Utagawa KUNIYOSHI (1797-1861)



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The actor Onoye Kikugoro III as the ghost of Oiwa from a production of Yotsuya kaidan at the Morita Theatre, 1836. Probably the most famous Japanese ghost story. It was adapted by the playwright Tsuruya Nanboku IV for his friend Kikugoro in 1825. The left panel of a diptych (the right panel being boring and usually ignored). A scene on Snake Mountain showing Oiwa, disfigured by poison, emerging from a burning lantern to haunt her husband, Tamiya Lemon, who had murdered her father. Published by Kawaguchi-ya Chozo, 1836.

 
 

Very good impression, colour and condition. Signed Ichiyusai Kuniyoshi ga.

 
 

Status: Available

 
 

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Kobayashi KIYOCHIKA (1847-1915)



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Taira no Tadamori Mido hoshi o toraen zu. The story relates how the Emperor Shirakawa was perturbed by a monster in the precincts of the Mido Temple at night. He commands the samurai Taira no Tadamori to kill it. The triptych shows Tadamori discovering that the monster is, in fact, the bedraggled old priest of Mido Temple who steals oil from the stone lanterns. Published by Hara Taneaki, c 1883.

 
 

Very fine impression with particularly fine gradation and printing. Fine colour. Minor edge damage, otherwise fine condition. Full margins: This design often comes with the title and or publisher’s seal trimmed. Signed Hoensha Kiyochika hitsu.

 
 

Status: Available

 
 

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Kitagawa UTAMARO II (Fl. c 1807-1830s)



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A courtesan and her Shinzo from a set Edo murasaki edoru hinagata, “Models Designed in the Purple of Edo.” A bluish purple as opposed to the more reddish purple from Kyoto. A pigment that had been extremely expensive and reserved for the elite few, but became cheaper and more accessible during the Edo period, fuelled by leading actors – such as Danjuro – wearing an Edo murasaki headband. Published 11/1807. Publisher unread.

 

Very good impression, colour and condition. Signed Utamaro hitsu.

 

Status: Available

 

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Torii KIYONOBU II (Fl. c 1720s-1760)



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An early print showing the actor Sawamura Harugoro as Soga no Goro. Another impression is in MFA, Boston, acc. no. 21.5656. Published by Hiranoya Kohachi c early 1740s. Ex collection Dr E.F. (1969). Rare.

 

Very good impression. Urushi beni-e with signs of hand-colouring (faded) and lacquered sumi. Paper toned and signs of mounting au verso. Signed Torii Kiyonobu hitsu.

 

Status: Available

 

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Adachi GINKO (Fl. 1874-1897)



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The actor Onoe Kikugoro V in the role of the evil Asao no Tsubone in a story by Murai Teikichi from a set Kodan isseki; yomikiri tsuika, “Storytelling Complete in One; More Stories.” Published by Gusokuya Kahei, 1874. Shows Tsubone encircled by snakes who force her to reveal her true identity – the Fox Spirit. Kodan (traditional storytelling) raconteurs narrated Japanese folk stories, sometimes accompanying themselves with wooden blocks clapped together or a fan giving rhythm. (The open Kodan text is shown top right.) Having been popular from around 1700 (and known as Koshaku), these performances gained renewed popularity in the 1850s with the classic standards augmented by contemporary stories of heroes and vigilantes.

 

Very good impression and colour. Minimal trimming, otherwise very good condition. Signed Oju Ginko hitsu.

 

Status: Available

 

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Utagawa HIROSHIGE (1797-1858)



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Wakasa, Gyosen karei-ami, “Fishing Boats and Flounder Nets in Wakasa [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. Fishing in Wakasa Bay. The highway between the Wakasa ports and Kyoto was nicknamed the “Mackerel Highway” because of the quantity of fish that was transported.

 

Very fine impression and colour. Light album backing, otherwise fine condition. Signed Hiroshige ga.

 

Status: Available

 

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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

 

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ANONYMOUS (Late 18th century)



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An Uki-e, “floating picture” painting showing an interior with a puppet performance taking place. A puppeteer manipulates a female puppet in the centre, behind him two gidayu narrators and a shamisen player. A male puppet is being held behind a screen. Ladies behind a screen at right enjoy the drama. In fact, a male individual at the back seems overcome by emotion with a hanky to his face. The architecture is represented using one-point perspective, a style which made its way to Japan in the 1740’s from the West via China. (Interestingly the artist has got the perspective wrong on the screen at right.) This genre of painting – invariably unsigned – always shows interior or semi-interior views with banquets or, as here, puppet performances. Full colour on paper, 17 x 23 in; 43.2 x 58.5 cms. Minor marks, although good condition for this kind of painting.

