Status: Sold
Katsushika HOKUSAI (1760-1849)
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An original painting, sumi and light colour on paper, 10 x 17.5 in; 25.5 x 44.5 cm. Shows a right-eye karei fish (a flounder or flatfish) with unfurled fern fronds. Hokusai has very cleverly positioned the fronds so they represent surf. This is a popular fish in Japan simmered with ginger, soy sauce, sake and mirin. Hokusai used the same fish on an aizuri chuban print published 1831 and it also appears in vol. 2 of his Manga books. Signed Gakyo rojin Manji hitsu yowai hachijuroku sai, “Brush of Manji, old man crazy to paint aged eighty-six years.”
Seal Katsushika. Minor creasing and staining, otherwise good condition.
Status: Sold
Katsushika HOKUSAI (1760-1849)
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Early in his career Hokusai designed a number of occidental prints in various formats. The design offered here is from an aiban set of 5 prints published c 1800:
1) Haneda Benten no zu, “Benten Shrine at Haneda.”
2) Kanagawa oki Hommoku no zu, “View of Hommaku off the Coast of Kanagawa.”
3) Nihon-zutsumi yori Tanaka mo miru no zu, “View of the Fields Seen from Nihon Embankment.”
4) Azumabashi yori Sumida mo miru no zu, “View of the Sumida River from Azuma Bridge.”
5) And this print: Takinogawa Iwama no zu, “View of the Cave of Takinogawa.”
Shows travellers crossing a plank bridge and climbing a path up beside the cave seen far left with a metal grill. Of the utmost rarity: Another impression is illustrated in The Western-Style Colour-Prints in Japan, Usaburo Toyama, Daiichi-Shobo, 1936, pl. 101, p. 151. From the collection of Toyosaku Saito. This and possibly another impression in Japan are the only other impressions known.
Fine impression and colour. The decorative border left and right trimmed. Some edge damage left, top and bottom. One crease and minor soil; but generally good condition. Unsigned.
Status: Sold
Utagawa HIROSHIGE II (1826-1869)
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Awa Naruto shinkei, “True View of Whirlpool at Naruto, Awa Province” from Shokoku meisho hyakkei, “One Hundred Views of Famous Places in the Provinces.” Shows the powerful natural tidal eddies in the Naruto Strait between Naruto and Awaji Island. The 1.3 kilometre wide strait connects the Seto Inland Sea and the Pacific Ocean. Published by Uoya Eikichi between 1859 and 1861, this being 1859.
Fine impression of the first edition with gradation in square title box and extensive mica applied. Fine colour and condition. Full margins. Signed Hiroshige ga.
Status: Sold
Utagawa KUNIYOSHI (1797-1861)
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Stations Totsuka, Fujisawa and Hiratsuka seen from Hodogaya from Tokaido gojusan eki (shishuku meisho), “Famous Views of the Fifty-three Stations on the Tokaido (four at a time).” In fact, there are between three and six on each sheet. An undistinguished set because of the necessity of compressing three or more stations into each design, apart from sailing boats between Maisaka and Arai, and this daring composition showing a group of boisterous pilgrims lower left. Hodogaya was a common stop for travellers starting on religious journeys. Published by Tsuruya Kiemon (Tsuruki) and Tsutaya Kichizo (Tsutakichi), c 1835. This is the first edition with light shading at top.
Fine impression, colour and condition. Signed Ichiyusai Kuniyoshi shuka zu, “Drawn together by Ichiyusai Kuniyoshi.”
Status: Sold
Totoya HOKKEI (1780-1850)
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A surimono showing the god Sarutahiko with a rooster and hen. The second sheet from a 5-sheet set: Haru no iwato, “The Boulder of Spring” referring to the rock placed by the sun goddess over the entrance to the cave she hid in thereby depriving the world of light. Sarutahiko accompanied Uzume in her dancing to try to lure Amaterasu from the cave. He is shown with his extra high geta (wooden shoes) which enabled him to look taller at crossroads (being the god of travel and pathways). Issued by the Drum Club, Taiko-ren, their symbol above title top right. Poems by Saiseitei Nanao and Sekigentei Namio. Issued for Rooster year 1825. Provenance: Ex collection Kunsthalle Bremen.
Fine impression, colour and condition. Extensive gold and silver with blind-printing on the rooster and hen. Signed Hokkei.
Status: Sold
Toyohara KUNICHIKA (1835-1900); Utagawa KUNISADA (1786-1864); Utagawa KUNISADA II (1823-1880)
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A concertina orihon consisting of 52 prints by the above artists. Various date seals to the early 1860s, the latest being 1865, which is presumably when the album was assembled. Includes the excellent Kunichika 5-sheet: Toto Fuji yuki no hada-ai. Fine impressions and colour. Some edge creasing and partial separation, otherwise very good condition. Untrimmed. The prints lightly adhered along the left edge only. Albums of prints were produced in great numbers and their contents vary: Some are of complete sets, while others cover a specific subject such as wrestler prints or are collections of a specific artist; but many are anything but homogeneous, even having incomplete diptychs, triptychs, etc and are not necessarily contemporaneous.
