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Toyohara CHIKANOBU (1838-1912)
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A triptych showing the Shinto Storm God Susanoo about to slay the eight-headed dragon, Yamata no Orochi, at the head of the Hi River in pouring rain. The dragon devoured virgins and had eaten the seven daughters of two earthly deities, seen top right. The eighth, Kushi-inada-hime, also on the right, is saved by Susanoo who encourages the dragon to drink eight-times brewed sake from eight vats which intoxicates it enough to be killed. Rare: Chikanobu is not known for this type of subject. Published c 1870s.
Fine impression, colour and condition. Mica applied to sky and the rain printed in silver. Full size. Signed Yoshu Chikanobu hitsu.
Status: Available
Utagawa HIROSHIGE II (1829-1869)
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Shinshu Suwa-ko yatsume akauo wo to (ru). Shinshu (Shinano) Province 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 1860). A winter scene showing figures catching lampreys, eels and red rockfish in Lake Suwa. The lake was unusual in having warm currents beneath the ice, even in mid winter.
Fine impression of first edition. Fine colour and condition. Signed Hiroshige ga.
Status: Available
Utagawa KUNIYASU (1794-1832)
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A triptych Soshu Enoshima Benzaiten Iwaya narabi sairei no zu, “Picture of Iwaya, the Main Shrine, Pilgrims to the Display of Benzaiten at Enoshima.” Enoshima island was a popular place to visit with the Iwaya caves and the shrine of the Buddhist goddess Benzaiten (Benten), goddess of the arts, entertainment and wealth, and one of the Seven Gods of Good Fortune. A fascinating print showing a multitude of various visitors. Published by Kawaguchiya Uhei, late 1820s. Rare.
Fine impression, colour and condition. Signed Kuniyasu ga.
Status: Available
Utagawa HIROSHIGE (1797-1858)
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Asakusa Kinryuzan, “The Kinryuzan Temple at Asakusa” from Meisho Edo hyakkei, “One Hundred Famous Views of Edo.” The set published by Uoya Eikichi between 1856 and 1859 (this being 1856). A snow scene showing the oldest Buddhist temple in the city, the Sensoji or Asakusa Kannon, built on the low hill of Kinryuzan. Shows the Kaminarimon gate with the huge lantern with one character of the name shinbashi (a donor’s organisation).
Very good early impression and colour. Before the square plug becomes evident on the bottom left. Very good condition. Signed Hiroshige ga.
Status: Available
Utagawa HIROSHIGE (1797-1858)
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Omi, Biwako Ishiyamadera, “Ishiyama Temple and Lake Biwa in Omi [Province].”From a set of 69 prints [Dai Nihon] Rokujuyoshi meisho zue, “Famous Places in the Sixty-odd Provinces [of Japan]” published by Koshihei between 1853 and 1856, this being 1853. Moonlight on Lake Biwa is one of the iconic Eight Views of Omi.
Very fine impression and colour. Light album backing, otherwise fine condition. Signed Hiroshige 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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Hoki, ono Daisen enbo, “Hoki [Province], Distant View of Mount Daisen.” Shows rice-planting in the rain, with the volcanic mountain in the background. From a set of 69 prints [Dai Nihon] Rokujuyoshi meisho zue, “Famous Places in the Sixty-odd Provinces [of Japan]” published by Koshimuraya Heisuke between 1853 and 1856, this being 1853.
Very fine impression and colour. The rain printed with gofun. Light album backing, otherwise fine condition. Signed Hiroshige ga.
Status: Available
Utagawa HIROSHIGE (1797-1858)
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Mimasaka, Yamabushidani, “Mimasaka [Province], Yamabushi Valley.” Travellers caught in heavy wind and rain in the valley. Hiroshige II also produced an excellent version of this design. From a set of 69 prints [Dai Nihon] Rokujuyoshi meisho zue, “Famous Places in the Sixty-odd Provinces [of Japan]” published by b Koshimuraya Heisuke between 1853 and 1856, this being 1853.
Very fine impression and colour. Light album backing and very small wormhole at extreme edge of margin, top left, otherwise fine condition. Signed Hiroshige ga.
