japanese prints - Galleria Stanza del Borgo

Transcription

SILVANA BAREGGI
JAPANESE PRINTS
STANZA DEL BORGO
Milano
2015
JAPANESE PRINTS 3
STANZA DEL BORGO 2015
JAPANESE PRINTS
a cura di
SILVANA BAREGGI
STANZA DEL BORGO
Milano
2015
1.
SUZUKI HARUNOBU c. 1725 – 1770
THE MONTH OF CHRYSANTHEMUMS c. 1767
KIKU ZUKI
Woodblock print, nishiki-e
Vertical chûban, mm 265 x 201
Signed: Harunobu ga
Dated: c. 1767
Series: Elegant Poets of Four Seasons
Fuzoku Shiki Kasen
Provenance: Gabriel Cognac (1880-1951), his sale, Paris 1953, no. 377, his mark (Lugt 538d) on the verso.
Hughette Berés, see Collection Huguette Berés, Estampes, Dessins et Livres Illustres Japonais, Sotheby’s,
Paris, 27 November 2002, lot 19; her mark on the verso.
Fine impression with extensive embossing, very good colour, minimal faults, generally in very good
condition.
On the terrace of a temple a young woman kneeling holds a young man by his garment. The man bears a
bucket full of chrysanthemums. In the right background a young woman spies the couple.
Literature:
Hizo Ukiyo-e Taikan: Beresu Korekushon (The General Survey of Treasured Ukiyo-e Prints: the Berés
Collection), Tokyo 1990-91; no. 12.
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2.
SUZUKI HARUNOBU Active 1724 – 1770
ELEGANT AMOROUS MANE’EMON, no. 10, c. 1770
Horizontal chuban, mm 205 x 278
Publisher: Nishimuraya Yohachi
Date: c. 1770
Series: Elegant Amorous Mane’emon, tenth plate
Furyu Enshoku Mane’emon
Fine impression, very good colour, lightly backed, slightly trimmed at the top, otherwise in very good
condition.
The series Furyu Enshoku Mane’emon is one of Harunobu’s acknowledged masterpieces. The set, created in
the year of the artist’s death, introduced two important innovations in the shunga genre. The first and the most
important is the creation of a pictorial story, which links all the plates in a sequence. As a rule, in shunga sets,
new characters and new settings were introduced with every picture and the pictures were not sequentially
related. The second innovation concerns the number of prints: shunga were usually published in set of twelve.
Mane’emon, however, is composed of two sets, consisting of twelve prints each.
The name Mane’emon is a pun; it implies that its bearer is both an imitator (from the verb maneru, ‘to
imitate’) and a tiny man of about the size of a bean (mame). The storyline of Mane’emon is that, once he has
changed his shape, the hero starts on an erotic study tour that will take him to various places in eastern Japan.
Harunobu uses this device to depict, in the first half of the series, the sexual life of the common people in
Edo and its surrounding countryside and, in the second part, the customs of Yoshiwara, Edo’s only licensed
quarter. On each print of the set we find Mane’mon’s observations and comments on the different aspects of
Eros that he witnesses. The upper part of each print is taken up by an explanatory note or a haiku. There are,
however, also short legends elsewhere on the print. These are comments and lines of dialogue, supposedly
spoken by the characters themselves.
This print shows a couple making love in a sericulture room. An old man is watching them behind a shoji
screen, Mane’mon is crawling forward to watch better at the couple. The inscription at the top of this print
says: “On his way back from the hot springs he saw all sorts of wheat and could not help laughing.” The word
baku, ‘wheat’, is a slang word, which refers to unlicensed prostitutes. The licensed prostitutes were known
with another slang word, yone, ‘rice’, a nobler grain. Harunobu’s drawing, however, shows no prostitutes, but
a couple of farmers in the silkworm room of a farm. The dialogue of the couple is quite interesting because
it’s about the shunga. The man says “When I saw those shocking Azuma nishiki pictures amongst the things
my brother took back with him from Edo, I suddenly felt unwell.” The woman tries to stop him, saying: “You,
listen! If we do it in front of the children, they will be defiled.” The Azuma nishiki-e (the brocade pictures of
the Eastern Capital) are the shunga.
3.
SUZUKI HARUNOBU Active 1724 – 1770
YOUNG ACTOR MAKING LOVE TO A YOUNG GIRL
Chuban shunga, mm 201 x 284
Date: c. 1765 – 1770
Fine impression and colour, very good condition.
A young girl making futile attempts to thwart the advances of a young actor, a six fold screen painted with
a landscape behind them.
