japanese prints and drawings

Transcription

SILVANA BAREGGI
Japanese prints
and drawings
stanZa deL BOrgO
Milano
2014
JAPANESE PRINTS AND DRAWINGS 2
STANZA DEL BORGO 2014
Japanese prints
and drawings
a cura di
siLVana Bareggi
© 2014 by stanZa deL BOrgO
20121 Milano, via F. turati 7
t (+39) 02 6598203
www.stanzadelborgo.it
[email protected]
stanZa deL BOrgO
Milano
2014
1. retUrning saiLs
at YaBase
YaBase KiHan
2. CLearing weatHer at
awaZU
awaZU seiran
3. sUnset gLOw at seta,
ca. 1760
SETA SEKISHȎ
4. eVening BeLL at Miidera teMpLe
MII NO ANSHȎ
5. nigHt rain at
KarasaKi
KarasaKi YaU
6. twiLigHt snOw at
MOUnt Hira
Hira BOsetsU
7. desCending geese at
Katada
Katada raKUgan
8. aUtUnn MOOn at
isHiYaMa teMpLe
ISHIYAMA SHȖGTSU
4
1.
sUZUKi HarUnOBU c.
1725 – 1770
1
2
5
6
3
4
7
8
woodblock prints, benizuri-e
(ink and limited colour on
paper)
Hosoban, mm 308 x 138
signed: Harunobu ga
Series: ‘Eight views of Ȏmi’,
ca.1760
‘Ȏmi hakkei no uchi’
publisher: Urokogataya
Magobei, rikakudo
the complete series of eight
sheets, even impressions, in
very good condition. each
print bears the seal and
the mark of the publisher
Urokogataya Magobei. this
edition is unrecorded and
unknown to waterhouse who
recently studied the series in
his catalogue The Harunobu
Decade, Hotei publishing,
Leiden, 2013, vol. i, no. 27 –
36, pp. 55-61, vol. ii, plates
27-36. i think could be possible
that this unrecorded edition
could be the first one.
a complete series of the View
of Ȏmi is preserved in the
collection of the Museum of
Fine arts, Boston, but the
Boston set is formed with
uneven impressions.
Borrowed from the Chinese
art the motif of the eight views
of celebrated places was very
popular in the ukiyo-e.
reference: d. waterhouse,
The Harunobu Decade, Hotei
publishing, Leiden, 2013, vol.
i, no. 27 – 36, pp. 55-61, vol. ii,
plates 27-36.
5
2.
4.
sUZUKi HarUnOBU
c. 1725 – 1770
sUZUKi HarUnOBU
c. 1725 – 1770
A PARODY OF NARIHIRA’S JOURNEY
tO tHe east
Mitate nariHira aZUMaKUdari
nOOdLe VendOr and a
COUpLe MaKing LOVe
woodbock print, nishiki-e
Vertical chûban, mm 283 x 210
signed: Suzuki Harunobu ga
dated: 1768-69 (Meiwa 5-6)
provenance: stoclet Collection.
Very good impression of this elegant
design, with embossed details on the snow
of Mount Fuji and on the clouds around it;
colour slightly faded, paper lightly toned,
otherwise in very good condition.
reference: david waterhause, the
Harunobu decade, Leiden, 2013, n. 391,
page 234, vol. i; plate 391-394, vol. ii.
woodblock print, nishiki-e
Horizontal chûban, mm 208 x 281
dated: circa 1765-1770
the print depicts a noodle vendor
watching a couple making love
by a niguruma (wheel barrow)
during the night.
Very good impression and colour.
good condition apart a faint
centerfold.
3.
sUZUKi HarUnOBU
c. 1725 – 1770
COUrtesans reading a LOVe
Letter, c. 1767-68
steaLing a LOOK
nUsUMi Ken
Vertical chûban: mm 282 x 213
signed: Harunobu ga
a mitate of the letter-reading scene of
Chushingura (act Vii).
Fine early impression, very good colour and
condition, minor creases.
a young man enters an interior through
parted curtains to find a courtesan standing
over a seated assistant who is rapt in a letter
next to a brazier.
reference: terji Yoshida, Harunobu, tokyo,
1953, page 127
6
5.
sUZUKi HarUnOBU c. 1725 – 1770
a COUpLe MaKing LOVe in tHe snOw
Series: ‘Snow, Moon and Flower’
‘setsugekka’
provenance: Hayashi tadamasa (Lugt 2971)
Fine impression printed with gauffrage, pristine colour and very good condition,
slightly trimmed at the top.
7
6.
8.
sUZUKi HarUnOBU
c. 1725 – 1770
isOda KOrYUsai
active 1764 - 1788
a geisHa and Her
CLient MaKing LOVe, a
‘SHAMISEN’ LYING ON THE
FLOOr
MaMesUKe and His LOVer
eMBraCing UnderneatH
A ‘KAIMAKI’ ON A SNOWY
WINTER’S DAY
dated: circa 1765-1770
the print depicts a young woman
holding her kimono’s sleeve to
her chin, she is starting to kiss
her lover in an archery gallery:
on the floor to the right there is a
laquer container holding arrows,
to the left there are flowers in a
tokonoma and next to the couple
a shamisen lying on the floor.
Fine impression, printed with
extensive embossing, fine colour
and very good condition.
reference:
r. neuer, H. Libertson, s.
Yoshida,Ukiyo-e. 250 anni di
grafica giapponese, 1979, p. 99
(ill. in colour).
Dated: early 1770’s
Fine impression. Very good
colour. a few slight creases,
otherwise in very good condition.
7.
isOda KOrYUsai
active 1764 - 1788
a wOMan and a CHiLd watCHing twO LOVers BeHind
a sCreen
Series: ‘Prosperous Flowers of the Elegant Twelve Seasons’
Fine impression with extensive embossing, very good colour and
condition.
8
9.
isOda KOrYUsai active 1764 - 1788
A COUPLE MAKING LOVE BY AN ‘ENGAWA’,
in tHe presenCe OF twO BOYs watCHing tHeM
Horizontalchûban, mm 182 x 254
dated: late 18th century
Very good impression, colour and condition.
9
10.
Kitagawa UtaMarO 1756 - 1804
giFts FrOM tHe LOw tide
(tHe sHeLL BOOK), 1789
sHiOHi nO tsUtO
preface
1
10
woodblock prints, nishiki-e
Horizontal ôban, mm 272 x 386
the complete eight plates and the
frontespice and colophon from the
poetry album known as the shell Book,
disbound and lacking the covers.
First edition of three, with the applied
gold–leaf on the screen of the final
plate and without the wave pattern in
between the poetry and the shells in the
foreground.
Fine, early impressions, with blindprinting, gold-leaf, mica and mother-ofpearl.
