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Utagawa HIROSHIGE II (1826-1869)
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The Dragon’s Maw Mountain, Bizen Province, Bizen tatsu-no-kuchiyama from an unfinished set Shokoku meisho hyakkei, “One Hundred Views of Famous Places in the Provinces” published by Uoya Eikichi between 1859 and 1861 (this being 1860). Shows a lone figure battling a heavy rainstorm in a steep-sided canyon.
Fine impression, colour and condition. Signed Hiroshige ga.
Status: Available
Nagasawa ROSETSU ( 1754-1799 )
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An original painting showing a white mouse and a spiny lobster on a tray. Rosetsu is considered one of the most important artists of the late Edo period but little is known of his short life ( he died at forty-five ) apart from the fact that he studied, and was one of the top disciples, of Maruyama Okyo. He is labelled an “eccentric” painter as he defies easy classification. His brushwork is a tour de force and he is known for his expressive depictions of animals. The Chinese-style inscription above is by Rosetsu’s friend Minagawa Kien who was a painter and scholar of Confucianism. It implies that the lobster and mouse are both signs of good fortune. Ink and light colour on paper. Image size 44.75 x 11.25 in; 113.75 x 28.5 cms.
Signed Rosetsu with seal Gyo. Painted 1790s. Inscription signed and sealed Kyosai. Slight foxing, otherwise in very good condition. One of the most copied painters. See Kono, Exhibition of Nagasawa Rosetsu, Chiba City Art Museum, 2000, pl. 42 for identical seals. Tsuji Nobu, Nagasawa Rosetsu: the Fanciful Painter, Miho Museum, 2011, pls. 19, 58-60, 67,87, 90, 91, 93 and 94.
Status: Available
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Utagawa KUNISADA (1797-1861)
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A fine and interesting original painting, full colour on silk, 11.25 x 20.25 in; 28.5 x 51.5 cms. Shows a reclining beauty looking up at a cuckoo (hototogisu) flying in clouds. The cuckoo is the harbinger of the summer months. This painting, made c 1830, reflects Kunisada’s study, together with Ikkei, of the work of Hanabusa Itcho (1652-1724). Indeed, Ikkei gave Kunisada the name Hanabusa Ittai and this painting is signed Hanabusa Itcho Kunisada ga with seal Hanabusa Ittai Kunisada no in. To the bottom left is an inscription reading “A disciple of Utagawa Kunisada drawn on request [the cuckoo].” There is a small seal but it is undecipherable.
Minor marks but in generally very good condition. Touches of gold and the gofun on the face well retained. Newly mounted with new box.
Status: Available
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Utagawa TOYOKUNI I (1769-1825)
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An original painting, sumi and colour on silk, 10.5 x 8.75 in; 26.7 x 22.2 cms. A beauty after a bath. Signed Toyokuni ga with his kakihan. In very good condition.
Status: Available
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Utagawa KUNISADA (1786-1865)
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Four koban surimono-style prints from a set Hyakunin bijo, “One Hundred Beauties.” No publisher’s seal but published by Mikawaya Seiemon (who specialised in these prints), c late 1820s. Kunisada designed a number of such sets in this format.
Fine impressions, colour and condition.
Status: Available
Utagawa YOSHIKAZU (Active c 1849-1867)
A five-sheet original drawing (hanshita-e) showing a parade of beauties before a wicker fence and blossom. Bigyoku imayo hanazoroi, “An Assortment of Modern Beautiful Gems as Flowers.” Nice brushwork on the sumptuous kimonos. Sumi with sumi wash and light touches of red on thin Japanese paper laid onto further thin Japanese paper. Each sheet signed Ichikawa Yoshikazu ga. Sold “as is” with all imperfections, but in good condition.