 

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Utagawa HIROSHIGE (1797-1858)



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A vertical diptych showing a multitude of cranes flying up from a cresting wave to a large red sun. In fact this diptych was used by an Edo publisher as end sheets to albums – usually sets of Hiroshige landscapes. Rare: Invariably it is impossible to match the two sheets as the bottom design is always graded blue at the top. Another matching impression is illustrated pl. 143 in Four Hundred Ukiyoe Woodblock Prints From The Museum Of Art, Rhode Island School Of Design, Abby Aldrich Rockefeller Collection Of Japanese Prints, 1990. Another impression is known with a large red seal at a slight angle bottom right. (This may be the first state but rather spoils the design.) Published 5/1858.

Fine impression and colour. Small expertly repaired binding holes, otherwise very good condition. Signed Hiroshige hitsu with Ichiryusai seal.

Status: Sold

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Utagawa SADAHIDE (1807-1873)



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An aizuri fan print. Shows two travellers admiring the view of the Tama River and Mt. Koya in Kii Province. Published c 1849. Sadahide produced a considerable number of fan prints and it seems to have been a speciality of his. Rare.

Very good impression and colour. Minor edge soil, otherwise very good condition. Uncut. Signed Gountei Sadahide ga.

Status: Sold

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Utagawa SADAHIDE (1807-1873)



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An aizuri fan print. Shows travellers arriving at Inba Marsh in Shimosa Province. This is now an important wetland habitat for wild birds. Published c 1849. Sadahide produced a considerable number of fan prints and it seems to have been a speciality of his. Rare.

Very good impression and colour. Minor edge soil, otherwise very good condition. Uncut. Signed Gountei Sadahide ga.

Status: Sold

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Utagawa SADAHIDE (1807-1873)



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An uncut fan print showing Otsu-e pictures. (These were cheaply and quickly produced folk images, beginning in the 17th century, sold at an important road junction at Otsu, a port on Lake Biwa. Hence the nomenclature.) Published by Ibaya Senzaburo, c 1849. . Sadahide produced a considerable number of fan prints and it seems to have been a speciality of his. Rare.

Very good impression and colour. Slight edge soil, otherwise very good condition. Uncut. Signed Sadahide ga (on three of the Otsu-e).

Status: Sold

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Ichiryusai HIROSHIGE (1797-1858)


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An uncut fan print with title Shinkiro no zu which has a double meaning of being the Yoshiwara in the deep sea and also a chimera or mirage. The scene enclosed in a (dreaming ?) bivalve shows visitors in a watery Yoshiwara, all with fish heads. Of the utmost rarity: This appears to be the only impression known. There are also what appear to be keying marks on three sides that have not been removed. Published by Shinagawaya Kyusuke with censor seal for 1845.

 

Very fine impression. Fine colour and condition. Signed Hiroshige giga hitsu.

 

Status: Sold

 

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Katsushika HOKUSAI (1760-1849)


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An original painting, light colour on paper, 13 x 16.5 in; 33 x 42 cms. Shows a sparrow flying over a flowering plum tree. Light soil and creasing, but in generally good condition. Signed Hokusai suichu hitsu, “Hokusai painted while drunk.” Sealed Katsushika. (One of his better-known seals. He used different versions of it throughout his career.)

Status: Sold


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Tsukioka YOSHITOSHI (1839-1892)



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An original fan painting, sumi on treated paper, 17.5 x 5.5 in; 44.5 x 14 cms. Shows two dogs – possibly Chin. In very good condition: As nearly always, showing the rib folds of the fan. Tipped onto gold-speckled board. Signed and sealed Yoshitoshi.