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4.
ISODA KORYUSAI, active c. 1764 – 1788
TWO LOVERS ON A FUTON
Horizontal chuban, mm 190 x 265
Very good impression and colour, unobtrusive trace of a vertical fold, otherwise in very good condition.
5.
ISODA KORYUSAI Active 1764 – 1788
A COUPLE MAKING LOVE BESIDE A TABLE, early 1770’ c.
Woodblock print, nishiki- e
Chuban, mm 184 x 243
Signed: Koryu seal on the wall
Dated: early 1770’ c.
Fine impression and colour, some trimming on the left and bottom sides, otherwise in very good condition.
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6.
KATSUKAWA SHUNCHO active late 1770’s – 1790’s
LOVERS
Horizontal aiban, mm 228 x 328
Date: 1780’s
Fine impression and condition, very fine unfaded colour.
7.
SUZUKI HARUNOBU c. 1725 – 1770
A GEISHA AND HER CLIENT MAKING LOVE, A ‘SHAMISEN’LYING ON THE FLOOR
Horizontal chûban, mm 204 x 279
Dated: c. 1765-1770
Fine impression, printed with extensive embossing, fine colour and very good condition.
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.
Reference:
R. Neuer, H. Libertson, S. Yoshida, Ukiyo-e 250 anni di grafica giapponese, Arnoldo Mondadori, Milano,
1979, p. 99 (ill. in colour).
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8.
UTAGAWA TOYOKUNI I 1769 – 1825
WOMEN WEAVING AND BOY PLAYING WITH PUPPIES, 1790s
Vertical aiban, mm 325 x 223
Signed: Toyokuni ga
Censor: Kiwame
Publisher: Wakasaya Yoichi
Very good impression, colour and condition.
A domestic scene of weaving with a child playing with puppies in the foreground.
Another impression is at the Museum of Fine Arts, Boston (accession number 06.671)
9.
10.
KATSUSHIKA HOKUSAI 1760 – 1849
MISHIMA STATION, 1804
MISHIMA
ISHIBE STATION, c. 1804
ISHIBE
Horizontal kokonotsugiri (one-ninth ôban),
mm 118x168; sheet mm 127x180
Signed: Gakyōjin Hokusai-ga
Dated: 1804
Series: The fifty-three Stations of the Tōkaidō, plate
12.
The print belongs to an untitled series of 58 stations
on the Tōkaidō Road.
Very good, impression, colour and condition.
The print depicts two children riding buffaloes.
Horizontal kokonotsugiri (one-ninth ôban),
mm 118x168; sheet mm 128x 180
Signed: Gakyōjin Hokusai-ga
Dated: c. 1804
Series: The fifty-three Stations of the Tōkaidō Road,
plate 52.
The sheet belongs to an untitled series of 58 stations
on the Tōkaidō Road.
Very good impression, colour and condition.
The print depicts a large tree with a red flowers, at
the centre of the composition a square with ‘kanji’
characters.
Matthi Forrer, Hokusai: a guide to the serial
graphics, the Heron press, Philadelphia-London,
1974, page 65, series 81, n.11.
Matthi Forrer, Hokusai: a guide to the serial
graphics, the Heron press, Philadelphia-London,
1974, page 68, series 81, n. 48.
Katsushika Hokusai, from the Ukiyo-e school, dominated the scene of the art of the Japanese print in the field of book
illustration, drawing and painting. He was born to the east of Edo, the Honjo district. His passion for art began at an early
age; he was adopted by an illustrious family of artisans who introduced him to wood engraving. The wood cut influenced
his career and at the age of 18 he entered at the studio of Katsukawa Shunso (1726-1793), who specialised in popular
Japanese theatre Kabuki. Under the pseudonym of Shunro, around the 1780s, he got to know artists like Shigemasa (17391820) and Kiyonaga (1752-1815) who influenced his drawing of people.
Around 1790 he produced his first important prints which he signed “Kako”. He also produced fine Surimono. In 1797 he
married and took the name Hokusai, becoming one of the foremost illustrators and artists of Japanese prints. Among his
most famous work are the ‘ehon’, books of images of Edo, circa 1800; 15 albums of drawings entitled ‘Manga’, circa 1814;
the prints series ‘The thirty-six views of Mount Fuji’ circa 1830 and the three volumes ‘One hundred views of Fuji’, c.
1834-35.
Amongst his pupils: Shinsai, Hokuju, Hokuba, Hokkei, Shigenobu.