Status: Available
Imao KEINEN (1845-1924)
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An original painting, sumi on paper, image size 54 x 19.5 in; 137 x 49.5 cms. A pupil of Umegawa Tokyo and Suzuki Hyakunen. Keinen was an important figure in Kyoto art circles and considered the pre-eminent kachoga (bird and flower) artist at the end of the 19th century winning many prizes at home and abroad. Best known for his 4 volume Keinen kacho gafu, “Album of Bird and Flower Pictures by Keinen” published 1891-2. Shows two peacocks standing on a rocky outcrop. Peacocks were a popular subject for artists who could display their prowess at painting, the results often being sumptuously rendered. However, Keinen opts for a freer style in sumi only. Keinen was also known as a keen horticulturist and a bonsai expert. Original kiri wood box inscribed by him on the inside of the lid and guaranteeing the painting as being genuine. Outer lacquer box. In very good condition. Signed Keinen with seal.
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 KUNIYOSHI (1797-1861)
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An o-tanzaku print, Yugao chapter from the fifty-four chapters of Genji, the Genji Monogatari. A tenth century romance written by Murasaki Shikibu. From a set Buyu nazoraye Genji, “Heroic Comparisons for the Chapters of Genji.” In this case showing Benkei creeping up on Ushiwaka on Gojo Bridge in Kyoto. The story relates how Benkei only needs one more blade to add to the 999 he has wrenched from samurai attempting to cross the bridge in order to fashion an invincible weapon. Benkei loses the fight and becomes Yoshitsune’s loyal retainer. Published by Ibaya Sensaburo, c. 1843.
Fine impression and colour. Very good condition. Signed Cho-o-ro Kuniyoshi ga.
Status: Available
Utagawa KUNIYOSHI (1797-1861)
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Saginoike Heikuro from Honcho Suikoden goyu happyaku-nin no hitori, “Eight Hundred Heroes of our Country’s Suikoden, One by One.” Shows the brigand wrestling with a huge serpent at the Lake of Sayama (or Hazama) at Tondabayashi in the Province of Kawachi. Published by Ibaya Sensaburo, c 1845. (First issued by Kaga-ya Kichiyemon, c 1831, his seal just visible lower right corner.) Robinson S4b.4. A fine design.
Very good impression and colour. Full size. Slightly soiled bottom left, otherwise very good condition. Signed Ichiyusai Kuniyoshi ga.
Status: Available
Utagawa KUNIYOSHI (1797-1861)
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Shows the warrior Chinsanzan Koshin (Chin: Huang Xin) holding the “Sword of Death.” His nickname was the “Guardian of the Three Mountains” because of his boast that he could easily eradicate the bandits from the three mountains in the Qingzhou region. . From the set 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. Published by Kaga-ya Kichiyemon, c 1827-30. Robinson S2.10.
Fine impression, colour and condition. Full size (rare with designs from this set). Signed Ichiyusai Kuniyoshi ga.
Status: Available
Utagawa KUNIYOSHI (1797-1861)
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A triptych showing beauties carrying brine in yoked buckets to be made into salt. From a set Mu Tamagawa, Mutsu no kuni chidori no Tamagawa, “Six Jewel Rivers, Plover Jewel River in Mutsu Province.” Also known as the Noda Jewel River. Above, a flock of chidori. The Mu Tamagawa theme was popular in Japanese art. Published by Sanoya Kihei, 1847-8.
Very good impression. Slight fading, otherwise good colour. Very good condition. Signed Ichiyusai Kuniyoshi ga.
Status: Available
Utagawa KUNIYOSHI (1797-1861)
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A rare early Kuniyoshi triptych, Minamoto no Yorimitsu no Shitenno tsuchigumo taiji no dzu, showing Minamoto no Yorimitsu (Raiko) and his loyal retainers: Watanabe no Tsuna, Usui no Sadamitsu, Sakata no Kintoki and Urabe no Suetake killing the giant “Earth Spider.” Numerous versions exist of this story but basically Raiko and his followers have to tackle various horrendous apparitions in a cave within the hill Kagura ga oka near Kyoto, eventually to be faced by a beautiful woman who envelops Raiko in cobwebs. He slays her and her body turns into a spider, the head being twenty-five feet long and eyes shining like the sun and moon. He cuts off the beast’s head and the carcase reveals the many bodies devoured by it. Published by Maru-ya Seijiro, c 1838. Robinson T46 and illustrated in colour, Kuniyoshi, B.W.Robinson, Phaidon 1982, plate 37.