Status: Sold

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Uegaki HORYU (Fl. c 1716-1736)



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An original painting, full colour on paper, 36.5 x 15.5 in; 92.75 x 39.4 cms. Shows a full-length courtesan. It appears there are at least four other Horyu paintings known: Two in the Tokyo National Museum: C0041812 and C0041813; one in the Cleveland Museum of Art; and another in the MFA, Boston, Acc. no. 11.7482. Horyu worked in parallel (and in competition) with the Kaigetsudo atelier. Signed Nihon-e Uegaki Horyu kore o gasu with one Horyu seal; the other unread. The lid of the box is inscribed: Kaigetsudo-ha Uegaki Horyu-hitsu tayu tachi sugata, “A standing figure of a top courtesan brushed by Uegaki Horyu of the Kaigetsudo school.” And on the inside of the lid: Showa hinoto’u uzuki gekan, “Late April of the Fire Rabbit Year [Showa 62/1987].” Appraised by Kimura Suetsuke (a dealer and Ukiyo-e expert). Areas of restoration at bottom and one or two other small areas, but otherwise in very good condition for a painting of this period.

Status: Sold




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Utagawa HIROSHIGE (1797-1858)



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The great Sanjo Bridge, Kyoto. Number 55 from the Tokaido: Gojusantsugi published by Marusei, c 1848-49. Also known as the Reisho Tokaido. Shows figures on the bridge including Oharame carrying firewood and ladies with katsugi garments. In the distance is Higashiyama and Mt. Hiei.

Fine impression, colour and condition. Signed Hiroshige ga.

Status: Sold

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Ichiyusai HIROSHIGE II (1826-1869)




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Suo Iwakuni Kintaibashi, “The Bridge of the Brocade Sash at Iwakuni in Suo Province.” From an uncompleted set: Shokoku meisho hyakkei, “One Hundred Views of the Provinces.” Published by Uoei between 1859 – 1861 (this being 1859). Shows the beautiful five-arch bridge spanning the Nishiki-gawa under heavy snow. The village of Nishikimi in the foreground. The bridge was built in 1673 using massive stone pilings because earlier bridges had been swept away. It was destroyed in 1950 due to a typhoon but rebuilt in 1953. The best print from the set and probably Hiroshige IIs finest design.

 

 

Fine impression of the first edition with mica applied. Fine colour. Minor edge discolouration, otherwise very good condition. Later editions lack the variegated cartouche and the colour-banded publisher’s seal in left margin. Signed Hiroshige ga.

Status: Sold

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Utagawa HIROSHIGE (1797-1858)



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Shimotsuke Nikkosan urami no taki, “Back-viewed Waterfall on Mt. Nikko in Shimotsuke [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. Figures gaze up at the back of the waterfall which thunders over the path. It is also known with variant colour schemes. A fine design.

Very fine impression with strong blind-printing on the fall. Very fine colour. Light album backing, otherwise fine condition. Signed Hiroshige ga.

Status: Sold

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Utagawa HIROSHIGE (1797-1858)



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Musashi, Sumidagawa, yuki no ashita, “Musashi [Province], Sumida River, Morning after Snow.” 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, otherwise fine condition. Signed Hiroshige ga.

Status: Sold

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Ichiryusai HIROSHIGE (1797-1858)



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An extremely rare chu-tanzaku, Fuyu Sumidagawa no yuki, “Winter Snow on the Sumida River.” From a set Shiki Edo meisho, “Famous Places in Edo in the Four Seasons.” A lone figure in straw cape and large hat poles a log raft down the Sumida river in heavy snow. Published by Kawasho c. 1834. There are a number of states of this design known: As here (probably the earliest) with publisher’s seal and kiwame seal; with kiwame only; and without either. There are also extremely deceiving copies of this print. Provenance: Ex Le Veel collection, sold by Ader Picard Tajan, Paris, 2nd sale, 24/10/1980, lot 114, p. 50.

 

Very good impression, colour and condition. Signed Hiroshige ga.

 

Status: Sold

 

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Utagawa KUNIYOSHI (1797-1861)



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A surimono from a series: Fuzoku onna Suikoden hyakuhachiban no uchi, “Modern Women as the One Hundred and Eight Heroes of the Suikoden.” Shows a beauty leaning on a fulling block beside a stream. She gazes at a flowering cherry tree with a village in the distance beneath a full moon. Each design is based on one of the characters from the Suikoden; in this case Shinkigunshi Shubu (Zhu Wu), the “Resourceful Strategist.” The series was inspired by a new translation of the 12th century Chinese novel Shui huchuan, “All Men are Brothers” which relates the deeds of a group of outlaws. Commissioned by the Hisakatayaren Club for the New Dragon Year 1832. Surimono were usually issued by these poetry clubs or for specific occasions, although individuals also commissioned them. They could employ every artifice available to the printers and engravers: metal powders, mica, blind-printing and burnishing, and were printed on the best, thick hosho. They were not issued in large numbers as conventional Ukiyo-e and are usually of a smaller format. Presumably ambitiously planned as 108 prints but never completed. Rare.

