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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
Utagawa KUNIYOSHI (1797-1861)
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Etchu Namerikawa otako, “Giant Octopuses in Namerikawa in Etchu” and sub-title Oo itai, “Ouch.” Obviously the cat’s claw being compared to the menacing tentacles of the octopus. A series of seventy prints Sankai medetai zue, “Affectionate Feelings for Mountains and Seas.” The set compares half-length beauties with famous products of the locality. Published by Tsurakichi, 1852. Kuniyoshi was particularly fond of cats and his studio was known to be home to a number of them. This may be his best evocation of a cat.
Superb impression with the cat’s coat blind-printed. Very fine colour and condition. Signed Ichiyusai Kuniyoshi ga.
Status: Sold
Utagawa TOYOKUNI I (1769-1825)
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A beauty climbing stairs, the ninth month from a set of twelve. Published c 1813 by Nishimuraya Yohachi. Beauties ascending stairs was a stock subject for ukiyo-e artists. I’m not sure why.
Fine impression, colour and condition. Signed Toyokuni ga.
Status: Sold
Chobunsai EISHI (1756-1829)
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An aiban from a set of four prints: Shiki warabe asobi, a series of prints comparing young children to the four seasons. Another from the set is illustrated in Estampes Japonaises. Collection des Musees royeaux d’Art et d’Histoire, Bruxelles, 1989, cat. 319, p. XXXIX ( incorrectly attributed to Eisho ). Published by Izumiya Ichibei 1795-6.
Very good impression, colour and condition. Full size. Signed Eishi.
Status: Sold
Utagawa TOYOKUNI I (1769-1825)
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A beauty from a set Furyu hakkei, “Fashionable Eight Views.” Each beauty represents one of the famous Eight Views of Omi, here being Evening Glow at Seta.This theme, which originates from China, is often encountered in Japanese art. Shows a young woman unrolling a scroll with a view (presumably) of Seta Bridge. An extremely rare set with the designs standing alone but also forming diptychs. Three other single prints from the set are illustrated in Ukiyoe-e Taikei, vol. 9, no. 6, Night Rain, in colour, and nos. 101, Evening Snow and 102, Returning Sail, in b/w. A complete (faded) diptych is in the MFA Boston, Returning Sail and Returning Geese, 21.7473-4. I cannot, at the moment, locate another impression of this design. Published by Izumiya Ichibei (Kansendo) c 1794 – Toyokuni’s best period. Provenance: Ex collection Hayashi (seal bottom left) and Louis Gonse. A beautiful print.
Fine impression. Slight loss of gold in cloud at top but otherwise fine colour. Fine condition. Signed Toyokuni ga.
Status: Sold
Kitagawa UTAMARO (1753-1806)
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Shows Shinanoya Ohan (left) and Obiya Choemon from a series of half-length portraits of pairs of lovers featured in joruri love-suicide plays. Jisu kurabe iro no minakami, “True Feelings Compared: The Founts of Love.” Choemon was the adopted heir of Obiya, an obi business in Kyoto. Ohan was a young girl from the Shinanoya store next door. In fact, the drama is based on an actual event in Kyoto during the Kyoho era. Two dead bodies were discovered in the Katsuragawa; one of a 50 year old man, the other of a 14 or 15 year old girl. Published by Nishimuraya “Sei” c 1798-9. Another impression is in the MFA Boston, 11.14296. Provenance: Ex Louis Gonse collection. Rare.
Fine impression. Exceptionally good colour. Fine condition. Signed Utamaro hitsu.
Status: Sold
Chobunsai EISHI (1756-1829)
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A parading oiran, Senzan of the Choji-ya, with her two kamuro Isoji and Hanaji. From a set Seiro moyo awase “Comparisons of Brothel Patterns.” Published by Nishimuraya Yohachi (Eijudo), c 1796-7. See Brandt, Hosoda Eishi, Eike Moog, 1977, 100. No. 263. Provenance: Ex Louis Gonse collection.
Fine impression. Exceptional colour. Fine condition.
Status: Sold
Kitagawa UTAMARO II (?-1831?)
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A mother holding her child dressed as Kintaro (later Sakata no Kintoki) holding a small hatchet (ono). From a series Shichi henge kodakara asobi, “Dance of Seven Changes Played by Precious Children.” Published by Iwatoya Kisaburo, 1812.
Fine impression. Very good colour. Very minor soil, otherwise very good condition. Signed Utamaro hitsu.