Very good impression and colour. Minor creasing, otherwise very good condition. Signed Ichiyusai Kuniyoshi ga.Very good impression. Slight fading, otherwise good colour. Very good condition. Signed Ichiyusai Kuniyoshi ga.
Status: Available
Utagawa KUNIYOSHI (1797-1861)
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The brigand Saginoike Heikuro Masatora plunging a short sword into a giant boar. He is usually depicted battling a giant snake. Published c 1834-5 by Sanoya Kihei. Republished by Uedaya Kyujiro. Robinson S1c.17.
Very good impression and colour. The title label at extreme left edge trimmed and slight centre fold, otherwise good condition. Signed Ichiyusai Kuniyoshi ga.
Status: Available
Shunchosai HOKUSHU (Active 1822-32)
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Onoe Kikugoro III as the ghost of Oiwa in Irohagana yotsuya kaidan, “Ghost Story of Yotsuya.” Performed at the Kado Theatre, 1/1826. Probably the best known Japanese ghost story and has been made into a number of films. Tamiya Iemon, a masterless samurai, murders the wife he has disfigured who comes back to haunt him until he is driven mad and subsequently killed by Oiwa’s brother. Evidently, Kikugoro’s performance was something of a sensation at the time as he gave a bravura performance playing both the ghost of Oiwa and Koheiji who were nailed on opposite sides of a panel dropped into the river. There are at least five states of this print. The first appears to be that illustrated in Roger Keyes, The Theatrical World Of Osaka Prints, Philadelphia Museum Of Art, 1973, no. 34, p. 108 with the engraver and two printers and the writing printed in silver. The example offered here appears to be a second state without the engraver and printers’ seal but with the writing still printed in silver. Other impressions with different seals and lacking the first three lines of writing and the silver are known. See The Tsubouchi Memorial Theatre Museum of Waseda University catalogue, Kamigata Prints in the former period: part 1, nos. 279 and 280. Also BM impression 1962,0210,0.2 which may be the last state.
Fine impression and colour with calligraphy in silver. Very good condition; full size. Signed Shunchosai Hokushu ga.
Status: Available
Utagawa YOSHITORA (Active c. 1840-1880)
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An oban with title: Furyu saya-e: oiran, “Elegant Sheath-Pictures: Oiran.”A catoptric (mirror as opposed to an oblique) anamorphic print showing a parading courtesan. These prints were meant to be viewed in conical or cylindrical mirrors placed at the bottom of the image. The flat distorted image was then seen undistorted. However, in Japan the image was viewed in the curved surface of a sword sheath. Anamorphosis was known in Europe in the early 15th century and also in China during the Ming Dynasty (1368-1644). Published by Enshuya Matabei, c. 1845. Another impression is illustrated in Edo no asobi-e, Shinichi Inagaki, Tokyo Shoseki, 1988, plate 6. Very rare.
Fine impression. Very good colour and condition. Signed Ichimosai Yoshitora ga.
Status: Available
Ichiunsai KUNIHISA (1832-1891)
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An original painting, full colour on paper with the black waistband heavily lacquered, image size 48 x 11 in; 122 x 28 cms. Shows a young beauty carrying a box. She wears an apron and has a towel slung over her shoulder, so is presumably an assistant in a kitchen or bathhouse or similar establishment. The narrow format enhances her natural elegance. Kunihisa was the pupil and son-in-law of Kunisada. Some repaired wormage, otherwise good condition. Signed Kunihisa ga with two indistinct seals.