Very fine impression and colour with silver and gold. Slightly trimmed top and bottom, otherwise very god condition. Signed Ichiyusai Kuniyoshi ga with the red seal of the printer Suriko Shinzo (which is removed on some impressions).

Status: Sold

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ANONYMOUS



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An unusual and rare surimono showing a matsutake, pine mushroom, and an akagai, red clam. Obvious sexual connotations due to their similarity to the human anatomy. The inscription is enigmatically signed Master In-The-Clouds or Humourously related by the Master who is relaxing and drinking while living in the clouds. With a reference to the Chinese immortal sage Yunzhongzi. Surimono were usually issued by poetry clubs or for specific occasions, although individuals also commissioned them. They could employ every artifice available to the printers and engravers: metal powders, mica, blind-printing and burnishing, and were printed on the best, thick hosho. They were not issued in large numbers as conventional Ukiyo-e and are usually of a smaller format.

Very good impression and colour. Slight soil, otherwise very good condition.

Status: Sold

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Tsukioka YOSHITOSHI (1839-1892)



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A triptych showing Yamauba on the left and Kintaro about to wield a large axe to break a large Kaga mimochi, mirror rice cake. This is a traditional Shinto rite in January. January 11th is also the day the wealthy opened their storehouses to air their precious possessions (Kurabiraki). Published by Akiyama Buemon 1891.

Very fine impression with extensive burnishing. Fine colour and condition. Signed Yoshitoshi.

Status: Sold

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Tsukioka YOSHITOSHI (1839-1892)



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A design from the set Azuma no nishiki ukiyo kodan, “Tales of the Floating World on Eastern Brocade.” Kodan (traditional storytelling) raconteurs narrated Japanese folk stories, sometimes accompanying themselves with wooden blocks clapped together or a fan giving rhythm. The Kodan text is shown above. Having been popular from around 1700 (and known as Koshaku), these performances gained renewed popularity in the 1850s with the classic standards augmented by contemporary stories of heroes and villains. Shows Lady Masao from Osasahara surrounded by curling snakes who force her to reveal her true identity – the Fox Spirit. Various publishers from 1867-68, here Omiya Kyojiro, 11/1867.

Fine impression. Very good colour. Slight trimming, otherwise very good condtion. Signed Ikkaisai Yoshitoshi hitsu.

Status: Sold

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Tsukioka YOSHITOSHI (1839-1892)



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A design from the set Azuma no nishiki ukiyo kodan, “Tales of the Floating World on Eastern Brocade.” Kodan (traditional storytelling) raconteurs narrated Japanese folk stories, sometimes accompanying themselves with wooden blocks clapped together or a fan giving rhythm. The Kodan text is shown above. Having been popular from around 1700 (and known as Koshaku), these performances gained renewed popularity in the 1850s with the classic standards augmented by contemporary stories of heroes and villains. Shows Mukokizu Yosa stabbing Komori Yasu (Yasu the Bat); so-called because of the bat-like birthmark on his cheek. A gruesome scene with Yasu covered in blood. Various publishers from 1867-68, here Omiya Kyojiro, 11/1867.

Fine impression. Very good colour. Slight trimming, otherwise very good condtion. Signed Ikkaisai Yoshitoshi hitsu.

Status: Sold

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Tsukioka YOSHITOSHI (1839-1892)



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A design from the set Azuma no nishiki ukiyo kodan, “Tales of the Floating World on Eastern Brocade.” Kodan (traditional storytelling) raconteurs narrated Japanese folk stories, sometimes accompanying themselves with wooden blocks clapped together or a fan giving rhythm. The Kodan text is shown above. Having been popular from around 1700 (and known as Koshaku), these performances gained renewed popularity in the 1850s with the classic standards augmented by contemporary stories of heroes and villains. Shows Azekura Jushiro slashing Hinotama no Sangoro who is covered in blood. Various publishers from 1867-68, here Sanoya Tomigoro, 9/1867.