Very good colour and condition, with
minor expertly restored wormage.
references: asano – Clark, The
Passionate Art of Utamaro, no. 466,
pp. 224-227; Hillier, The Art of Japanese
Book, vol. i, plates 62-63; Keyes, Ehon:
the Artist and the Book in Japan, no. 25
2
3
11
4
6
5
12
7
13
11.
Kitagawa UtaMarO
1753 – 1806
parOdY OF tHe stOrY OF YOritOMO reLeasing Cranes
at YUigaHaMa, 1790 c.
senBaZUrO Onna Mai nO ZU
One complete volume composed by 10
sheets:
1 sheet preface signed Akera Kanto;
8 double-page illustrations printed with
mica, gauffrage and metallic dust;
total 36 kyôka poems, which appear in
the upper part of each illustration.
The first plate depicting women
gathering shells on the beach, six plates
of various shells and the last one of a
princess and attendants playing the kaiawase (shell-matching).
a colophon closing the series.
14
8
woodblock print, nishiki - e
Vertical ôban triptych, mm 367 x 758
signed: Utamaro hitsu
Publisher’s mark: Izumiya Ichibei (Kansendō)
dated: 1805, Bunka 2
Very good impression of this very rare design, good condition, colour
slightly faded.
Colophon
15
12.
14.
Kitagawa UtaMarO
1753 – 1806
Kitagawa UtaMarO
1753 – 1806
CHILD’S NIGHTMARE OF GHOSTS, 1801
BaKeMOnO nO YUMe
wOMen Viewing FirewOrKs at
RYŌGOKU BRIDGE, c. 1800
RYŌGOKU HANABI NO ZU
Vertical ôban, mm 379 x 255
Publisher’s mark: Ōmiya Gonkurō
provenances: Henri Vever (Lugt. 1381b) and
another unidentified mark.
an infant who is sleeping inside his own
mosquito net is having a nightmare and has
suddenly burst out to crying.His mother
comforts the child, whose dream, full of goblins,
is depicted in the cartouche above.
Fine impression with grey ground and blind
printing on woman’s robe, colour lightly faded,
unobtrusive trace of horizontal fold, generally in
very good condition.
13.
15.
Kitagawa UtaMarO
1753 – 1806
Kitagawa UtaMarO
1753 – 1806
tHe COUrtesan UMegawa, tHe
Messenger CHUBei and MagOeMOn,
c. 1798-1800
Keisei UMegawa, HiKYaKUYa CHUBei,
MagOeMOn
MOMOTARO RIDING A NEW YEAR’S
HOBBY HOrse and a geisHa pLaYing
A ‘SHAMISEN’, 1800-1
series: ‘Models of love-talk: clouds from over
the moon’
‘Chiwakagamitsuki no murakumo’
Pubblisher’s mark: Enshuya Matabei
provenance: Huguette Berès, her collection
mark on the verso.
Very good impression and condition, fresh colour,
slightly trimmed to the left and the right side.
reference:
K. shibui, Utamaro, Ukiyo-e Zuten, vol. 13,
tokyo 1964, p. 101, 9 repr.
16
signed: Utamaro ga
dated: c.1800, Kansei 12
Publisher’s mark: Tsutaya Jûzaburû
Left sheet of a triptych, the right and center
sheets are in the tokyo national Museum
collection.
Very good impression and colour, slightly soiled
and trimmed, otherwise in good condition.
rare.
The print depicts fireworks over the Sumida
river with two women talking on Ryōgoku
Bridge while an attendant holds a lantern.
reference:
K. shibui, Utamaro, Ukiyo-e Zuten, vol. 13,
tokyo 1964, p. 11, 1.1, repr.
series: ‘a set of three sake Cups for the First
Month’
‘Tarō – zuki mitzu gumi sakazuki’
From a set of three prints that form a continuous
composition.
Publisher’s mark: Ōmiya Gonkurō
The print depicts Momotaro riding a New Year’s
hobby horse and a geisha with the shamisen and
the attributes of the Lucky gods behind her.
Fine impression, colour and condition. the
colour perfectly retained.
a similar print, for quality and colour, is
preserved in the art institute of Chicago.
reference: s. asano- t. Clark, The Passionate
Art of Kitagawa Utamaro, British Museum,
1995, p. 216, n. 359, ill. p. 184.
17
16.
18.
HOsOda eisHi
1756 – 1829
KUBO sHUnMan
1757-1820
MOrOKOsHi FrOM eCHiZenYa: tiger
LiLY, c.1790-95
eCHiZenYa MOrOKOsHi
ide, prOVinCe OF YaMasHirO, c. 1787
Red artist’s seal: Shunman
right sheet of the hexaptych entitled: ‘
The Six Jewel Rivers’
‘Mu Tamagawa’
Publisher’s mark: Fushimiya Zenroku
A fine impression of the first edition. The prints of
that edition are in benigirai (red avoiding) style, a
technique pioneered by shunman. a later edition
was issued by tsutaya with less harmonious colours.
Blind-printing on the garments of the main female
figure and on the waves. Very good condition, the
sheet untrimmed; colours lightly faded.
provenance: Hayashi tadamasa (Lugt 2971)
reference:
J. Hillier, Catalogue of the Japanese Paintings and
Prints in the Collection of Mr. and Mrs Richard P.
Gale, the Minneapolis institute of art, 1970, p.
269, n. 133 (f).
signed: Eishi zu
series: ‘six immortal Beauties of the green
Houses, compared to flowers’
‘Seiro bijin rokkasen’
publisher: nishimuraya Yohachi
Censor’s seal: kiwame
provenance: Huguette Berés, Harriet szechenyi
references: Brandt, 169, pl. 48
the series depicts six full-length portraits of
courtesans. in the cartouches the title of the
series, a picture of a flower, the name of the
courtesan and of her house.
Fine impression, with embossing on obi and
traces of mica on collar, very good colour and
condition. One wormhole expertly restored.
some trimming.
17.
HOsOda eisHi 1756 – 1829
HanaOgi FrOM tHe OgiYa, c. 1794-95
OgiYa HanaOgi
18
signed: Eishi zu
series: ‘six immortal Beauties of the green Houses
Compared to Six Flowers’.
‘Seiro Bijin Rokkasen’
publisher: eijuhan nishimuraya Yohachi
provenance: Hayashi tadamasa ( Lugt 2971);
Huguette Berés.
Very fine impression with traces of mica on fan, inner
collar of garment and hem of kimono, embossed
plum blossoms on kimono, fine colour and condition.
slightly trimmed to the lower and left margins.
the series depicts six full-length portraits of
courtesans. in the cartouches the title of the series, a
picture of a flower, the name of the courtesan and of
her house.
the courtesan Hanaogi seated at a Chinese writing
desk and about to write a poem on a blank ogi (fan)
held in her left hand.
published and illustrated in narazaki Muneshige ed.,
Hizo Ukiyo-e Taikan-Berés Collection, Kodansha,
tokyo, 1991, p. 241, plate 85.