Status: Available
Utagawa KUNIYOSHI (1797-1861)
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A triptych showing Ushiwaka Maru (Minamoto no Yoshitsune’s childhood name), attended by Kisanda, practising fencing with the karasu or “crow” tengu in a forest glade on Mt. Kurama, north of Kyoto. His training in martial arts is being supervised by a white-bearded yamabushi tengu, Sojobo, King of the Tengu. (The yamabushi were followers of Shugendo– a shamanistic mountain ascetism.) Yoshitsune (1159-1189) is the best known Japanese warrior and a popular subject for Japanese artists and craftsmen. Famous for exploits such as the battle on Gojo Bridge with Benkei and the battle of Dan-no-ura. Published by Enshuya Hikobei, 1851-2. Robinson T264.
Fine impression. This is the first state with gradation on the rocks top left. Fine colour. Very good condition. Signed Ichiyusai Kuniyoshi ga.
Status: Available
Utagawa KUNIYOSHI (1797-1861)
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Kyusempo Sakucho (Chin: Suo Chao) at the battle of Peking from Tsuzoku Suikoden goketsu hyaku-hachi-nin no hitori, “The Hundred and Eight Heroes of the Popular Suikoden, One by One.” Based on the Chinese novel Shui Hu Zhuan, attributed to Shi’Nai’an, which tells of a band of 108 brigands who operated from Liangshan Marsh. Shows the warrior wielding a huge axe and plunging through deep snow on his horse. He was renowned for being seven chi tall (just over seven and a half feet) and impetuous in battle, often charging ahead of his men – hence his nickname “Impatient Vanguard.” Published by Kaga-ya Kichiyemon, c 1827-30. Provenance: Ex B.W. Robinson collection. Robinson S2.44.
Fine impression, colour and condition. Full size (rare with designs from this set). Signed Ichiyusai Kuniyoshi ga.
Status: Available
Tsukioka YOSHITOSHI (1812-1866)
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A diptych showing the strong woman Oiko of Takashima. The story tells how the wrestler Saeki Urinaga spies her one day fetching water from the river. He lecherously reaches for her only to have his arm pinned down by her as she nonchalantly carries on walking. She leads him home for a wrestling match. From a set Shinsen azuma nishikie, published by Tsunashima between 1885 and 1889 (this being 1889).
Fine impression and colour. Light album backing, otherwise very good condition. Signed Yoshitoshi.
Status: Available
Kitagawa TSUKIMARO (Active c 1804-1836)
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An original painting, full colour on dark silk, 33.5 x 11.5 in; 85 x 29 cms. Shows a Chinese beauty – possibly Yang Guikei – collecting medicinal leaves from a Japanese spice bush. An intriguing painting with Ukiyo-e elements fused with both Chinese and Western styles. Tsukimaro was Utamaro’s best pupil and his paintings are rare. Painted c 1818.
Some loss of gofun but generally good condition. Newly mounted with new box. Signed Bokutei Tsukimaro hitsu with two unidentified seals.
Status: Available
Mori SOSEN (1747-1821)
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An original painting, sumi and light colour on silk, 42.5 x 16 in; 108 x 40.5 cms. His life is not well documented but he is known to have studied under the Kano artist Yamamoto Joshunsai (?-1781) before being drawn into Maruyama Okyo’s (1735-1795) artistic circle and his style is more Shijo than anything else. His animal paintings were evidently highly valued by Okyo. He was an immediate favourite with eastern collectors because of his monkey paintings at which he excelled, although he was more versatile than literature implies and highly accomplished at painting other animals. But his images of monkeys take precedence and he is considered the pre-eminent painter, east or west, on this subject. It is alleged that he lived in the woods for three years eating fruit and nuts to study the monkeys and other animals, and is also supposed to have had a cage of monkeys at the back of his house to better observe them. This high quality painting shows two monkeys sitting on the branch of a cherry tree. Signed Sosen with two Sosen seals. In good condition.