Status: Available
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Yamamoto FUJINOBU (Active 1750-1770)
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An original painting, full colour on paper, image size 32.25 x 7 in; 82 x 18 cms. Shows a parading courtesan with her kamuro. A painter and print artist whose prints were always published by Yamamoto Fusanobu giving rise to the theory that Fujinobu was a pseudonym of the publisher. Much influenced by Harunobu. His prints are extremely rare. Slight creasing, otherwise good condition. Signed Fujinobu ga with indistinct seal.
Status: Available
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Utagawa TOYOKUNI I (1769-1825)
An original drawing by the first Toyokuni. An hanshita-e diptych for a published set of triptychs with title: Yakusha juni tsuki, “Actors in the Twelve Months.” Shows the actors (from the left) Bando Mitsugoro III holding a pipe; Iwai Hanshiro V with an open book; Nakamura Utaemon III about to write a poem; and Segawa Roko IV with another pipe. They are compared to the months of the year, in this case July, the month of the Bon Odori festival and are also a parody of the Six Immortal Poets. The print published by Yamashiroya Toemon (active c. 1801-1817). In fact this set was published Spring, Bunka 6 (1809). Sumi on thin paper laid around edges onto another sheet. Some pentimenti and also shows the initial hurried under-drawing and with annotations for the finished print. Sold together with the two published sheets which shows the lanterns removed at top, the brazier bottom centre and other minor changes. In indifferent condition. An illustrated example of this complete triptych is in the Austrian Museum of Applied Arts.
The print signed Toyokuni ga. Original hanshita-e by Toyokuni I are extremely rare. Sold “as is” with all imperfections.
Status: Available
Toba HIROMARU (Active 1804-1818)
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An original painting showing a parading courtesan. Sumi and colour on paper, 45.5 x 11.25 in; 115.5 x 28.5 cms. A rare artist of the Utagawa school. Probably a pupil of Utagawa Toyohiro. His extant paintings show a considerable talent with particularly attenuated faces. Another example is in the MFA, Boston, acc. no. 11.7369 as well as there having been two sold at auction: Christies, NY 16/9/2003, lot 153 and Bonhams NY 18/3/2015, lot 3010. Some minor marks and creasing, but otherwise good condition. Signed Toba Hiromaru hitsu. Seal unread.
Status: Available
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Utagawa KUNIYOSHI (1797-1861)
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2 vols. complete: Kanjaku tsuizen hanashidori, “The Liberated Birds: A Memorial Book for Kanjaku.” A memorial book for the actor Nakamura Utaemon who died in 1852. He had the literary name of Kanjaku, meaning ”playing with sparrows” and the covers and many illustrations allude to this custom of releasing birds at funerals. Vol. 1: 1st preface , 3pp. giving the biography of Utaemon IV; poem 1p. 3 sheets: calligraphy (in ishizuri), 1p.; illustrations in colour, 5pp. signed on first page Toyokuni (III). Sheets 1-8: 2nd preface, 5pp., remaining pp. text, poems and colour illustrations. Sheets 1-75 with 15 single-page and 62 double-page illustrations in sumi and light colour. Inside back cover: colophon dated Kaei 5 (1852). Vol. 2: 110 sheets of text, poems, and illustrations. 38 single-page and 50 double-page illustrations (many in colour and includes a double-page illustration by Kuniyoshi). Last page, colophon, dated Kaei 5 (1852). Original covers with clouds and sparrows. Some soil and minor damage. One title slip missing and other damaged. Contents extremely good.
Status: Available
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Utagawa HIROSHIGE (1797-1858)
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Oi, a suburb of present day Ena City, is in the southern foothills of the central mountain range now known as the Japan Alps. Shows a group of travellers heavily protected against the snow and cold. From Kisokaido rokujukyutsugi no uchi, “Sixty-Nine Stations of the Kisokaido.” The set of seventy prints was started by Eisen and published by Hoeido in 1835, but in 1837 Hiroshige took over and completed the series with the publisher Iseya Rihei (Kinjudo). One of Hiroshige’s most famous designs.