19.
KitaO MasUnOBU
active c. 1770 - 1775
a seated HOtei BaLanCing a YOUng LadY On His
arM. tHe girL HOLds a Fan OVer Her Head.
hashira-e (pillar print), mm 656 x 131
signed: Masunobu ga
provenance: Hayashi (Lugt 2971)
Very good impression, good colour, light creasing
reference: Jacob pins, The Japanese Pillar Print. Hashira-e,
London, 1982, n. 275
Masunobu produced a number of delicate prints in the style of
Harunobu, nothing is known of him, though he may possibly be the
same artist as tanaka Masunobu, who designed prints and illustrated
books in the Masanobu manner during the 1740’s and 1750’s (see
r. Lane, Images from the Floating World, Oxford University press,
1978, p. 302).
19
22.
KatsUsHiKa HOKUsai
1760 - 1849
20.
pLeasUre BOats On sUMida riVer,
1835-36
KiYOwara nO FUKaYaBU
KatsUsHiKa HOKUsai
1760 – 1849
THE KINTAI BRIDGE IN SUȎ PROVINCE,
c. 1834
SUȎ NO KUNI KINTAI BASHI
signed: zen Hokusai iitsu hitsu
series: ‘remarkable Views of Bridges in Various
Provinces’
‘Shokoku meikyô kiran’.
published by eijudo nishimura Yoachi
provenance: Huguette Berés
Fine impression, very good colour and condition, a
slight vertical centre fold.
reference: J. Hillier, Hokusai: Paintings, Drawings
and woodcuts, 1955, n. 66
20
21.
KatsUsHiKa HOKUsai
1760 – 1849
signed: Zen Hokusai manji (the manji seal black)
series: ‘One Hundred poems explained by the wet
Nurse’
‘Hyakunin isshu uba ga etoki’
publisher: nishimuraya eijudo and iseya eijudo, c.
1835-36
Fine early impression, fine colour and condition, a
slight vertical centre fold.
inside the square cartouche the poem by Kiyowara
no Fukayabu.
reference: M. Forrer, Hokusai, 1991, n. 81
gUards at tHe iMperiaL paLaCe
signed: Zen Hokusai manji (the manji seal black)
series: ‘One Hundred poems explained by the wet
Nurse’
‘Hyakunin isshu uba ga etoki’
published by nishimuraya eijudo and iseyaeijudo
c. 1835-36.
Very fine early impression, fine colour and
condition.
the poem by Onakatomi no Yoshinobu ason is in
the square cartouche.
the Hyakunin isshu is a classical anthology of one
hundred Japanese waka by one hundred poets. it is
one of the most famous anthology of poems in Japan.
reference: g. C. Calza, Hokusai, il vecchio pazzo
per la pittura, 1999, Milan, cat. no. Vi.12.6, p. 394.
21
25.
KiKUgawa eiZan
1787 – 1867
wisteria, 1820 c.
Series: ‘Beauties of Edo’
‘Edo Murasaki Bijin Zoroi’
publisher: Yamashiro tokei
Censor seal:kiwame
Fine impression with embossing, fine colour with
the fugitive purple on wisteria intact, very good
condition.
23.
KatsUsHiKa HOKUsai 1760 - 1849
peOpLe adMiring MOUnt FUJi FrOM
a tea-HOUsec. 1834
YOSHIDA ON THE TȎKAIDÔ ROAD
TȎKAIDÔ YOSHIDA
signed: Zen Hokusai Iitsu hitsu
Series: ‘Thirty-six Views of Mount Fuji’
‘Fugaku Sanjūrokkei’
publisher: nishimuraya Yohachi (eijudô)
the print depicts travelers resting in a tea-house on
the Tȏkaidô Road.
the station of Yoshida, for its favourable location,
was called ‘the tea-house with a view of Mount Fuji’,
a name that appears in the horizontal inscription on
the central panel of the design.
On the right two other panels read ‘ochatsuke’ ‘tea
served’ and ‘kongen Yoshida hokuchi’ ‘the original
Yoshida tinder’, an advertisement for the local
kindling-wood.
Fine impression, blue outline, very good colour and
condition.
reference: M. Forrer, Hokusai, 1991, n. 23
24.
KiKUgawa eiZan
1787 – 1867
standing COUrtesan
22
Vertical ôban: mm 348 x 240
signed: Eizan hitsu
Series: ‘Beauties matched with Hokku Poems’
‘Bijin Hokku Awase’
publisher: sensa
Censor seal: kiwame
in the fan-shaped space, a Hokku poem by Bakurin.
the series is mentioned in Genshoku, 3, p. 139, underlisting
for publisher sensa.
26.
Keisai eisen
1790 – 1848
KUtsUKaKe statiOn, rain
On tHe nearBY pLain OF
tHe HiratsUKa
KUtsUKaKe nO eKi
HIRATSUKA HARA UCHŪ NO
Kei
Horizontal ôban, mm 241x374
Unsigned: there is a previous
edition, signed.
series: ‘sixty-nine stations of the
Kisokaidō’, n. 20
‘Kisokaido rokujyo
kyutsugi’
two ideograms are visible in the right margin.
Very good impression, fine colour and condition, with large margins. Faint center-fold.
The set was started by Eisen and published by Hōeidō in 1830 c., but in 1837 Hiroshige completed the
series with the publisher iseiri (Kinjudo).
A windy autumnal squall over the Hiratsuka flood plain. This is one of the best Eisen’s designs from the Kisokaidō,
known in various states and colour variations. According to Mr. Kruml, the first state bears the signature lower-right.
UtK vol.15, pl. 20
23
29.
attributed to Keisai eisen
1790 – 1848
LOVers
dated: ca. 1825 – 1830
Very good impression, colour and
condition.
27.
KatsUKawa sHUnCHO
active late 1770’s - 1790’s
LOVers, c. 1788
Series: ‘Erotic Prints for the Twelve Months’
‘Koshoku Zue Juniko’
the print, from the most celebrated shunga series
by shuncho, is related to the third month of the
year.
Very good impression and condition, the colour
lightly faded.
30.
Keisai eisen
1790 – 1848
LOVers, 1825 c.
28.
KatsUKawa sHUnCHO
active late 1770’s - 1790’s
24
LOVers
Horizontal aiban, mm 228 x 328
Date: 1780’s
Fine impression, very good colour and condition.
Series: ‘Grass on the way of love’
‘Koi no michikusa’
Very fine impression, colour bright and wellpreserved, the fugitive purple still intact. pristine
condition, a faint centre-fold.
references:
richard Lane and Hayashi Yoshikazu, The
Complete Ukiyo-e Shunga, n. 14, Eisen’s Life
and Ehon Hana no Oku, 1977; gian Carlo Calza,
Poem of the Pillow and Other Stories by Utamaro,
Hokusai, Kuniyoshi and other artists of the Floating
World, 2010, pp. 428 – 429.