Fine impression. Very good colour. Slight trimming, otherwise very good condtion.

Status: Sold

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Utagawa KUNIYOSHI (1797-1861)



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A triptych showing the ghosts of the Taira (Heike) warriors attempting to sink Yoshitsune’s ship off the coast of Settsu on his way to Shikoku. This is one of Kuniyoshi’s great designs – amongst the three or four best triptychs and is illustrated in numerous publications. The scene is the outcome of a great battle at Dan-no-ura where the Minamoto (Genji) clans clashed and defeated the Taira clans a few years earlier. The spirits of the drowned warriors rose up to seek revenge only to be pacified by Benkei reciting exorcisms with his rosary. Published 1849-52 by Enshuya Hikobei. Robinson T242. Rare.

Very good impression and colour although slightly mismatched blue on the first and second sheets. Very good condition. Full size. There appear to be three states of this design: The main difference being in the shape of the ghosts and lines in the waves only on the first state. In this (the second state) the ghosts lack some of the features that are on the first and a large spirit appears above the wave over the ship on the centre panel. The third state has further differences in the ghosts and lacks this figure. Also, the colour of the boat gets greyer. Signed Ichiyusai Kuniyoshi ga.

Status: Sold

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Katsukawa SHUN’EI




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An hosoban showing Iwai Hanshiro IV in a “Shibaraku” role, probably as Akita Jonosuke Yoshikage from the play Mieiko nori no hachi no ki performed at the Kawarazaki Theatre in the 11th month, 1791. The highly stylised and dramatic Shibaraku costume gave rise to some of the best ukiyo-e designs. Originally staged by Ichikawa Danjuro I in 1697, it quickly gained popularity and was included in the kaomise celebrations at Edo theatres. Published by Harimaya Shinshichi. Ex Beres collection, sold Paris 2002, lot 39.

 

 

Fine impression, very good colour and condition. Beres seal au verso. Signed Shun’ei ga.

 

 

Status: Sold

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KATSUKAWA SCHOOL



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The actor Iwai Hanshiro IV probably in a new year Soga play. Unidentified publisher, published c late 1780s.

Fine impression. Exceptional colour. Fine condition.

Status: Sold

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Torii KIYOMASU II (Fl. c 1720s -1760)



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An exceptional Primitive showing the onnagata actor Yamashita Kinsaku I looking down at the actor Sawamura Sojuro I who is holding a kettle and teacup. Published by Sagami-ya Yohei c late 1720s.

Very good impression. Urushi beni-e with hand-applied colour: Tan, yellow, light and dark beni and green. Lacquered sumi over an embossed pattern and gold powder. Minor soil and small nick out of bottom edge, otherwise very good condition. Signed Torii Kiyomasu hitsu.

Status: Sold

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Torii KIYOTOMI (FL. c 1720 -1740)



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The actor Ogino Isaburo I looking down on the onnagata actor Fujimura Handayu II. An inscription above Ogino Isaburo states: Kyo Shijo kudari, “Coming from Shijo (Fourth Street) from the Capital.” Indicating the actor was on tour in Edo. Kyoto was considered the capital at that time and the Kabuki theatre was located on Fourth Street in Kyoto. Published by Igaya Kan’emon (Bunkido) c mid 1720s.

Very good impression. Urushi beni-e with hand-applied colour: Tan, yellow, light and dark beni and blue. Lacquered sumi over an embossed pattern and gold powder. Some soil and expertly repaired wormage, otherwise very good condition. Signed Torii Kiyotomi hitsu.

Status: Sold

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Tamura SADANOBU (Fl. c 1720s-1730s)



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The An artist who seems to have specialised in triptychs. Shows the actor Ichikawa Monnosuke I shielding his head with a large sedge hat (kasa). The middle sheet (naka) of a triptych with title: Hana shobu irotagai sannpukutsui, “A Triptych of Irises in Alternating Colours.”(Possibly following the colours irises come in: Blue, purple, white.) On the sleeves are the auspicious characters denoting long life. Published by Murataya Jirobe (Eiyudo), c mid 1720s.

Very good impression. Urushi beni-e with hand-applied colour: tan, blue and beni. Lacquered sumi over an embossed pattern and gold powder. Slight loss of the sumi, otherwise very good condition. Signed Tamura Sadanobu hitsu.

