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Keisai EISEN (1790-1848)
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An amorous couple from an unsigned abuna-e (from abunai, risqué) set of twelve prints Keisai higo, “Secret Words of a Courtesan” published c. 1822-25. Although coming under the heading of shunga, each print is without any graphic details. She adjusts his hair with her hairpin while he smokes a pipe.
Fine impression, colour and condition. (Without centre fold, which is often encountered on this set.
Status: Available
Utagawa HIROSHIGE (1797-1858)
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Station Suhara from Kisokaido rokujukyu tsugi no uchi, “Sixty-nine Stations of the Kisokaido” published by Kinjudo, 1834-1842. The road known as the Nakasendo, “central mountain route,” as opposed to the Tokaido which was the “eastern sea route” was started with Keisai Eisen and finished by Hiroshige who designed 47 prints. This is one of Hiroshige’s most famous designs. Shows travellers sheltering in a wayside shrine from heavy rain with two figures running for its shelter. In the distance, silhouetted, a figure on horseback, another following on foot. Hiroshige based his design on an illustration in Itcho gafu, “Itcho’s Picturebook” by Suzuki Rinsho, 1770. This station is famous for the number of variant states, some lighter, some darker, and variations in the gradation on the trees as the printers strove to capture this stormy scene. This is an early state.
Fine impression with crisp seals. Fine colour and condition with large margins. Signed Hiroshige ga.
Status: Available
Suzuki HARUNOBU (1724-1770)
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Two volumes complete: Ehon haru no nishiki, “Picture Book: The Brocades of Spring.” Vol. 1: 1 page preface dated Kanoto U (1770); single page and 8 double page colour prints. Vol. 2: 1 single page and 8 double page colour prints. 1 page colophon with date, publisher, block-cutter and artist as Suzuki Harunobu with his seal. 2 pages publisher’s announcements. Published by Yamazaki Kimbe, Edo. This is the first edition, Meiwa 8 (1771). Other copies are in the MFA, Boston, acc. no. 1997.477.1-2 and the Philadelphia Museum of Art, acc. no. 1970-46-1. Provenance: Ex collections H.M.Kaempfer and Hayashi (their seals on the first page of each volume). Original covers and title slips. Covers worn. Some soil and edge restoration.
Very good impressions with generally very good colour. Rare in the first edition.
Status: Available
Utagawa HIROSHIGE (1797-1858)
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An important pair of original paintings, light colour on silk, 35.5 x 12.75 in; 90 x 32.5 cms. The left painting shows Asukayama in the Eastern Capital (Edo). This was one of the top areas to view the abundant cherry trees, the first of which were planted by the Shogun Tokugawa Yoshimune. A fir tree is seen to the left with cherry trees on the lower slope and a majestic Fuji in the distance. A large foreground object, often only partly shown, is a characteristic of many Hiroshige paintings and prints: They lead the eye into a composition and give perspective. The right-hand painting shows the Sumida River in the Eastern Capital (Edo) with a flowering cherry tree in the foreground. (See the comment above.) The sakura flowers from the end of March to early May and the sakura-zensen, blossom forecast, by the weather forecasters is watched assiduously as the blossom is so transient.
Each painting signed Ryusai with Hiroshige seal. Hiroshige produced a number of paintings in this format with this signature and seal, c. early 1850s. In good condition.
Status: Available
Tsukioka YOSHITOSHI (1839-1892)
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Shows the warrior Zhang Fei (Jap. Yokutoku) awaiting his rival Cao Cao on Changban bridge. Fei tricks his enemy into thinking he leads a vast army by dragging logs from a nearby forest causing a huge dust cloud. Cao Cao retreats. The story is from the Romance of the Three Kingdoms (Chi. Sanguo yanyi). From the set Ikkai zuihitsu, “Essays by Yoshitoshi.” (Ikkai was an early name of Yoshitoshi’s.) A set of thirteen prints published by Masadaya Heikichi 1872/3. A fine set.
Extremely fine impression and colour from the first edition. Fine burnishing on the horse. Most designs from the set have red seals in the margin and red seals over the signature. These were removed on later editions. Margins trimmed a little, otherwise fine condition. Signed Ikkaisai Yoshitoshi hitsu.
Status: Available
Tsukioka YOSHITOSHI (1839-1892)
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Shows the bloodied western army commander, Shima Sakon, having severed the head of Sato Daihachi, which flies through the air at Horagatoge Pass. Sakon lead an army of his Lord Ishida Mitsunari against the future Shogun Tokugawa Ieyasu at the battle of Sekigahara in 1600. From the set Ikkai zuihitsu, “Essays by Yoshitoshi.” (Ikkai was an early name of Yoshitoshi’s.) A set of thirteen prints published by Masadaya Heikichi 1872/3. A fine set.