25
31.
33.
Keisai eisen
1790 – 1848
Utagawa HirOsHige
1797 – 1858
LOVers
series: ‘Keisei higo’
‘secret words of a
Courtesan’
Date: 1820’s
Fine impression. colour and
condition.
KanasUgi Bridge and
sHiBaUra, 1857
KanasUgiBasHi sHiBaUra
dated: 1857 (snake), ansei 4,
7th month.
series: ‘One Hundred Famous
Views of Edo’, n. 80 of
the series
‘Meisho Edo hyakkei’
Publisher’s mark: Uoya Eikichi
Censor’s seal: aratame
First edition. Very fine
impression and condition,
pristine colour.
reference:
Henry d. smith ii – amy g.
poster Hiroshige, One Hundred
Views of Edo, 1986, n. 80.
34.
Utagawa HirOsHige
1797 – 1858
YOsHiwara: MOUnt FUJi
On tHe LeFt, 1831-34
YOsHiwara, Hidari FUJi
32.
Keisai eisen
1790 – 1848
LOVers, 1825 c.
26
Series: ‘Grass on the way of love’
‘Koi no michikusa’
Centre-fold, a few minor marks otherwise fine.
pristine colour with the fugitive purple intact.
references:
richard Lane and Hayashi Yoshikazu, The
Complete Ukiyo-e Shunga, n. 14, Eisen’s Life
and Ehon Hana no Oku, 1977; gian Carlo Calza,
Poem of the Pillow and Other Stories by Utamaro,
Hokusai, Kuniyoshi and other artists of the Floating
World, 2010, p. 430.
signed: Hiroshige ga
series: ‘Fifty-three stations of
the Tȏkaidô Road’, no. 15
station of the series
‘Tȏkaidô Gojūsantsugi no
uchi’
publisher: Hoeidô
The road lined with trees run through rice fields, a man leads a horse carrying three women, the Mount Fuji
is seen on the left-side of the highway through the trees, on the right the mount ashitaka.
this part of highway was lined with pine trees for the comfort of travelers.
Very fine impression, fine colour, very good condition, faint centre-fold.
27
35.
Utagawa HirOsHigHe
1797 – 1858
iCHiKOKU Bridge in tHe
eastern CapitaL
tOtO iCHiKOBUBasHi
dated: 1858 (4 th month)
series: ‘thirty-six Views of
Mount Fuji’, no. 1 of the
series.
‘Fuji sanjurokkei’
publisher: tsutaya Kichizo
Very fine impression and colour,
very good condition.
37.
Utagawa HirOsHige
1797 – 1858
FirewOrKs OVer rYOgOKU Bridge, 1848-50
tOtO rYOgOKU sUZUMi FUne
Vertical ôban triptych, each sheet mm 380 x 258
dated: 1848-50
publisher: sanoki
A rare tryptych showing fireworks over Ryogoku
bridge with numerous pleasure boats under the huge
trestles of the bridge.
Very fine impression. Pristine colour and condition.
Uncut sheets and with deluxe double-printed red.
Very rare.
36.
Utagawa HirOsHige
1797 – 1858
tOtsUKa statiOn:
MOtOMaCHi FOrK
tOtsUKa, MOtOMaCHi
BETSUDȎ
28
Publisher’s mark: Hoeidō
Very good impression, colour and condition, faint centerfold.
First version, with the man dismounting from the horse.
series: ‘the Fifty-three station
of the Tȏkaidô’, n. 6 of
the series.
‘Tȏkaidô gojusan tsugi no
uchi’,
38.
Utagawa HirOsHige
1797 – 1858
MinaKUCHi statiOn, c. 1833
MinaKUCHi
Series: ‘The Fifty-three Stations of the Tȏkaidô
Road’, n. 51 of the series.
‘Hoeido’sTȏkaidô Gojusan tsugi no uchi’
Publisher’s mark: Hoeido Senkakudo
Literature: suzuki, 312
Very good impression, colour and condition, faint
center-fold.
29
39.
Utagawa HirOsHige
1797 – 1858
KingFisHer and BegOnia, 1835 c.
poem in the right:
Kawasemi ya / preening his feathers
Hane wo yosute / in a water mirror
Mizu Kagami / Kingfisher in flight
The kingfisher portrayed is: Alcedo atthis
Linnaeus.
Very good impression and colour, good
condition, minor creases in the upper side of
the sheet and minor soiling.
40.
Utagawa HirOsHige
1797 – 1858
JaVa sparrOw and MOrning gLOries
asagaO
30
Chūtanzaku, mm 344 x 114
signed: Hiroshige hitsu
Publisher’s mark:Kawa Sho (Kawaguchiya Shōzō)
This print belongs to a group of ‘tanzaku’ published by Kawaguchiya Shōzō
with haiku in cursive script.
poem in the right:
asagao no / the morning glories
akareno sono hi / are out today! the morning
sonohi kana / glories bloom today.
Very fine early impression, colour and condition.
41.
42.
Utagawa HirOsHige
1797 – 1858
Utagawa HirOsHige
1797 – 1858
Japanese Crane and BUsH CLOVer
Hagi ni tsUrU
pLOVers in MOOn LigHt
CHidOri
woodblock print, nishiki - e
Publisher’s mark: Kawa Sho (Kawaguchiya Shōzō)
Censor seal: kiwame
For another impression see: risd Museum, John
rockefeller, (acc. n. 34.251).
Publisher’s mark: Kawa Sho (Kawaguchiya)
poem by Uomori: Ame takumu / yowa ya chidori
no/ shikiri naku
The artist depicts two plovers in moonlight flying
above waves.
31
43.
45.
Utagawa KUnisada
1786 – 1864
Utagawa KUnisada
1786 – 1864
iCHiKawa danJUrO Viii as tHe gHOst OF
seigen, 1852
View OF tOtsUKa, c. 1838-42
tOtsUKa nO ZU
signed: Toyokuni ga
dated: Kaei era, 10 / 1852
Series: ‘An Imaginary Thirty – six Poets’
‘Mitate sanjūrokkasen no uchi’
Publisher’s mark: Iseya Kanekichi
Censors’ seals: Muramatsu (Muramatsu Genroku);
Fuku (Fukushima Wajūrō).
Fine impression with the atmospheric oxidation and
with the eyes of Danjūrō VIII printed in gum and
mica, fine colour and very good condition. Binding
holes at the right, slight trimming at the right edge.
a poem by the courtier ariwara no narihira (825 –
880) is written in the square cartouche upper right.
the story of the priest seigen, who felt in love with the
beautiful sakurahime and broke his vow of purity, was
first interpreted by Kabuki actors during the 1670’s.
this print is considered one of the masterpieces of
the artist.
reference: izzard ,Kunisada’s World, pag. 175, n. 91.