Status: Sold

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Torii KIYOMASU II (Fl. c 1720s -1760)



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The onnagata actor Ichimura Takenojo IV standing and combing the hair of a fashionable young man played by Sanjo Kantaro II. Above, left, is the title printed in gold: Kamisuke, “Hair-combing.” These romantic scenes show the tenderness and love between a man and a woman. There is another version of this scene with the same actors by Okumura Toshinobu. Published by Igaya Kan’emon (Bunkido) c early 1730s.

Very good impression. Urushi beni-e with hand-applied colour: Lilac, beni and yellow. Lacquered sumi over an embossed pattern and gold powder with sprayed blue bands around title. Light soil and small expertly repaired wormhole, otherwise very good condition. Signed Torii Kiyomasu hitsu.

Status: Sold

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Torii KIYOMASU II (Fl. c 1720s -1760)



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Shows the actor Sodesaki Miwano I as a proprietress of a house of assignation (kasha). He holds a puppet of the actor Ichikawa Monnosuke I dressed as a fashionable young man visiting the pleasure quarter holding a sedge hat to hide his face. Published by Igaya Kan’emon (Bunkido) c late 1720s.

Very good impression. Urushi beni-e with hand-applied colour: beni, yellow, lilac and pale green. Lacquered sumi over an embossed pattern and gold powder. Light soil and expertly repaired wormage, otherwise very good condition. Signed Torii Kiyomasu hitsu.

Status: Sold

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Torii KIYOMASU II (Fl. c 1720s -1760)



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Shows a high-class courtesan emerging from a tea-house with slashed curtains. Possibly one sheet of a triptych. Published by Igaya Kan’emon (Bunkido) c mid 1720s.

Very good impression. Urushi beni-e with hand-applied colour: tan, light beni, light green and yellow. Lacquered sumi and gold powder (mostly lost). Light soil and expertly repaired wormage, otherwise good condition. Signed Torii Kiyomasu hitsu.

Status: Sold

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Okumura TOSHINOBU (Fl. c 1717-1750)



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Shows a beauty whisking tea in front of an alcove. Published by Emiya Kichiemon c late 1720s.

Very good impression. Urushi with hand-applied tan colour. Lacquered sumi over an embossed pattern. Browned and some thinned areas, otherwise good condition. Signed Yamato gashi Okumura Toshinobu hitsu.

Status: Sold

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Tsukioka YOSHITOSHI (1839-1892)



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A diptych showing the actor Otani Tomoemon V as the loyal servant Gakuzo (aka Inukawa Sosuke Yoshito, one of the eight Dog half-brothers), brush in hand, having just hung the decapitated head of the evil Aboshi on a tree and written beside it: Kore ha akuto Aboshi Samojiro nari. Aruiwa hizo tachi, “This is the villain Aboshi Samojiro… He [stole] a treasured sword [Murasame – the treasured sword of the Ashikaga family].” Shows a scene from an episode in Part III, volume 5 of the Satomi Hakkenden no uchi, “Tales of the Eight Dogs of the Satomi Clan.” The macabre tale, written by Kyokutei Bakin (1767-1848) in 98 chapters and 106 booklets, revolves around the eight offspring of a supernatural marriage between a princess and her father’s dog and their commitment to restore the fortunes of the samurai house of Satomi. Published by Tamaya Sosuke 1868. Very rare: Keyes in his dissertation on Yoshitoshi lists just the right sheet from an oban series, presumably the print in the Philadelphia Museum of Art, ART568220, and another impression of just the right sheet is owned by Tateyama City in Chiba Prefecture.

Very good impression, colour and condition. Signed Kaisai Yoshitoshi hitsu. (Keyes attributes this print to Yoshitoshi as he hadn’t seen the left sheet.)

Status: Sold

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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

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Kitao MASANOBU (Santo KYODEN) (1761-1816)



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One double-oban design from the most sumptuous album ever produced: Yoshiwara keisei: Shin bijin awase jihitsu kagami, “A Mirror of New Yoshiwara Courtesans with Samples of Their Calligraphy.” Published by Tsutaya Juzaburo, 1784. Shows courtesans viewing calligraphic scrolls. Seven double-oban designs were published in album form, although the original intention was for a larger set. Signed on two sheets Kitao sensai Masanobu.

Fine impression and colour. Centre fold (as always), otherwise very good condition.

Status: Sold

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