Status: Available
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Kawanabe KYOSAI (GYOSAI) (1831-1889)
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A draughtsman of great dexterity with a wild, often bizarre, imagination. Loved sake, sometimes painting under its influence. At an early age studied under Kuniyoshi, then Maemura Towa and later Kano Tohaku Chinshin before becoming an independent painter at 27. Was famous for his crow paintings but also loved skeletons. This newly discovered painting shows a full-length skeleton humorously hiding its genital area – not with a fig-leaf – but a large lotus leaf. Sumi and light green on silk, 38.75 x 13 in; 98.5 x 33 cms. Interestingly, a very faint under-drawing can be seen where he first thought of placing the figure.
Many copies of his work. In very good condition. Signed Seisai Kyosai with bell seal.
Status: Available
Yamamoto SHOUN (1870-1965)
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A large original painting , full colour with gold on silk, image size 50.5 x 19.75 in; 128.25 x 50 cms. Shows Shoki, the Demon Quellor, with sword drawn watching an oni escaping on a cloud, upper left. Various Chinese legends exist regarding the origins of Shoki but the gist of them all is that Emperor Xuanzong canonized Shoki, a physician, and in gratitude Shoki vowed to protect the ruler and his heirs from demons and illness. Shoun is best known for his series of woodblocks of beautiful women, Ima Sugata, published 1906-9.
In fine condition. Signed Shoun hitsu with two seals, one reading Shoun.
Status: Available
Ikeda EISEN (1790-1848)
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Decorative paper from a series Tosei kobutsu hakkei, “Eight Favourite Things in the Modern World.” The set compares beauties with their favourite “things.” In this case paper, shown top left, while other designs from the set compare beauties to dolls, playing cards, the theatre, kimono, etc. Shows a Yoshiwara courtesan holding a bundle of folded tissue. She has sasabeni lips: the lower lip painted with sasa from the bamboo plant, and the upper lip using beni from the safflower. Published by Senichi (Izumiya Ichibei), c 1823.
Fine impression. Slight fading and minor soil, otherwise very good condition. Signed Keisai Eisen ga.
Status: Available
Utagawa KUNISADA (1786-1865)
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A courtesan biting on a tissue about to write a love letter from the set Ukiyoe jinsei tengankyo, “Types of the Floating World Seen Through a Physiognomist’s Glass.” The glass top right. These professionals who purported to look at people’s features and give counsel based on their countenance were called Ninsomi or simply Somi. This set of ten prints showing different female personalities have their characteristics written up above. Utamaro produced two fine sets based on this theme in 1792-4 and c 1802: Fuji ninso jupon and Bijin gomenso. The clenching of the tissue is always an indication of arousal. Published c 1830 by Moriya Jihei (Kinshindo).
Fine impression with blind-printing. Fine colour. Small repaired binding holes and very slight trimming, otherwise very good condition. Signed Gototei Kunisada ga.
Status: Available
Utagawa HIROSHIGE (1797-1858)
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Hida, kago-watashi, “Basket Ropeway in Hida [Province]” from a set of 69 prints [Dai Nihon] Rokujuyoshi meisho zue, “Famous Places in the Sixty-odd Provinces [of Japan]” published by Koshihei between 1853 and 1856, this being 1853. Originating in China, Japan and northern India, travellers could cross deep ravines by suspending themselves in a harness which evolved into a basket.
Very fine impression and colour. Light album backing, otherwise fine condition. Signed Hiroshige ga.
Status: Available
Utagawa HIROSHIGE (1797-1858)
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Nihonbashi yukibare, “The Nihon Bridge, Clear Weather After Snow.” 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. Number 1 from the set and a view of the Sumida River with Mt. Fuji in the distance. This is the starting point for the Tokaido Road.
Fine, early impression with gradation on the roofs and on Mt. Fuji. Fine colour. Margins trimmed a little, otherwise very good condition. Signed Hiroshige ga.