44.
32
Vertical chȗban, mm 254 x 181
Series: ‘The fifty-three Stations of the Tôkaidô
Road’, no. 6 of the series.
‘tôkaidô gojȗsan tsugi no uchi’
in this series Kunisada is inspired by
Hiroshige’s First Tōkaido and he based the
background on his Master’s designs.
Fine impression, colour and condition.
46.
Utagawa KUnisada
1786 – 1864
Utagawa KUnisada
1786 – 1864
tHe BLUsHing tYpe, 1859
iMa ni agari sO
View OF HaKOne, c.
HaKOne nO ZU
signed: Toyokuni ga
dated: ansei era, 3/1859, 6/1859
Series: ‘The Modern Thirty-two Types’
‘Imayô sanjȗnisô’
Censor’s seal: aratame with the date
engraver: Yokogawa takejirô
publisher: shôrindô (Fujiokaya Jirô)
a geisha leaning on the roof of a boat whilst eating
‘Edamame’, a boiled soya bean popular in summer.
Fine, early impression on thick, deluxe paper.
Extremely fine colour and pristine condition. Mika
dust at the top of the composition with a beautiful
design of Imado’s bridge in Edo in the upper left
side.
reference: s. izzard, Kunisada’s World, pages
180-81, n. 95.
1838-42
Series: ‘The fifty-three Stations of the Tôaidô
33
47.
Utagawa KUnisada
1786 – 1864
View OF arai, ca 1838-42
arai nO ZU
48.
Utagawa KUnisada
1786 – 1864
View OF YOKKaiCHi, c. 1838-42
YOKKaiCHi nO ZU
34
49.
Utagawa KUniYOsHi
1797 – 1861
a YOUng COUpLes sHeLtering Under an UMBreLLa, 1847- 48
Fan print, uchiwa-e, mm 223 x 280
signed: Ichiyusai Kuniyoshi ga and red kiri seal
Series: ‘Travelling under an umbrella’
‘Michiyuki ai ai gasa’
Censor’s seals: Mera and Murata (1847-1848)
the print depict a young couple under an umbrella.
Fine impression and colour, very good condition, minor restoration: two
corners added.
extremely rare, apparently unrecorded in the literature.
35
50.
Utagawa KUniYOsHi
1797 – 1861
a YOUng COUpLe
sHeLtering Under
an UMBreLLa, 1847 - 48
Fan print, uchiwa-e, mm 222 x 275
signed: Ichiyusai Kuniyoshi ga
and red kiri seal
series: ‘travelling under an
umbrella’
‘Michiyuki ai aigasa’
Censor’s seals: Mera and Murata (1847 - 1848)
the print depict a young couple under an umbrella.
Fine impression and colour, very good condition, minor restoration: two corners added.
extremely rare, apparently unrecorded in the literature.
52.
Utagawa KUniYOsHi
1797 – 1861
OBata nYUdO, KatsUCHiYO MarU
and YaMaMOtO KansUKe witH tHeir
retainers wHO are Being tOssed in
tHe air BY a giant wiLd BOard, c. 1852
ink on paper
Vertical ôban triptych, mm 376 x 755 (size of the
jointed sheet)
signed: Kuniyoshi ga and red kiri seal
a preparatory ink drawing for a triptych design,
there is no known print which survives of this
design. B.w. robinson, based on the handwriting
of the signature, dated the drawing, in a letter to the
previous owner, around 1852.
A very rare and unpublished fine drawing. In good
condition.
53.
Utagawa KUniYOsHi
1797 – 1861
nieKawa: taKenOUCHi nO sUKUne and
UMasHiUCHi nO sUKUne
51.
Utagawa KUniYOsHi
1797 – 1861
CHerrY BLOssOMs at nigHt, ca. 1846
YOrU nO saKUra
36
Vertical ôban triptych, each sheet mm 375 x 258
signed: Ichiyūsai Kuniyoshi ga (red kiri seal in the
central sheet)
Publisher: Yorozuya Jūbei
three beauties admire cherry blossoms in the
evening. the subtle bluish-gray background
successfully evokes the evening light.
Very fine impression, fine colour and condition.
signed: Ichiyȗsai Kuniyoshi ga and red kiri seal.
dated: 1852, 6th month
Series: ‘The Sixty –nine Stations of the Kisōkaidō
‘Kisōkaidō Rokujōkyō tsugi no uchi’
publisher: Kagaya Yasubei
takenouchi no sukune defeating his disloyal
brother Umashuichi no sukune in a trial by ordeal
of boiling water.
Fine impression, pristine colour, particularly the
fugitive purple still bright, in very good condition.
robinson n. s74.35
37
54.
56.
Utagawa KUniYOsHi
1797 – 1861
sHiBata ZesHin
1807 – 1891
OKUte: tHe OLd wOMan OF tHe LOne
HOUse, 1852
HITOTSUYA RȎBA
Carp spLasHing
UPSTREAM, c. 1880’s
signed: Ichiyȗsai Kuniyoshi ga and red kiri seal.
date: 1852, 7th month (Kaei 5).
Series: ‘The Sixty – nine Stations of the Kisōkaidō
‘Kisōkaidō Rokujōkyō tsugi no uchi’
Publisher: Yawataya Sakujirō
the hag of adachigahara, who, according to one
legend, waylaid travellers, murdering and robbing
them, is shown grappling with the goddess
Kwannon who has turned herself into a young
woman in order to end the killings.
Very good impression and colour, slightly
trimmed on the bottom, traces of vertical centerfold and album backing, otherwise in very good
condition.
robinson n. s74.49
woodblock print, nishiki-e,
mm 225 x 295
signed: Zeshin. Dated: c.1880’s
series: ‘illustrated Book of
Shibata Zeshin’
the motif of a carp leaping a
waterfall is, in fact, an allusion
to a cinese story about a sturgeon
of the Huang Ho river which
crossed the rapids of the Lung
Men, the dragon gate, and
itself became a dragon.the carp
was traditionally regarded as a
symbol of courage and strength.
Very good impression and colour,
lightly backed.
57.
tsUKiOKa YOsHitOsHi
1839 – 1890
55.
Utagawa KUniYOsHi
1797 – 1861
ariwara nO nariHira at nigHt On
MUsasHi MOOr pUrsUed BY Men witH
tOrCHes, 1845-46
38
signed: Ichiyûsai Kuniyoshi ga and red kiri seal
dated: 1845- 46
series: ‘genji Clouds Matched with Ukiyo-e
Pictures’
‘Genji Kumo Ukiyo-e awase’,
(this print is related with chapter 28 of
genji Monogatari)
Publisher’s mark: Iseya Ichibei
robinson, 1982, s45.28
Fine impression and pristine colours, with minor
binding holes in the left edge otherwise in very
good condition.