Very good impression and colour. Imperceptible centre fold, otherwise very good condition. Signed Hiroshige ga.
Status: Available
Ichiryusai HIROSHIGE (1797-1858)
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An original painting showing the old lighthouse at Tempozan, Osaka. To the left is the mount which was formed by earth dredged from the Ajigawa in 1831 to allow easier access for ships. In the foreground masts of moored vessels. There appear to be few images of this lighthouse. It was replaced by a lighthouse designed by the British engineer Richard Henry Brunton, the “Father of Japanese Lighthouses” in 1872. Sumi and light colour on paper, 12.75 x 20.25 in ; 32.4 x 51.4 cms.
Signed Hiroshige ga with Ichiryusai seal. Very good condition.
Status: Available
Utagawa SADAFUSA (Active 1830s – 1840s)
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An original sumi woodblock for two chuban prints from a Kanadehon Chushingura set. The upper design being Act VII, the tea-house Ichiriki, Kyoto with Yuranosuke; the lower showing Act VIII, the bridal journey with Konami and her daughter Tonase on the Tokaido Road. Sold “as is” with all imperfections.
Status: Available
Katsushika HOKUSAI (1760-1849)
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Volume 11 from the Manga. Front cover with original pink title slip: (Denshin kaishu) Hokusai manga juichihen, (“Transmitted from the Gods.”) “Hokusai’s Sketches, Vol. 11.” Original grey covers with burnished wave and diamond pattern. Inside front cover catalogue of newly published books; 2 pages preface and 29 numbered pages comprising 56 illustrations , 36 single page and 10 double page. 2 pages block-holders catalogue and inside back cover catalogue of newly published books. The extremely rare first edition published by Eirakuya Toshiro, Nagoya, c. 1834. The Manga was eventually completed in 15 volumes (the last two posthumously). The first 10 volumes published by Kadomaruya Jinsuke, Edo and Eirakuya Toshiro, Nagoya, 1814-1819; vols. 11 and 12 by Eirakuya only, c. 1834; vol. 13 by Eirakuya only, c. 1849; vol. 14 by Eirakuya only, c. 1850s; vol. 15 by Eirakuya only, 1878. Initially based on sketches produced on a visit to his friend and pupil Maki Bokusen in Nagoya in 1812. These sketches were collated by Bokusen and Katsushika Hoku’un and published in 1814. Other pupils collected sketches and so the set expanded. The books were enormously influential and popular, not just in Japan, but in the West and were endlessly reprinted giving rise to a plethora of late editions. In 1831, the German Phillip Franz von Siebold, reproduced images from the Manga in lithograph in his Archiv zur Beschreibung von Japon. They were also highly admired by the Impressionists, especially Manet and Bracquemond.
Fine impressions of the first edition. Some minor defects but otherwise in very good condition.
Status: Available
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Utagawa HIROSHIGE (1797-1858)
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Ishiyakushi from an aiban set Tokaido gojusantsugi no uchi, commonly called the Gyosho Tokaido because of the cursive script on title. Shows travellers entering and leaving the village in heavy snow. Published by Ezakiya Kichibei/Yamadaya, c. 1841-2. There are variant states: later editions lack the gradation on the horizon. The first state may have a Hiroshige seal after the signature.
Very good impression and colour. Slight centre fold, otherwise very good condition. Signed Hiroshige ga.
Status: Available
Utagawa KUNISADA (1786-1864)
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An original hanshita-e (preparatory drawing) for a triptych showing, from the left, Nakamura Kamenojo I as the geisha Azuma standing above Kawarasaki Gonjuro I as Yamazakiya Yogoro, Bando Kamezo I as Settanaoshi Chogoro standing above Onoe Kikugoro IV as Kumasaka Ocho, and Onoe Kikugoro IV as Akogi Gennojo standing above Onoe Kikujiro II as Onnadayu Okoyo. The play was Yume musubu cho ni torioi performed at the Ichimura-za theatre 3/1856. These first drafts by the artist themselves survive because a more detailed drawing was needed by the blockcutter, and this was normally given to an assistant to execute. Or the drawing was never taken up by the publisher, for whatever reason. Sumi and touches of red with some pentimenti. (This was also most likely a published print by Sanoki as it is from the same group as others offered here.) Signed on two sheets Toyoukuni ga.