Status: Available
Utagawa HIROSHIGE (1797-1858)
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Kameido Tenmangu keidai no yuki, “The Compound of the Tenman Shrine at Kameido in Snow.” From a set of twenty-one prints Toto meisho, “Famous Views in the Eastern Capital” published by Sanoya Kihei, c 1834-5. The series was extended to fifty-five in c 1839-42. One of the most famous places in Edo. Known for its pergola, two drum bridges, koi ponds and the wisteria which flowered in the fifth month. The main shrine is dedicated to the memory of Sugawara no Michizane (Tenjin), the father of Japanese learning and built in 1662. The design comes in various states: Late editions have a black sky and the red publisher’s seal on right margin is replaced with an abbreviated Sanoki seal in black. Even later editions show a slipping plug becoming evident on the edge of the water, centre left.
Fine impression and colour. Probably the earliest printing. Slight trimming on right margin, otherwise very good condition. Signed Hiroshige ga.
Status: Available
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Kitagawa UTAMARO (1753-1806)
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The lovers Hinadori and Kuganosuke from a series of half-length portraits of pairs of lovers featured in joruri love-suicide plays. (Joruri were bunraku puppet dramas). Jitsu kurabe iro no minakami, “True Feelings Compared: The Founts of Love.” At the height of their popularity the Japanese government cracked down on these joruri plays as they were inspiring copycat double suicides amongst the population. Published by Nishimuraya Yohachi, c 1798-9.
Fine impression. Very good colour. Some paper chain lines visible, otherwise very good condition. Signed Utamaro 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
Kawanabe KYOSAI (1831-1889)
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A large original painting, full colour on silk, image size 48 x 21.75 in; 122 x 55.25 cms. A draughtsman of great dexterity with a wild, often bizzare , 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 finshed paintings but also produced a large corpus of spontaneous paintings. Shows a standing courtesan with her kamuro. An homage to Hokusai whom he obviously admired.
Highly finished in places but also incorporating quirky elements of Hokusai’s style. Signed Hokusai hitsu-i (“Imitating Hokusai’s brush”) Shojo Kyosai. In very good condition with old double box with an untranslatable annotation on inside of lid comparing him to Hokusai. An important new discovery.
Status: Available
Hishikawa MOROSHIGE (Fl. 1684-1704)
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An original painting, sumi and full colour on paper, 24 x 12 in; 61 x 30.5 cms. Shows a beautiful youth (a wakashu) dressed as a girl with his attendant servant. These youths (identified as male by wearing a sword) were arbiters of trend-setting kimono design. They are sometimes referred to as the “third gender,” and were sexually ambiguous being objects of desire to both adult men and women. Moroshige was the senior pupil of Hishikawa Moronobu, and, it is said, was the father of Furuyama Moromasa. Some toning of paper and slight loss of pigment, but all commensurate with a painting of this age. Otherwise good condition. Painted around 1700.
Signed Hishikawa Moroshige zu with seal Moroshige. A fine and interesting painting.
Status: Available
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Utagawa KUNIYOSHI (1797-1861)
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Saito Toshimoto nyudo Ryuhon in armour struggling with a Chinese brigand underwater. From the set Taiheiki yeiyuden, “Heroic Stories of the Taiheiki.” A history of the wars of the loyalist Nitta and Kusunoki families against the Ashikaga war-lords during the second quarter of the 14th century. But in fact the subject of this set of fifty prints is the civil war of the late 16th century. Censorship restrictions imposed in the 1840s prevented publishers from illustrating historical subjects from the Tensho era 1573-92 onwards, so the publishers circumvented this by slightly altering the names of the historical figures. Published 1848-9 by Yamamoto-ya Heikichi. Robinson S62.31. One of the best designs in the set.
Fine impression and colour. Very good condition. Signed Ichiyusai Kuniyoshi ga.
Status: Available
Utagawa KUNIYOSHI (1797-1861)
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Koshibe no Sugaru amidst a thunderbolt and lightning captures a raiju (thunder monster) in the village of Toyora. Toyora no sato ni rai o torau. Its body was composed of lightning and usually in the form of a wolf or dog. Its cry sounded like thunder. Raiju is the companion of Raijin, the Shinto god of lightning. Although normally tranquil, during thunderstorms it became agitated and attacked trees. (Those that are struck by lightning are said to have been scratched by Raiju’s claws.) He presented it to the Emperor. Published by Nishimura-ya Yohachi, c. 1834-5. Robinson SIc.2. A wonderful design.