YUgaO, 1885
genJi YUgaO nO MaKi
signed: Yoshitoshi with the
artist’seal Taiso
series: ‘One Hundred aspects of
the Moon’
‘Tsuki hyakushi’
publisher: akiyama Buemon,
1885
Yugao is the mysterious girl who
appears in the chapter 4 of the
celebrated genji Monogatari,
written by Murasaki shikibu, c.
1000 a.d.
Fine impression and colour, very
good condition.
reference: John stevenson,
Yoshitoshi’s One Undred Aspects
of the Moon, 2001, n. 29.
39
58.
60.
OHara KOsOn
1877 - 1945
OHara KOsOn
1877 – 1945
HerOns wading Under tHe rain, ca. 1926-30
OwL and MOOn
Ō-tanzaku, mm 357 x 188
signed: Koson, artist’s seal Koson
dated: ca. 1926-30
Publisher: Kokkeidō (Akiyama Buemon); Kokkeidō seal.
reference: newland, n. 10, p. 41, checklist n. K14.23.
Ō-tanzaku, mm 366 x 194
signed: seal Koson, K.c5
Very fine impression, colour and condition
reference:amy reigle newland, Jan perrée, robert schaap,
Crows, Cranes & Camellias, the natural world of Ohara
Koson, 1877-1945, 2010, n. 81, checklist K 20.6
61.
tsUCHiYa KOitsU
1870 – 1949
aKasHi HarBOUr, setO inLand sea
setOnaiKai – aKasHi nO MinatO
signed: Koitsu
dated: showa 13 (1938)
publisher: doi Hanga
seal: Shin
Fine impression, condition and colour. early edition.
59.
HOara KOsOn
1877 - 1945
FLYCatCHers in snOw, 1929
40
signed: Shōson, seal Shōson (s.c)
dated: 1929
Publisher: Watanabe Shōzaburō
the birds portrayed are: Alcedo Atthis Linnaeus.
reference: newland, n. 162, p. 157, checklist
n. s10.i
41
62.
Kawase HasUi
1883 - 1957
ZENSETSŪ TEMPLE, SANSHŪ, 1937
SANSHŪ ZENSETSŪJI
signed: Hasui with Kawase seal
Dated: 1937 (Shōwa jūninen sangatsu
saku)
series: ‘Collection of scenic views of
Japan II, Kansai edition’
‘Nihon Fūkeishū II Kansai hen’
Publisher: Watanabe Shōzaburō (Brown
seal a, 6 mm)
Very good impression and colour, minor
faults, generally in very good condition.
reference:
K. H. Brown, Kawase Hasui. The
complete woodblock prints, Hotei
publishing, Leiden, 2008, n. 334, ill. p.
459.
64.
Kawase HasUi
1883 – 1957
63.
Kawase HasUi
1883 – 1957
saKUrada gate
(iMperiaL paLaCe), 1928
saKUradaMOn
signed: Hasui with Kawase seal
titled and signed in pencil at the
bottom margin:
‘imperial palace, sakurada gate /
Hasui Kawase’.
Dated: 1928 (Shōwa sannen saku)
Series: ‘Twenty views of Tokyo’
‘Tōkyōnijūkei’
tHe BaY OF sHinagawa, 1920
sHinagawa OKi
signed: Hasui with Hasui seal.
dated: 1920, (taishô 9), summer
Series: ‘Twelve Scenes of Tokyo’
‘Tōkyō jūnidai’
Publisher: Watanabe Shōzaburō (Brown seal A, 6 mm).
Very fine impression, colour and condition.
Very rare, before the earthquake of 1923.
For another impression see Museum of Fine arts Boston (accession n. 49.681).
reference: K.H. Brown, Kawase Hasui. The complete woodblock prints, Hotei
publishing, Leiden, 2008, n. 32, ill. p. 296.
Publisher: Watanabe Shōzaburō (Brown seal A, 6 mm)
Very good impression, fine colour and condition.
reference: K. H. Brown, Kawase Hasui. The complete woodblock prints, Hotei publishing, Leiden, 2008,
n. 156, ill. p. 361.
42
43
sUriMOnO
The category of Japanese woodblock print known as surimono (‘printed thing’), differs from other prints
in many aspects: they were commissioned by private individuals rather than by commercial publishers,
they were printed on thicker paper (hōshogami) which enhanced special printing effects, and they were
embellished with poems which playfully link the words with the visual images.
Compared with the usual commercial ukiyo-e prints, surimono were considered luxury items, reflecting
both the taste and the affluence of the people who commissioned them.
For the artist the creation of surimono represented an important task executed in close contact with the
leading connoisseurs, poets and actors of the day.
Most of the surimono prints were commissioned by kyoka (‘crazy-verse’) poetry groups, who would swap
surimono at poetry gatherings.
they were often produced at new Year, with suitable poems, auguring good luck accompanying seasonal
imagery or symbols of longevity.
Kabuki actors commissioned surimono to spread among their sponsors and fans. Other individuals ordered
surimono as private greeting cards or mementoes of special events for distribution among their friends or
clients.
there were various types of special printing on surimono: blind embossing of the paper from specially
cut blocks without ink (karazuri), using ivory or bone to press precise patterns into the paper; burnishing
the surface after printing to make it glossy (tsuya-zuri), especially in black areas; metallic pigments, often
brass, which reflect light; pigment sprayed to give a speckled effect; white pigment splashed onto the
printed surface, often to depict snow or the spray of water.
Many of these effects are only visible when the surimono is held in the hands and moved around searching
the better light. these special printing effects tease the eye, delight and amaze, in the same way that the
poems and images amaze with their various allusive meanings.
The most important ukiyo-e artists of the years from the late 18th century to the first half of 19th, designed
surimono. among them Hokusai, a great master in the surimono art, who had a few pupils as Hokkei and
gakutei, specializing in this art. another great master of the surimono prints was shunman, perhaps only
Hokusai was his peer in this field. Shunman was himself a kyoka poet; there is also some evidence that he
engraved and possibly printed surimono.
65.
KatsUsHiKa HOKUsai
1760 – 1849
BenKei and YOsHitsUne
FigHting at tHe gOJO Bridge
shikishiban surimono, mm 211 x 191
signed: Hokusai Taito aratame
Katsushika Iitsu no fude
red Ryūsai seal
a rare surimono for the Yomogawa
Club; another one by Hokusai with a
very similar subject and for the
same poetry club, has been published
by Helena Markus ( H. Markus, I
surimono, Firenze, 1983).
Yoshitsune, a general of the Minamoto
clan in the late Heian and early Kamakura
period, is one of the greatest and the most
popular warriors in the history of Japan.
a skillful swordsman, he defeated the
warrior monk Benkei in a duel at the gojo
bridge. From then on Benkei became
Yoshitsune right-hand man.
Fine impression, very good colour and
condition.
66.