Status: Sold
Toyohara KUNICHIKA (1835-1900); Utagawa KUNISADA (1786-1864); Utagawa KUNISADA II (1823-1880); Kawanabe KYOSAI (1831-1889)
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A concertina orihon consisting of 64 prints by the above artists. Various date seals to the early 1860s, the latest being 1865, which is presumably when the album was assembled. (Although the album is dated 1864.) Includes the excellent Kunichika 7-sheet tattooed firemen set: Sakari Edo no hanagata. Fine impressions and colour. Minor creasing and partial separation, otherwise very good condition. Untrimmed. The prints lightly adhered along the left edge only. Albums of prints were produced in great numbers and their contents vary: Some are of complete sets, while others cover a specific subject such as wrestler prints or are collections of a specific artist; but many are anything but homogeneous, even having incomplete diptychs, triptychs, etc and are not necessarily contemporaneous.
Status: Sold
Anonymous (c 1770s)
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An uki-e, “perspective print” of a Kabuki theatre: Shinpan uki-e san shibai Kabuki kyogen no zu, “ Newly Published Uki-e Picture of Kabuki Plays from the Three Theatres.” The three theatres were: Nakamura-za, Ichimura-za, Morita-za. The actors have difficult to discern mon but appear to be: Nakamura Denkuro II, Ogawa Zengoro II, Arashi Sangoro II, Segawa Kikujiro III. Published by Iwatoya Genpachi who worked c 1758-82 and published uki-e prints by Utagawa Toyoharu, c 1770s. Toyoharu designed prints, probably based on European engravings which were viewed in stereoscopes. But he was not the first to use Western one-point perspective: Okumura Masanobu produced interiors using the method although Toyoharu introduced exteriors.
Very good impression, colour and condition. Unsigned.
Status: Sold
Utagawa YOSHITSUYA (1822-1866)
A set of 8 prints showing actors as firefighters: Edo no hana yoru no nigiwai, “Flowers of Edo, Excitement at Night.” It’s generally catalogued as having 8 designs, however the MFA Boston has a design not shown here: acc. no. 11.37798, so it seems there are 9 or 10 in complete set. It looks like there was originally a triptych published with the title showing the actors Ichikawa Kodanji IV (left), Kawarazaki Gonjuro I (centre), Nakamura Shikan IV (right) and then extra sheets were added which can be assembled as desired. Each sheet with hand-splashed gofun (oxidised) in the sky to resemble flying embers or sparks from the fires. Firemen were notorious for their rowdy behaviour and rivalrous nature leading to open hostility with other groups such as sumo wrestlers. Fires were a constant threat due to the building materials used, and firefighters were not above starting fires themselves in order to be the first on the scene (especially if they were in the construction business). Published by Ebiya Rinnosuke, 1860. Exceptional printing and designs on the thick, quilted cotton-soaked firefighters’ jackets (hikeshi-banten).
Fine impressions and colour. Minor marks, otherwise fine condition. Signed Icheisai Yoshitsuya ga on each sheet.
Status: Sold
Hanekawa CHINCHO (1679-1754)
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An oversized hosoban showing a parading courtesan with her kamuro and an attendant holding an umbrella. A rare arist who made few prints: Clarence Buckingham states that he was of samurai stock and only worked when in the mood. (Where he got this information I am not sure but it is repeated by Dr Richard Lane and Laurence Roberts.) He was a pupil of Torii Kiyonobu. Sometimes used the name Motonobu. Excessively rare: This may be the only impression extant. Published by Komatsuya who published c 1709-34.
Very good impression. Hand-applied colour in two shades of beni, mustard, and gold powder on the umbrella. Some small restored wormage and slight soil, but generally very good condition. Signed Hanekawa Chincho zu.
Status: Sold
Okumura MASANOBU (1686-1764)
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Kanzake momiji-gari, “Heating Sake with Maple Leaves.” No. 9 from a set of 12 prints, the orihon being signed on the last design. The set parodies famous plays. A samurai, wearing a basket hat, approaches a group of three women seated below a maple tree while a young girl tends to a kettle being heated by maple leaves. Momiji-gari was an autumn fixture that involved visiting scenic spots to brew sake and enjoy and appreciate the autumn foliage. Published c early 1730s. Another impression is illustrated in The Clarence Buckingham Collection of Japanese Prints, AIC, 1955, no. 48, p. 133.
Fine impression. Light touches of hand-applied beni. Fine condition. (One can seldom catalogue such prints in this way as they are usually toned, wormed or damaged in other ways.)
Status: Sold
Suzuki HARUNOBU (1724-1770)
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Shows the great beauty Ofuji at her shop, the Moto-Yanagiya, near the Kannon-do, Asakusa. She is shown grinding a powder with a mortar. A customer is seated near her smoking a pipe. In the foreground is a rooster. (The Tori no ichi, “Days of the Rooster” festival was held nearby.) Ofuji was the daughter of the owner of the tooth-brush store and their products are displayed on the left: toothbrushes, picks and packets of powder. Two boards behind her advertise Nioi-fushi, “Perfumed tooth-blacking” and [Shuchu]-ka, “Sake flowers,” evidently a side-line for her which were scented flowers and other shapes, crumpled, and which opened out in cups of sake. Ofuji was frequently depicted by Harunobu and Buncho, and later by Utamaro.
Fine impression. Very good colour and condition. Unsigned: Normally an unsigned Harunobu would indicate a calendar print in its first state, and the rooster point to the Rooster year 1765. However, it’s difficult to see where the months could have been hidden, so we surmise that it was published c 1769.
Status: Sold