Superb impression. Very fine colour and condition. Signed Ichiyusai Kuniyoshi ga.
Status: Available
Utagawa YOSHITSUYA (1822-1866)
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A triptych with title Taiheike Yakiyama-Goye no zue, “Picture of the Slope of Burning Mountain in the Taiheiki.” Shows the Japanese Daimyo Sato Masakiyo (Kato Kiyomasa), who was a leading general in Toyotomi Hideyoshi’s invasion of Korea, far left, and his men encountering a monstrous serpent surrounded by bats, tengu and flying goblins on a haunted mountain. Published by Kagaya Kichibei, 1861.
Fine impression, colour and condition. A lovely copy of this triptych. Signed Ichieisai Yoshitsuya ga.
Status: Available
Hishikawa SORI (Active 1797-1813)
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An original painting, full colour on silk, 43.25 x 14 in; 109.8 x 35.6 cms. An early pupil of Hokusai (who gave him his name Hishikawa Sori in 1798, it previously being Tawaraya). Generally referred to as Sori III. Produced a considerable number of small surimono – some of which can be confused with Hokusai’s work. Shows a beauty with a monkey at her feet. There is a print closely following the painting published in 1906. Illustrated in Nihon ukiyoe hakubutsukan, ed., Nikuhitsu ukiyoe senshu gekan (Selected Painting of Ukiyo-e, second vol.) Tokyo: Gakushu kenkyusha, 1985, plate 193.
In very good condition. Signed Hyakurin Sori ga with seal Sori.
Status: Available
Mori SOSEN (1747-1821)
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A fine surimono-sized painting, light colour on silk, 7.75 x 7 in; 19.5 x 17.8 cms. Shows a female sika deer. His life is not well documented but he is known to have studied under the Kano artist Yamamoto Joshunsai (?-1781) before being drawn into Maruyama Okyo’s (1735-1795) artistic circle and his style is more Shijo than anything else. His animal paintings were evidently highly valued by Okyo. He was an immediate favourite with eastern collectors because of his monkey paintings at which he excelled, although he was more versatile than literature implies and highly accomplished at painting other animals. But his images of monkeys take precedence and he is considered the pre-eminent painter, east or west, on this subject. It is alleged that he lived in the woods for three years eating fruit and nuts to study the monkeys and other animals, and is also supposed to have had a cage of monkeys at the back of his house to better observe them.
Very good condition, unmounted. Signed Sosen hitsu with seals So, Sen.
Status: Available
Suzuki HARUTSUGI (HARUJI) (Active 1760-1770)
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A large koban print, 8.75 x 6 in; 22.25 x 15.25 cms, showing a samurai with two attendants. Aki, “Autumn” from a set of the four seasons, Shiki. A rare artist and most likely a follower of Harunobu. Produced a number of pillar prints. Provenance: Ex Javal, sold 3/3/1926, lot 50.
Very good impression, colour and condition. Signed Harutsugi ga.
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 KUNIYOSHI (1797-1861)
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A fine large original drawing, sumi on thin paper, 12 x 18.5 in; 30.4 x 47 cms. Shows battling women holding what appear to be wooden swords. Two seals at the bottom which appear to be the publisher Honmo who published 1855-56. Provenance: Ex collection Dr. Julius Kurth (1870-1949), an eminent scholar who wrote extensively on Japanese and Chinese art.
Sold “as is” but in good condition.
Status: Available
Utagawa KUNIYOSHI (1797-1861)
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A fine large original drawing, sumi on thin paper, 12 x 18 in; 30.4 x 45,7 cms. Shows two awabi divers surrounded by crabs kneeling before a figure – possibly Empress Jingu – seated behind a dragon and surrounded by samurai. Provenance: Ex collection Dr. Julius Kurth (1870-1949), an eminent scholar who wrote extensively on Japanese and Chinese art.
Sold “as is” but in good condition.