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11.
A NETSUKE WORKSHOP, 1798
SANDARA KASUMI
Horizontal aiban, mm 220 x 316
Signed: Hokusai Sōri ga
From the poetry album ‘Sandara kasumi’, the Mist of Sandara, 1798, which was privately published by the
Kasumi poetry Club. The other two plates in this album are designed by Kitao Shigemasa (1739-1820) and
Hasegawa Settan (1778-1843).
Fine impression, colour and condition.
A woman offers tea to a traveller who is looking at a man turning the ivory rings for making ‘kagamibuta
netsuke’, a type of netsuke fitted with a metal cap. In the background is a screen decorated with prints, one
appears to be a surimono depicting the sun rising above pine trees on New Year’s morning. On the left of
the workshop is Mount Fuj i.
Another very fine impression of this print is preserved at the Art Institute of Chicago (accession number
1925.3205).
Reference:
Giancarlo Calza, Hokusai, il vecchio pazzo per la pittura, Electa, Milan, 1999, page 137, II23.
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12.
YASHIMA GAKUTEI 1786 – 1864
A COCK SITTING ON A DRUM
Shikishiban surimono, mm 207 x 182
Signed: Gakutei, with seal Yashima.
Dated: 1825, year of the cock.
Very fine impression, colour and condition.
Poems by Ryurintei Shigemaru and Ryufudo Itoyori, members of the Yodogawa poetry club.
The combination of the cock and drum is a symbol of peace. The story goes that in ancient times drums
were installed by the famous general Chu-ko Liang to warn the Chinese of incursions of frontier tribes.
These Chu-ko Liang drums as they were subsequently called lost their function and became places for
fowls to perch: a symbol of peace.
The poem by Itoyori reads:
The cock declares
Spring has come
The cherry blossom colour
Is the colour of the cock’s comb
Is not the cock beautiful?
Literature:
Andon n. 36, 1989, Cock on a drum print by Yashima Gakutei, article by Robert B. Kleyn, pages 135 - 136.
13.
YASHIMA GAKUTEI 1786 – 1864
TWO COURT ATTENDANTS BESIDE A CARRIAGE AT SUNSHINE, c. 1828
Surimono, mm 188 x 274
Signed: Gakutei in the cartouche at bottom right.
Fine impression of the first version of this surimono. Printed with application of mineral colours (silver and
gold) and karazuri. Very good colour and condition.
This is the first version of the subject. For the second version see Roger Keyes, The Art of Surimono,
London & New York 1985; vol. I, p. 126 no. 97.
The main differences between our version and the second one are: the signature is in a square cartouche;
the sun is larger, covered by different clouds, and touching the pine branch; the slope of the hill extends
to the left with extra pine tree; the kamon (family crest) layout on the ox cart is different, as is different the
bark on the large pine tree on the right.
Gakutei depicts here a practice of courtiers in the Heian period. Every year on the first Day of the Rat it
was customary for courtiers to entertain themselves with a New-Year visit to the countryside, where they
uprooted young pine trees to bring back to their palaces as decorative ornaments.
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14.
TOTOYA HOKKEI 1780 – 1850
PEKINESE DOG PLAYING WITH A KEMARI
THE BALL FOR JAPANESE FOOTBALL
Egoyomi for the year of the Dog 1826 (Bunsei 9)
Signed: Aoigaoka Hokkei
Very fine, brilliant impression, with gauffrage on the dog’s coat and areas printed in gold and silver; very
fine colour and condition. The background coloured cinnamon.
The Pekinese dog is dressed in a silk cape and leans against a ball decorated with patterns of coloured
thread and secured by a band of cloth. This kind of dogs were not native to Japan but were introduced from
China. Behind the dog is a brazier with a branch of plum blossoms. In the brazier, over the ash, there are
the numbers for the long months of the year Bunsei 9 (1, 3, 4, 6, 8, 11).
At top left the poem by Ganjōtei Shirataka:
Otomego ni tenareshi mari wa iu koto o yoku kikiwakuru inu no hatsuharu
The ball is used by the little girls; it listens carefully and understands what they say, like a dog in early Spring.
Other impressions of this print are at the Metropolitan Museum of New York (accession number: JP1032), at the
Harvard Art Museum (accession number 1933.4.1839) and at the Chester Beatty Library, Dublin (acc. n. 2018).
Literature:
Richard Kruml, Surimono Prints, catalogue 15, London 1975, no. 21;
Roger Keyes, The art of surimono. Privately published Japanese woodblock prints and books in the
Chester Beatty Library Dublin, vol. I, pag. 164, n. 130.