Extremely fine impression and colour from the first edition. (There were no red seals on the first edition of this design.) Trimmed on black border at left, otherwise fine condition. Signed Ikkaisai Yoshitoshi hitsu.
Status: Available
Tsukioka YOSHITOSHI (1839-1892)
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Shows Tobosaku (who stole the Peaches of Immortality), Miura Daisuke Yoshiaki (Lord of Kinugasa castle), and the son of Urashima Taro (who saved the sea turtle and was carried to the Dragon King’s Palace) drinking wine. From the set Ikkai zuihitsu, “Essays by Yoshitoshi.” (Ikkai was an early name of Yoshitoshi’s.) A set of thirteen prints published by Masadaya Heikichi 1872/3. A fine set.
Extremely fine impression and colour from the first edition. (No seals on the first edition.) Margins trimmed a little, otherwise fine condition. Signed Ikkaisai Yoshitoshi hitsu.
Status: Available
Utagawa Toyokuni II (1777-1835)
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An aizuri-e (blue print) showing the courtesan Utagawa of Tamaya admiring a bowl of carnations. From a set Bijin awase published by Shimizu, c. late 1820s. These blue prints using the imported bero, Berlin blue (what we called Prussian blue), became popular during the 1820s to 1840s as the cost came down.
Fine impression and colour. Trimmed slightly, otherwise very good condition. Signed Toyokuni ga.
Status: Available
Tsukioka YOSHITOSHI (1839-1892)
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The great beauty Lady Kaoyo (Gozen) admires herself in a long morror. Lord Ko Moronao, the chief retainer of Shogun Ashikaga Takauji, hears of her beauty and connives to spy on her after her bath. He falls in love, but she is married to En’ya Hankan Takasada. The evil Moronao plots against En’ya although the outcome is that the family is put to death, including En’ya’s wife. The story forms the basis of the famous Chushingura tale. From the set Ikkai zuihitsu, “Essays by Yoshitoshi.” (Ikkai was an early name of Yoshitoshi’s.) A set of thirteen prints published by Masadaya Heikichi 1872/3. A fine set.
Extremely fine impression and colour from the first edition. Most designs from the set have red seals in the margin and red seals over the signature. These were removed on later editions. Trimmed on black border at left, otherwise fine condition. Signed Ikkaisai Yoshitoshi hitsu.
Status: Available
Katsushika HOKUSAI (1760-1849)
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old lady in a bath house and two of a seated and standing beauty. (These last two studies were copied many times by Hokusai’s pupils.) Provenance: Ex Hayashi collection, seal bottom right. Good condition.
Status: Available
Attributed to Sugimura JIHEI (Active c. 1681-1703)
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A large-size hand-coloured print showing a couple in flagrante delicto from an untitled set of twelve prints published by Hangiya Chojiro, c. 1685. (There were in fact two alternative designs added making a total of fourteen sheets.) Most reference works give this set to Moronobu. However, Timothy Clark, in the British Museum exhibition catalogue: Shunga, sex and pleasure in Japanese art, 2013, pp. 128-131 attributes the set to Jihei stating that “…this group of prints is one of the most glorious to have survived from the early period of ukiyo-e.”
Very good impression. Fine hand-colouring. Minor imperfections and signs of mounting au verso, but all compatible with the age of the print.
Status: Available
Attributed to Sugimura JIHEI (Active c. 1681-1703)
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A large-size hand-coloured print showing a couple in flagrante delicto from an untitled set of twelve prints published by Hangiya Chojiro, c. 1685. (There were in fact two alternative designs added making a total of fourteen sheets.) Most reference works give this set to Moronobu. However, Timothy Clark, in the British Museum exhibition catalogue: Shunga, sex and pleasure in Japanese art, 2013, pp. 128-131 attributes the set to Jihei stating that “…this group of prints is one of the most glorious to have survived from the early period of ukiyo-e.”
Very good impression. Fine hand-colouring. Minor imperfections and signs of mounting au verso, but all compatible with the age of the print.
Status: Available
Hishikawa MORONOBU (?-1694)
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A large sumizuri-e print from a shunga set of twelve published c. 1680s. In each case the couples are enclosed in a Chinese-style fan border. A couple in flagrante delicto beside a tiger and bamboo screen. Moronobu was possibly the single most influential artist and pioneered the ukiyo-e school. A painter, printmaker and illustrator.
Good impression. Minor marks, otherwise good condition.
Status: Available
Hishikawa MORONOBU (?-1694
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A large sumizuri-e print from a shunga set of twelve published c. 1680s. In each case the couples are enclosed in a Chinese-style fan border. A couple in flagrante delicto, the women disturbed while threading a needle. Moronobu was possibly the single most influential artist and pioneered the ukiyo-e school. A painter, printmaker and illustrator.
Very good impression. Slight stains at top, otherwise very good condition.