Status: Available
Ichirakutei EISUI (Active 1790-1823)
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A fine okubi-e (“large head”) portrait of the courtesan Shizuka of the Tama-ya House. Eisui, like the other main pupils of Eishi, produced some of the finest bust-portraits in Ukiyo-e. Published by Maruya Bunemon c late 1790’s. Other impressions illustrated in Klaus J. Brandt, Hosoda Eishi, page 72, 524, no. C35, catalogued p. 231, and the Library of Congress, FP2-JPD, no. 1912. Extremely Rare.
Very good impression. Good colour. Slight soil, otherwise good condition. Full sze. Signed Ichirakutei Eisui ga.
Status: Available
Ichiryusai HIROSHIGE (1797-1858)
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Kai Otsuki no hara, “Otsuki [“Great Moon”] Plain in Kai Province.” The most popular print from Fuji sanjurokkei, “The Thirty-six Views of Fuji.”Published by Tsutaya Kichizo, 4/1858. A distant view of Fuji with a stream meandering amongst wild flowers. Some of them are from the Seven Herbs (Nanakusa) of Autumn, being: pampas grass, susuki, yellow patrinia, ominaeshi, bellflowers, kikyo, and wild carnations, tokonatsu.
Fine impression, colour and condition. Signed Hiroshige ga.
Status: Available
Ichiryusai HIROSHIGE (1797-1858)
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Hara from The Fifty-three Stations of the Tokaido published by Marusei, Maruya Seijiro, 1847-52. Called the Reisho Tokaido because of the angular style of Kanji used. Shows Fuji towering over the landscape with miniscule figures on the road at the bottom. One of the best designs from the set.
Fine impression and colour. Very slight centre fold, otherwise very good condition. Signed Hiroshige ga.
Status: Available
Ichiryusai HIROSHIGE (1797-1858)
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Fuchu from The Fifty-three Stations of the Tokaido published by Marusei, Maruya Seijiro, 1847-52. Called the Reisho Tokaido because of the angular style of Kanji used. Travellers coming and going at the entrance to the station. One of the best designs from the set. Provenance: Ex Hayashi collection with seal below title cartouche.
Fine impression and colour. Very good condition. Signed Hiroshige ga.
Status: Available
Ichiryusai HIROSHIGE (1797-1858)
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Wada from the Sixty-nine Stations f the Kisokaido. The set was started by Eisen and published by Hoeido in 1835, but in 1837 Hiroshige took over and completed the series with the publisher Iseiri (Kinjudo). Wada is the highest point on the Kisokaido and Hiroshige shows travellers traversing the snow covered pass.
Very good impression and colour. Minimal edge soil and trimming, otherwise very good condition. Signed Hiroshige ga.
Status: Available
Utagawa KUNIYOSHI (1797-1861)
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A poem by the celebrated poet Bunya no Yasuhide from the series Hyakunin isshu no uchi, “One Hundred Poems for One Hundred Poets” which was compiled in 1235 by Fujiwara Teika (1162-1241). The poet in the background watches as a fierce wind blows away some of the umbrellas that are being made. One of the best designs in the set published by Ebisuya Shoshichi, Ebine, 1840-42. Only 58 of the 100 are known. Various translations of the poem exist, here is one:
The mountain wind in autumn time
Is well called “hurricane”;
It hurries canes and twigs along,
And whirls them o’er the plain
To scatter them again
Very fine impression. Fine colour. Slight nibbling of border but otherwise fine condition. Signed Ichiyusai Kuniyoshi ga.
Status: Available
Utagawa KUNIYOSHI (1797-1861)
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A poem by the celebrated poet and monk Noin-hoshi from the series Hyakunin isshu no uchi, “One Hundred Poems for One Hundred Poets” which was compiled in 1235 by Fujiwara Teika (1162-1241). A group of travellers are caught in a torrential downpour. One of the best designs in the set published by Ebisuya Shoshichi, Ebine, 1840-42. Only 58 of the 100 are known. Various translations of the poem exist, here is one:
The maples and leaves
Of Mount Mimura –
Making the Tatsuta River
A fine brocade
Very fine impression. Fine colour. Slight nibbling on one margin, otherwise fine condition. Signed Ichiyusai Kuniyoshi ga.
Status: Available