Status: Available
Utagawa KUNISADA (1786-1864)
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An original hanshita-e (preparatory drawing) for a triptych showing, from the left, the actor Bando Takesaburo I as Nagoya Sanza, Ichimura Uzaemon XIII as the Shinzo (“courtesan’s apprentice”), and Nakamura Fukusuke I as Fuwa Banzaemon. This is actually from the dance Sanpukutsui Kabuki no irodori performed at the Ichimura-za theatre, 5/1855. The publisher was Sanoki. These first drafts by the artist themselves survive because a more detailed drawing was needed by the blockcutter, and this was normally given to an assistant to execute. Or the drawing was never taken up by the publisher, for whatever reason. Sumi and touches of red with some pentimenti. Signed Toyokuni ga on the three sheets. Sold “as is” with all imperfections.
Status: Available
Utagawa KUNISADA II (1823-1880)
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A triptych showing Prince Genji in a boat with attendant page and a lady watching female awabi (abalone) divers called ama. These women were a great curiosity for the public and seen as rather risqué characters. Prince Genji was the protagonist of Murasaki Shikibu’s Heian-era novel The Tale of Genji. He was the second son of the emperor, and relegated to civilian life. Published 1865 by Maruya Kyushiro.
Very good impression and colour. Slight edge soil, otherwise very good condition. Signed Kunisada hitsu.
Status: Available
Kawamura BUMPO (1779-1821)
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I volume complete Bumpo gafu (Sampen), “Album of Drawings by Bumpo” (3rd Series”). Original light grey covers with burnished pattern. Original title slip. Preface 3 pp., with 18 double-page and 32 single-page illustrations in sumi and light colour numbered 1 – 35. Colophon dated Bunka 10 (1813).(First edition.) Signed Bumpo with publishers Kawachiya Kihei and Yoshidaya Shimbei. Fine impressions. Very good condition with no thumbing to corners.
Status: Available
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Hosoda EISHI (1736-1829)
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An original painting, sumi and colour on silk, 33.25 x 12 in; 84.5 x 30.5 cms. Shows a parading oiran, a high class courtesan, beneath falling cherry blossom. A parade was held every April in the Yoshiwara under the spring cherry blossom. Her costume is decorated with a large golden koi swimming amongst water weeds. An elegant and refined painting of great delicacy typical of this painter who was of unusually high rank for an Ukiyo-e artist. His prints – usually of beauties – are equally elegant. He also had a considerable number of pupils, including Eisho, Eiri and Eisui who produced some exceptional compositions. Probably painted around 1795-1804.
Mount with some minor damage; painted area in very good condition. Signed Chobunsai Eishi hitsu with Eishi seal.
Status: Available
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Toyohara KUNICHIKA (1835-1900)
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The actor Suketakaya Takasuke IV as Sakuramaru from a fine set of prints showing actors glimpsed through their dressing room sliding doors, prior to going on stage. Their figures partly silhouetted as are their assistants, here aiding the actor with his sword. From a set Gakuya nikai kage no hyoban, “Popularity of the Upstairs Dressing Room.” The set published by Takagawa Fusajiro, 1883.
Fine impression, colour and condition. Full size. Signed Toyohara Kunichika hitsu.
Status: Available
Toyohara KUNICHIKA (1835-1900)
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The actor Onoe Kikugoro V as Hisayoshi from a fine set of prints showing actors glimpsed through their dressing room sliding doors, prior to going on stage. Their figures partly silhouetted as are their assistants, here aiding the actor with his costume. From a set Gakuya nikai kage no hyoban, “Popularity of the Upstairs Dressing Room.” The set published by Takagawa Fusajiro, 1883.