Status: Sold
Tsukioka YOSHITOSHI (1839-1892)
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Tanoshindei-so: Kaei nenken shisho no fuzoku, “Looking as if She is Enjoying Herself: The Appearance of a Teacher During the Kaei Period [1848-1854].” Shows a samisen teacher, the majority of whose pupils would have been geisha. From a set Thirty-two Aspects of Women published by Tsunashima Kamekichi, 1888. The set depicts women of different backgrounds and occupations from the Kansei era through to the Meiji era with punning allusions to their situation or mood.
Very fine impression of the true first edition. Fine colour and condition. Signed Yoshitoshi ga.
Status: Sold
Isoda KORYUSAI (1735-1790)
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An hashira-e, “pillar print.” A night scene showing a beauty on the shoulders of her lover reaching up to a branch of plum blossom beneath a spring moon. From a set Furyu Rokkasen, “Fashionable Six Poetic Immortals,” this being a poem by Ariwara no Narihira (825-880) where the poet composes a poem inspired by a beauty he has seen. Koryusai was the master of this format. Pillar prints were introduced to hang, when mounted, on the pillars of a Japanese house. Consequently, they often come browned, creased or faded and finding good examples is difficult. Rare: Not in Pins.
Very good impression and colour. Slightly toned, otherwise very good condition. Signed Koryusai ga.
Status: Sold
Eishosai CHOKI (Active c. 1781-1813)
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A yellow ground aiban showing the high-ranking courtesan Hinazuru of the Chojiya House with her two kamuro Tsuruji and Tsuruno. Little is known of his life: Probably a pupil, together with Utamaro, of the artist Toriyama Sekien. His output was limited, leaving a small corpus of work, but some acknowledged masterpieces. Signed with two go: Choki, in the style of Kiyonaga, and Shiko in the style of Utamaro. Published by Murataya Jirobei (Eiyudo) c. 1795.
Fine impression. Very good colour. Centre fold only evident au verso, otherwise very good condition. Signed Choki ga.
Status: Sold
Kitagawa UTAMARO (1753-1806)
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A pillar print showing the courtesan Ariwara and her young attendant Arishige (below), both of the Tsuruya House. Utamaro’s output of hashira-e was not as great as some other artists, and they are especially difficult to find in good condition because of often being hung on pillars and in alcoves where they were subject to fading and toning. Another trimmed and somewhat faded impression is in the B.M. 1907, 0531, 0. 474. Published by Matsuyasu , c. 1803.
Fine impression. An area of slight fading of purple at centre, otherwise extremely well retained colour. Very good condition. Signed Utamaro hitsu.
Status: Sold
Kitagawa UTAMARO (1753-1806)
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A benigirai-e (red-avoiding) triptych showing from right to left: A young nobleman with a falcon, a beauty beside him holding his sword and another seated smoking a pipe; the centre panel shows two women and a child holding a small falcon; while the last sheet has two women selecting eggplants from the baskets of an eggplant seller. The backdrop for the whole scene is a majestic Mt. Fuji. The combination of Fuji, falcon and eggplant is known as Ichi-Fuji, Ni-Taka, San-Nasubi (1-Fuji, 2-Falcon, 3-Eggplant) and it is supposed to be good luck to dream of these three in the first dream of the New Year (or, in fact, on the second night, the first being sleepless. The following day is known as hatsuyume). Extremely rare: the only impression I can find is illustrated in Kiyoshi Shibui, Ukiyoe zuten, No. 13, Utamaro, p. 37. (The date given here is 1801, although the late 1790s might be more appropriate as the vogue for benigirai-e [probably as a response to sumptuary edicts] was prevalent around the 1790s.) Published by Murataya Jirobei of Eiyudo. Another triptych by Utamaro of this subject is illustrated in Yoshida, Utamaro zenshu, p. 156. A very fine design.
Fine impression. Extremely good colour: these pigments are very susceptible to any light or moisture. Extremely good condition.Signed Utamaro hitsu.
Status: Sold
Hosoda EISHI (1756-1829)
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A triptych representing Matsukaze, “The Wind in the Pines,” Chapter XVIII, from a set of triptychs Furyu yatsushi Genji, “Genji in Modern Dress.” Brandt, Hosoda Eishi, Stuttgart, 1977, lists nine from the series (this being no. 58, p. 116, illustrated p. 16). Based on the famous early 11th century novel Genji Monogatari written by Murasaki Shikibu. Shows court ladies, one playing a koto on the engawa far right, others welcoming the arrival of Prince Genji, far left. Published by Senichi, c. 1792. Provenance: Ex Worcester Art Museum and Louis W. Black collections, sold Sothebys N.Y., 4/3/1976, lot 122.