KatsUsHiKa HOKUsai
1760 – 1849
a Man in a straw COat in tHe
snOw, 1810 c.
signed: Gakyōjin Hokusai ga
series: ‘parodies of the twenty-four
Paragons of Filial Piety’.
‘Mitatenijushi-ko’
Publisher’s mark: Ise-ya Rihei
This designs is based on a Hokusai’s
surimono in the British Museum from
the Series ‘Nijushi-ko’, ‘Twenty-four
Paragons of Filial Piety’.
see Matthi Forrer A Guide to the Serial
Graphic, Heron press, 1974, series n. 92,
plate 41.
45
69.
KatsUsHiKa HOKUsai 1760 – 1849
67.
KatsUsHiKa HOKUsai
1760 – 1849
YOsHiwara statiOn, 1804
YOsHiwara
mm 127 x 180
signed:Gakyōjin Hokusai-ga
the print belongs to an untitled series of stations on
the Tȏkaidô Road.
Two women and a man preparing ‘tofu’ (bean curd).
reference: Matthi Forrer, Hokusai: a guide to the
serial graphics, philadelphia-London, 1974, series
81.13.
68.
aKasaKa statiOn, 1804
aKasaKa
mm 134 x 182
signed: Gagyōjin Hokusai ga, cartouche n. 6
(Forrer, XXVi).
series: the print belongs to an untitled series of
stations on the Tȏkaidô in surimono-style
(see Forrer no. 81) station 33.
the print depicts a woman knotting nets and a small
child crawling towards her on the floor.
Very fine impression, first edition, fine colour and
condition.
Very rare. three poems on the left.
reference:
Matthi Forrer, Hokusai: a guide to the serial
graphics, philadelphia-London, 1974, page 64,
series. 81, plate 37.
70.
KatsUsHiKa HOKUsai
1760 – 1849
KatsUsHiKa HOKUsai
1760 – 1849
prOdUCts in YOsHida
YOsHida
FUJiKawa statiOn, 1804
FUJiKawa
mm 127 x 181
signed: Gakyōjin Hokusai ga
the print belongs to an untitled
series of stations on the Tȏkaidô
road.
an uzume mask, framed by ferns,
and a sheet of paper decorated
with crayfish and kanji.
Fine impression, colour and
condition.
46 reference: MatthiForrer, Hokusai: a guide to the serial graphics, philadelphia-London, 1974, series 81.13.
mm 126 x 180
signature: Gakyōjin Hokusai-ga
series: the print belongs to an
untitled series of stations
on the Tȏkaidô Road.
a scene with travellers, two on
horseback near a bridge.
Very good impression, very good
condition and colour
reference: Matthi Forrer, Hokusai: a guide to the serial graphics, philadelphia-London, 1974, series 81.34. 47
71.
73.
KatsUsHiKa HOKUsai
1760 – 1849
Utagawa tOYOKUni ii
1777 – 1835
a COUrt LadY standing
BESIDE A FAN, early 1820’s
HIŌGI
ICHIKAWA DANJURŌ’S BUST,
ca. 1830
woodblock print, nishiki-e with
metallic printing
shikishiban surimono,
mm 209 x 184
signed: Hokusai Aratame Iitsu hitsu
Series: ‘Five immortal Poets’
‘Gokasen’
Fine impression with metallic
printing, fine colour and
condition.
three poems by sembatei
Teodori, Ashinoya Yūzuro, and
Shun’itei Sodenari.
For another impression of this
surimono in the Chester Beatty
Library dublin, see roger Keyes,
The Art of Surimono: private
published, Japanese woodblock
Prints and Books in the Chester
Beatty Library, dublin-London,
1985, vol. i, p. 230.
signed: Toyokuni hitsu
artist seal: toshidama
issued by the sakuragawaren poetry club.
the print is the left sheet of a diptych of
surimono titled Diptych of Peonies and
Chrysanthemums for the Sakuragawa
group, the right sheet portrays Kikunojō V.
the bust is inserted in a big peony and
on the top there is a black bat, symbol
of fortune.The peony is the flower of the
actor Danjurō VII.
Very good impression with metallic
printing, embossing and gauffrage, good
colour and condition, slightly trimmed
on the right.
74.
tOYOta HOKKei
1780 – 1850
BOntanKa sHO-KaKU, c. 1820
72.
Utagawa tOYOKUni ii
(tOYOsHige)
1777 – 1835
a wOMan and CHiLd
COLLeCting pine
sapLings, 1820-25 c.
48
shikishiban surimono,
mm 213 x 184
signed: Toyokuni hitsu
sealed: Ichiyosai and Utagawa
date: 1820 c
Very good impression, colour and
condition.
shikishiban surimono, mm 208x180
signed: Hokkei
dated: c. 1820
series: ‘a gathering of the elders of
Poetry’
‘Shoshikai Bantsukushi’
issued by the Hanazonoren poetry Club.
the poem is by Hyakuten-sha Baicho.
the gentleman, who is reading a poem,
sitting on a ox, is the Chinese court poet
Botanka (i.e. ‘peony’), an immigrant
from Japan. the ox is decorated with
peony blossoms, symbol of nobility
and prosperity. the same subject has
been depicted by Hokkei in another
surimono preserved at the Museum für
Ostasiatische Kunst, Berlin.
Very fine impression with metallic
printing, pristine colour, very good
condition.
49
75.
77.
tOtOYa HOKKei 1780 – 1850
tOtOYa HOKKei
1780 – 1850
a CHinese prinCess gaZing
intO a MirrOr, 1820c.
shikishiban surimono, mm 205x 180
signed: Hokkei
Collection mark on the verso: red circle
with letters, unidentified.
the surimono depicts a Chinese princess
holding a fan and with her face reflected
in a mirror.
Printed on thicker paper (Hōshogami)
which created special printing effects:
‘blind printing’ and embellished with a
liberal use of metallic tints: gold, silver
and bronze.
Poem by Shūyōtei Hyakka.
Very fine impression printed with
embossing, fine colour, very good
condition.
another impression is illustrated in roger
Keyes, Surimono: Privately Published
Japanese Prints in the Spencer Museum
of Art , 1984, p. 159, plate 69.
a LadY HOLding a sCrOLL
signed: Hokkei
poems by eijudo Kanenobu and
Hananomon ario on the left.
a Beauty holding a scroll, standing by
an andon. Her kimono is decorated by an
elaborate pattern with wheels and open
fans.
woodblock printed on thicker paper
(Hōshogami) which created special
printing effects: ‘blind printing’ and
embellished with a liberal use of metallic
dust: silver and bronze.
Very good impression printed with
embossing on the kimono and on the three cranes on the over-kimono, very good colour and condition.
This is the second edition, which lacks the hand-stamped seal of the Akabaneren poetry club and the first
poem, as well as the two seals added to Hokkei’s signature.
For a first edition impression see Matthi Forrer, Surimono in the Rijksmuseum Amsterdam, Leiden, 2013;
cat. no. 339, p.186.