Fine impression, colour and condition. Full size. Signed Toyohara Kunichika hitsu.
Status: Available
Utagawa KUNISADA (1786-1864)
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A sheet of original drawings being hanshita-e for an ehon. Shows, above, a seated samurai and a female figure to the right holding a mirror. Below, actors in a garden setting. Sumi with touches of red on thin paper laid onto thicker Japanese paper, 14 x 10 in; 36 x 25 cms. Sold “as is” with all imperfections.
Status: Available
Utagawa KUNITERU (Fl. mid-19th c.)
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An original hanshita-e (preparatory drawing) for a triptych showing the ground floor interior of a brothel in the Yoshiwara with courtesans and their assistants. These first drafts by the artist themselves survive because a more detailed drawing was needed by the blockcutter, and this was normally given to an assistant to execute. Or the drawing was never taken up by the publisher, for whatever reason. He was a pupil of Kunisada, originally calling himself Sadashige, and becoming Kuniteru when Kunisada became Toyokuni III. Sumi and touches of red. Extensive pentimenti. Sold “as is” with all imperfections. Signed on two sheets Kuniteru ga.
Status: Available
Utagawa KUNISADA (1786-1864)
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An original hanshita-e (preparatory drawing) for a published diptych showing, on the left, the actor Onoe Kikujiro II as Tatsuhime – in reality Yawata, the younger sister of Kotoda. On the right is Iwai Kumesaburo III as Kudo Kanaishimaru. The play is Matsu icho Tsurukame Soga performed at the Nakamura-ya theatre, 1/1854. The publisher of the print was Sanoki. These first drafts by the artist themselves survive because a more detailed drawing was needed by the blockcutter, and this was normally given to an assistant to execute. Or the drawing was never taken up by the publisher, for whatever reason. Sumi and touches of red. Signed Toyokuni ga on both sheets. Sold “as is” with all imperfections.
Status: Available
Kawabata GYOKUSHO (1842-1913)
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An original painted fan. On one side a bird amongst flowers and the reverse also with flowers. A leading figure in Tokyo art circles and the last great representative of the Shijo school. In exceptional condition with extensive gold leaf. Signed Gyokusho with seals Shibun on both sides.
Full colour on silk, each panel 39.75 x 25 in; 101 x 63.5 cms. Extremely good condition. Signed Kinzaburo Yoshitoshi ga with blurred seal but reading Go Kaisai. Extremely rare.
Status: Available
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Cho GESSHO (1772-1832)
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A large original painting of moored junks caught in a violent squall. A fine painter who studied under Tanke Gessen and Matsumura Goshun in Kyoto before moving to Nagoya in 1798 and becoming Nagasawa Rosetsu’s assistant for a short time. Also illustrated some fine ehon. Sumi and colour on silk with the currents of air painted in gold; 55.25 x 26 in; 140.25 x 66 cms. Painted c. 1810s. Provenance: Two previous owners’ seals on the exterior of mount: The Honda family library and the Ueno family. Old box with inscription which states that Gessho wanted to acquire a painting from the Owari district. Although not intrinsically valuable it was esteemed by the local people. He offered to exchange the painting offered here for their painting. There is a dig here in that the inhabitants of Owari were known to be avaricious. Written by Mizutani Okurei (1848-1926). Presumably based on the accounts of the two previous family owners.
Signed Gessho with seal: Yukisada, Genkei, Gessho. Obviously an important painting by Gessho and in very good condition.
Status: Available
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Utagawa KUNIYOSHI (1797-1861)
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Gempei Yashima o-kassen, the great battle of Yashima in 1184. Shows Yoshitsune’s famous “eight-boat leap” (centre), Noritsune (left), and Benkei on the large boat (right). Published by Kawaguchiya Uhei, c. 1839-41.
Very good impression and colour. Edge repair top left sheet, otherwise very good condition. Signed Ichiyusai Kuniyoshi ga.
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