Extremely fine impression and perfect unfaded colours. Album backing, otherwise fine condition. Signed Eishi ga (with a small sumi insertion to read Eisui).
Status: Sold
Utagawa TOYOKUNI I (1769-1825)
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Two volumes complete Yakusha sangaikyo, “Amusements of Actors on the Third Floor” (iez the dressing-rooms or green rooms). Published Kansei 13 (1801) by Nishimiya Shinroku and Yorozuya Tajiemon, Edo. An extremely rare and important work showing actors engaged in various private pursuits and not on stage, as is normal. Original covers and title slips. Ex Duret and Gillot collections.
Slight turning of some colours on vol two and some slight thumbing on bottom corners of some sheets, but overall very good and an essential item for any serious collection.
Status: Sold
Utgawa HIROSHIGE (1797-1858)
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A beauty from a set: Edo meisho gosho, “Five Elements of Famous Places in Edo.” This design representing Water of Kameido, Kameido no mizu, and Metal of Ueno, Uenoji no kane. A rare set published by Kikakudo, c. 1847-52.
Very fine impression, colour and condition. Signed Hiroshige ga.
Status: Sold
Tsukioka YOSHITOSHI (1839-1892)
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Urusa-so: Kansei nenkan shojo no fuzoku, “Looking Tiresome: The Appearance of a Virgin of the Kansei Era [1789-1801]” Shows a young woman playing with her cat from a set Thirty-two Aspects of Women published by Tsunashima Kamekichi, 1888. The set shows women of different backgrounds and occupations from the Kansei era through to the Meiji era with punning allusions to their situation or mood. One of the three best designs from the set.
Very fine impression of the first edition with blind printing on the cat. Fine colour and condition with the extra border left and top. Signed Yoshitoshi ga.
Status: Sold
Tsukioka YOSHITOSHI (1839-1892)
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Kayu-so: Kaei nenken kakoi-mono no fuzoku, “Looking Itchy: The Appearance of a Kept Woman of the Kaei era [1848-1854]. Shows a bare-breasted beauty emerging from a mosquito net from a set Thirty-two Aspects of Women published by Tsunashima Kamekichi, 1888. The set shows women of different backgrounds and occupations from the Kansei era through to the Meiji era with punning allusions to their situation or mood. One of the three best designs from the set.
Very fine impression of the first edition. Fine colour and condition with the extra border left and top. Signed Yoshitoshi ga.
Status: Sold
Isoda KORYUSAI (1735-1790)
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An oiran, Meizan (or Nayama) of the Chojiya House in the Shin-Yoshiwara with her two kamuro. From a large series – the total not known – with title: Hinagata wakana no hatsu moyo, “New Designs as Fresh as Young Leaves.” Published in the late 1770s by Eijudo with some designs by Juzaburo. A wonderful set. Another impression in MFA, 11.14622.
Fine impression. Exceptionally good colour. Very slight thinning down two sides, otherwise fine condition. Signed Koryu ga with printed kakihan.
Status: Sold
Utagawa KUNIYOSHI (1797-1861)
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A triptych: Mitate gogyo: Mizu, Ukifune, “Comparisons of the Five Elements: Water,” Ukifune. Shows Prince Genji in a boat with his attendants feeding ducks during the winter. Ukifune was the nickname of a princess in The Tale of Genji. An unrecognised daughter of the Eighth Prince in the 51st Chapter of the story. Ukifune also means: “A boat set adrift.” Published by Sanoki (Sanoya Kihei), 1851-52.
Superb impression, colour and condition. Signed Ichiyusai
Status: Sold
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
Isoda KORYUSAI (1735-1790)
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Manjiya uchi Manshiu, “Manshiu of the Manjiya [Brothel or House]” from a set: Hinagata wakana no hatsu moyo, “New Year Designs as Fresh as Young Leaves.” One of the great 18th century sets comprising at least 140 prints of consistent quality throughout. Shows the oiran with her two kamuro. Published in the late 1770s by Eijudo with some designs by Juzaburo.
Fine impression and colour. Slight creasing, otherwise very good condition. On heavy hosho. Signed Koryusai ga.