Status: Available
Hishikawa MORONOBU (?-1694)
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A large sumizuri-e print from a shunga set of twelve published c. 1680s. In each case the couples are enclosed in a Chinese-style fan border. A couple in flagrante delicto. Moronobu was possibly the single most influential artist and pioneered the ukiyo-e school. A painter, printmaker and illustrator.
Very good impression. A small wormhole and slight stain, otherwise very good condition.
Status: Available
Hishikawa MORONOBU (?-1694)
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A large sumizuri-e print from a shunga set of twelve published c. 1680s. In each case the couples are enclosed in a Chinese-style fan border. A couple in flagrante delicto. Moronobu was possibly the single most influential artist and pioneered the ukiyo-e school. A painter, printmaker and illustrator.
Very good impression. A small wormhole and slight stain, otherwise very good condition.
Status: Available
Tsukioka YOSHITOSHI (1839-1892)
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Shows Kintaro (aka Sakata Kaidomaru and Sakata no Kintoki) grappling with a giant carp. Kintaro, a child of herculean strength, was raised by a yama-uba on Mount Ashigara where he was befriended by the mountain animals. From the set Ikkai zuihitsu, “Essays by Yoshitoshi.” (Ikkai was an early name of Yoshitoshi’s.) A set of thirteen prints published by Masadaya Heikichi 1872/3. The masterpiece from the set and one of Yoshitoshi’s best designs. A fine set.
Extremely fine impression and colour from the first edition. Most designs from the set have red seals in the margin and red seals over the signature. These were removed on later editions. Margins trimmed a little, otherwise fine condition. Signed Ikkaisai Yoshitoshi hitsu.
Status: Available
Tsukioka YOSHITOSHI (1839-1892)
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A fascinating print showing Kintoki (aka Kintaro and Sakata Kaidomaru) and yama-uba beneath a flowering cherry tree. Strong western elements are obvious in this design indicating a knowledge of (probably) Flemish Madonna and Child paintings or icons, Kintoki standing in for the child Jesus. Yama-uba is depicted as a bare-breasted benign mother figure, rather than the wizened witch which is how she is usually shown, having raised Kintoki on Mount Ashigara. From the set Ikkai zuihitsu, “Essays by Yoshitoshi.” (Ikkai was an early name of Yoshitoshi’s.) A set of thirteen prints published by Masadaya Heikichi 1872/3. A fine set.
Extremely fine impression and colour from the first edition with a brown Kintoki (rather than bright red) and the red seals in the margin and over signature. The white hare’s coat is blind-printed. Margins trimmed a little, otherwise fine condition. Signed Ikkaisai Yoshitoshi hitsu.
Status: Available
Toyoharu KUNICHIKA (1835-1900)
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The actor Bando Hikosaburo V as Nikki Danjo from a set Goketsu kijutsu kurabe, “Competition of the Magicians.” Published by Matsui Eikichi, 1873/4. Hikosaburo played Nikki Danjo in the play Date zensei kuruwa kagami at the Murayama Theatre, 3/1872. The story relates how Nikki Danjo retrieves the list of conspirators against the Lord of Oshu by changing into a rat. A guard attacks the rat and strikes it on the head with an iron fan. It transmogrifies into Nikki Danjo. This sensational scene in kabuki has Nikki Danjo emerging through a trapdoor in the hanamachi in a cloud of smoke. He is usually shown with the scroll of conspirators in his mouth and a red mark on his forehead where he was hit by the fan.
Very fine impression. Fine colour and condition. Signed Oju Kunichika hitsu.
Status: Available
Utagawa SADAKAGE (Fl. c. 1818-1844)
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An aizuri-e (blue print) showing a beauty bowing obsequiously with a cup of tea. Shi, “Samurai” from a set of the Four Estates: Shi, Samurai; No, Peasant; Ko, Artisan; Sho, Merchant. Published by Kawaguchiya Chozo, c. 1830s. These blue prints using the imported bero, Berlin blue (what we called Prussian blue), became popular during the 1820s to 1840s as the cost came down.
Very good impression, colour and condition. Signed Gokotei Sadakage ga.
Status: Available
Kobayashi KIYOCHIKA (1847-1915)
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A triptych Ujigawa Kajiwara Kagesue, Sasaki Takatsuna, miju uma. Yoshitsune is informed that Kiso no Yoshinaka is entrenched behind the natural defence of the Uji river, then in full flood. Yoshitsune calls on Kajiwara Kagesue and Sayemon-no-jo Sasaki Shiro Takatsuna to make an attempt at fording the river. He gives them his best horses: Surusumi to Kagesue and Iketsuki to Takatsuna. They plunge into the river beside their horses with Takatsuna, dodging the hail of arrows, arriving first. One of Kiyochika’s best designs. Published 1899.
Fine impression, colour and condition. Untrimmed with margins intact. Signed Kiyochika.
Status: Available