76.
tOtOYa HOKKei 1780 – 1850
LiteratUre, ca. 1825
BUn
signed: Go Hokkei
series: ‘two exemples of literary and
martial arts’
Bunbuniban’
provenence: on the verso stamp of the
Bremen Kunsthalle and doublette of the
Kunsthalle.
Commissioned by the Shippōren
(literally: the group of seven treasures)
Circle of poets.
Poems by Fukurendō Funerari, Fukumizuen
Kiyohito, Fukube no Komahito.
printed on thicker paper which created
special printing effects ‘blind printing’
and embellished with a liberal use of
metallic tint: silver and gold.
Very fine impression, colour and
condition.
50
78.
Keisai eisen
1790 – 1848
COUrtesan witH KaMUrO
and sMaLL BOY, 1825 – 30 c.
signed: Keisai Eisen ga
in the background at right a screen
depicting two camels. two camels were
imported from Holland to nagasaki
in 1821. they were transported across
Japan, raising interest in most of the
Japanese artists.
Fine impression, with metallic printing,
well-preserved colour and very good
condition.
51
79.
81.
Keisai eisen
1790 – 1848
RYȖRYȖKYO SHINSAI
active 1799 – 1823
a geisHa seated On a Veranda,
1820 c.
tHe pUre red sHeLL, 1809
MasUOgai
signed: Keisai
Provenance: Collection Basil Stewart’s
until 1914.rare.
Very good impression, printed on thicker
paper (Hōshogami) which created
special printing effects ‘ blind printing’
and embellished with a liberal use of
metallic tints mainly silver. some fading,
very slightly trimmed to the left and at
the bottom.
surimono portraying a night scene with
a geisha seated on a veranda and holding
a sake cup.
woodblock print, nishiki- e
surimono, mm 139 x 187
signed: Shinsai ga
series: ‘a matching game of
Poems’
Kasen Awase’
issued by the Yomogawa Club,
1809.
the surimono depicts courtesan
at their toilets: one seated at a
mirror stand arranges the collar
of her under-kimono, another
turns towards a young trainee playing with a shuttlecock.
The print is the number 6 of the series ‘A Matching Game of Poems’, composed by 36 surimono, 10 of
which, including another impression of our print, are preserved in the rijskmuseum (see Matthi Forrer,
2013, nn. 154 – 162, pp. 92 – 96).
the three poems are by: goyasudai aritsune, Kagyotei tetsuito and Yomo no Utagaki Magao.
Very fine impression, colour and condition. Printed with metallic pigments and blind printing.
82.
RYȖRYȖKYO SHINSAI
active 1799 – 1823
80.
Keisaieisen
1790 – 1848
stiLL LiFe witH Fan, tOYs, a
FLOwering BranCH and a Kite
signed: Keisai
Fine impression and colour, very good
condition.
52
STILL LIFE OF THE SCHOLAR’S
taBLe
signed: Shinsai
issued by the taikogawa poetry club.
Fine impression, printed on thick paper
(Hôshogami) with blind printing and
with use of silver powder. slightly
trimmed, otherwise in very good
condition, very good colour.
53
83.
85.
RYȖRYȖKYO SHINSAI
active 1799 – 1823
RYȖRYȖKYO SHINSAI
active 1799 – 1823
twO wOMen and a CHiLd On a
Bridge witH BLOOMing pLUM
tree, 1820 c.
stiLL LiFe OF tHe Biwa
shikishiban surimono; mm 210 x 178
signed: Shinsai
the print depicts two women on a bridge
with a plum tree and pine saplings.
Fine impression, with metallic printing,
fine colour, very good condition.
another impression of this print is
preserved in Harvard art Museum - M.
sackler Museum.
signed: Shinsai
Fine impression, printed on thick paper
(Hôshogami) with blind printing and
with use of mineral powders. Very good
colour and condition.
86.
Utagawa sadaKage
active 1818-1844
tHe nOda CHidOri riVer in
MUtsU, 1832
MUtsU, sOnO gO
84.
RYȖRYȖKYO SHINSAI
active 1799 – 1823
twO wOMan pLaYing witH a CHiLd, 1807
54
surimono, mm 260 x 132
signed: Shinsai ga
the elements included in this print obviously refer
to the legend of the hare that lives on the moon,
pounding the elixir of Long Life.
the poem, by nezameYasuki, which inspired the
designer to create a literal interpretation, reads:
Pulling and stretching, the boy’s hood gets ears as
long as this New Hare Year’s Spring.
reference:
Matthi Forrer, Surimono, rijksmuseum
amsterdam, Hotei publishing, 2013, p. 87, n. 144
signed:Gototei and Toshidama seal
dated: 1832, year of the dragon
Series: ‘Six Jewel Rivers’
‘Mu Tamagawa no uchi’
An Ōharame sitting on a bundle of
firewood and leaning against a basket. In
the background, the river with rippling
waves and plovers (chidori) flying
above. the noda river was celebrated
in a poem by the priest Nōin (988-?)
mentioning ‘the crying plovers in the
evening when the salt wind gathers’.
At the left Poems by Shōyōtei Aoki e
Chōnintei Motoyori.
Others impressions of the print are in
rijksprentenkabinet- rijksmuseum amsterdam, and in the Museum für Ostasiatische Kunst, Berlin.
Very fine impression, colour and condition. Slightly trimmed at the bottom.
reference: Surimono: Poetry & Image in Japanese prints, amsterdam, Hotei, 2000, p. 79, pl. 44.
55
87.
Utagawa sadaKage
active 1818-1844
OHaraMe witH FOgOts
signed: Ojun Sadakagega and
Toshidama seal
the print depicts a female brushwood
gatherer from the village of Ohara. the
women from Ohara travelled into the
city and nearby towns and villages to sell
agricultural products.
Here the Oharame is pausing to smoke.
Fine impression with metallic printing,
fine colour, very good condition.
88.
Yanagawa sHigenOBU ii
active 1830 c. – 1860
a wOMan CarrYing water
BUCKets, 1834
MatsU - KaZe
shikishiban surimono,mm 204 x 183
signed: Nisei Yanagawa Shigenobu ga
and Shigenobu seal
sub-title in fan-shaped cartouche
beneath the gourd: Matzu-kaze
Series: ‘Famous Horses’, no. 1 of the
series.
‘Meiba Soroi’
this elegant print depicts a salt water
maiden with pails on a yoke over her
shoulder.
Fine impression with extensive
embossing and metallic printing, fine
colour and very good condition, lightly
backed.
reference: Henri Vever Collection,
Sotheby’s & Co, London, 1974, part one,
p. 325, no. 350 (a).
56
Printed by Grafiche Milani, Segrate (Mi)
in a limited edition of 400 copies
October 2014

japanese prints and drawings

Transcription

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