Status: Sold
Kitao SHIGEMASA (1739-1820)
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Kanzashi no seiran, “Clearing Weather of the Hairpin” from a chuban set Jochu tedogu hakkei, “Eight Views of Women’s Utensils.” Published c. 1777. Another from the set published in the Clarence Buckingham Collection of Japanese Prints, Margaret O. Gentles, vol. II, The Art Institute of Chicago, 1965, no. 21, p. 283.
Very good impression, colour and condition. Unsigned.
Status: Sold
Hosoda EISHI (1756-1829)
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A small chuban print showing silkworm cultivation. Two girls feed mulberry leaves to the silkworms, another stands behind. A certain license was taken with this subject and designs did not necessarily faithfully follow the procedure or the girls truly depict the actual labourers. Published by Nishimuraya Yohachi, c 1800. This set (probably of 12) would have been printed two-to-a-sheet. Rare.
Fine impression and fine unfaded colours. Fine condition. Signed Eishi ga.
Status: Sold
Utagawa KUNIYOSHI (1797-1861)
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The poetess Ome Shushiki (1668-1725) looking at a poem attached to a tree at Ueno. A chu-tanzaku set of eight prints: Kenjo hakkei, “Eight Views of Accomplished Women.” The set published by Ibaya Sensaburo, c 1843-5. Based on the famous Chinese Eight Views, Japanese artists designed many sets using the Eight Views of Omi as their starting point. Here, Vesper Bell at Ueno [Miidera].
Very good impression and colour. Minor trimming (usual, as they were printed two-to-a-sheet), otherwise very good condition. Signed Ichiyusai Kuniyoshi ga.
Status: Sold
Utagawa KUNIYOSHI (1797-1861)
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Kogo no Tsubone (1157 – ?) on a balcony after being banished from court. A chu-tanzaku set of eight prints: Kenjo hakkei, “Eight Views of Accomplished Women.” The set published by Ibaya Sensaburo, c 1843-5. Based on the famous Chinese Eight Views, Japanese artists designed many sets taking the Eight Views of Omi as their starting point. Here, Autumn Moon over Saga Moor [Ishiyama].
Very good impression and colour. Minor trimming (usual, as they were printed two-to-a-sheet), otherwise very good condition. Signed Ichiyusai Kuniyoshi ga.
Status: Sold
Utagawa KUNIYOSHI (1797-1861)
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The faithful wife of Mama walking on a hillside with falling maple leaves. A chu-tanzaku set of eight prints: Kenjo hakkei, “Eight Views of Accomplished Women.” The set published by Ibaya Sensaburo, c 1843-5. Based on the famous Chinese Eight Views, Japanese artists designed many sets using the Eight Views of Omi as their starting point. Here, Clearing Weather at Mama [Awazu].
Very good impression and colour. Minor trimming (usual, as they were printed two-to-a-sheet), otherwise very good condition. Signed Cho-o-ro Kuniyoshi ga.
Status: Sold
Attributed to KATSUNO (Fl. c 1807)
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A hosoban kappazuri (stencil) print of the beauty Kuruharu (or Yukiharu) of the Naraya brothel/tea house holding a teacup. Published by Kashiwaya Soshichi, a Kyoto publisher in c 1807. He is known to have produced prints for Nagahide as well. The artist Katsuno is only known by a few stencil prints around this date; some, as here, unsigned, and it may well be the only impression extant.
Good impression (they are never fine), very good colour and condition. Unsigned.
Status: Sold
Utagawa KUNISADA (1786-1864)
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A triptych showing a party of women and a child running in rain towards the entrance of the Mimeguri Shrine. Mimeguri no yudachi, “An Evening Shower at Mimeguri.” This famous shrine was on the bank of the Sumida at Mukojima and a short ferry ride from Asakusa. The shrine is also associated with prayers for rain. Kunisada was the most prolific 19th century artist, but amongst his vast output are real masterpieces. Published c 1830. A fine design.
Fine impression, colour and condition. Signed Kochoro Kunisada ga.
Status: Sold
Kochoro KUNISADA (1786-1864)
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Shows a trainee courtesan applying rouge to her eyes. Odori shisho, “The Dancing Girl” from a set Tosei bijin awase, “A Collection of Modern Beauties.” The set published by Moritaya Hanzo, c. 1826. Above, in the fan-shaped label are the accoutrements of her trade: a wig stand, a pair of clappers to keep time, and the libretto of a song.
Fine impression. Very good colour and condition. Signed Kochoro Kunisada ga.
Status: Sold