15.
16.
TEISAI HOKUBA 1771 – 1844
A BIJIN WITH HER CHILD ON SHOULDERS
OBSERVING A MAN PRESSING RICE, 1810 c.
YOSHITSUNE PLAYING A SHAKUHACHI, c. 1820
Surimono, mm 210 x 107
Signed: Hokuba ga
Fine impression, printed with mineral powders and
‘karuzuri’, fine colour and condition.
The print depicts a man pressing the rice for
preparing ‘mochi’ a Japanese rice cake associated
with the festivities of New Year.
Hokuba designed some fine surimono and he is well
know also for his elegant paintings of Bijin. He
was one of Hokusai’s best pupils, with Ry ry kyo
Shinsai and Totoya Hokkei, and a fine painter and
illustrator of kyoka books.
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Shikishiban, mm 212 x 185
Signed: Getchi Roj in Iitsu Iitsu (Moonstruck Old
Man Iitsu)
Dated: c. 1820
Series: Five prints for the poet circle Sakurogaki
Very fine impression with embossing, metallic
printing (silver and brass). Fine colour and
condition.
The print depicts Yoshitsune playing a Shakuhachi,
the transverse flute, and another man playing the
Koto, a string instrument.
Another impression of this surimono is preserved in
the Mak Collection (accession number: KI 11065)
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18.
UTAGAWA KUNISADA 1786 – 1865
THE DRAGON PRINCESS OTOHIME, 1820
THE ACTOR SEGAWA KIKUNOJO V AS THE
PRINCESS OF THE DRAGON PALACE
STILL LIFE WITH SEAHORSES AND
BEETLES, 1822
Signed: Gototei Kunisada ga
Artist’s seal: toshidama ring within triple lozenge.
Number two from a series for the Taikogawa Poetry
Club, as indicated by a drum (taiko) drawn above
the title.
Fine impression with metallic printing, fine colour,
light Japanese backing, in very good condition.
On the print there are two poems, by Utei Enba
(1743-1822) and Rokuzōtei Hōba. Both the poems
mention the Dragon, which was the zodiacal sign
for the year.
Reference:
John T. Carpenter, Reading Surimono, LeidenBoston, 2008, no 190, p. 307.
Shikishiban surimono: mm 209 x 185
Signed: Fusenkyo Iitsu hitsu
Series: The Horse Series, 1822
Umazukushi
This set was commissioned by the club of poets
Yomogawa for the year of the Horse 1822.
Very good impression with karazuri, metallic
printing and burnished black; very good colour, the
poem on the left partly rubbed, otherwise in very
good condition.
The surimono depicts a pair of dried seahorses on
an unfolded sheet of paper, next to it two preserved
beetles in a small lacquer box. The beetles and the
dried seahorses connote sexuality and childbirth.
The beetles were believed to be an aphrodisiac, the
seahorses cured impotency and were used as an
amulet during childbirth.
Reference:
Matthi Forrer, Surimono in the Rijksmuseum
Amsterdam, Amsterdam 2013, page 138, n. 255.
19.
THE KINTAI BRIDGE IN SUÔ PROVINCE, c.
1834
SUÔ NO KURI KINTAI BASHI
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Horizontal ȏban, mm 239 x 367
Signed: Zen Hokusai Iitsu hitsu
Dated: c. 1834
Publisher: Eijudō
Censorship: Kiwame
Series: Remarkable Views of Bridges in Various
Provinces
Shokoku meikyō kiran
Provenance; Huguette Ber s, her mark on the verso.
Fine impression, fresh colour; vertical centrefold,
otherwise in very good condition.
The Kintai bridge, built of solid stone pillars,
crosses the Iwakuni river in the Suô Province
(Yamaguchi prefecture at present). It is also
known by the name of Bridge of the Brocade Sash
because its elegant shape suggests a decorative sash
across the river. The bridge was originally part of the
main road to the Iwakuni Castle, which we can see at
the left of the composition. The bridge was originally
intended for use only by samurai and their retinues
and so Hokusai shows on the bridge a figure with an
umbrella and two swords (prerogative of the samurai
class) accompanied by his attendants.
References:
J. Hillier, Hokusai: Paintings, Drawings and
Woodcuts, London, 1955, n. 66.
Gian Carlo Calza, Hokusai: Il vecchio pazzo per la
pittura, Milan, 1999, catalogue of the exhibition ,
no. V.47.9, p. 502, illustrated p. 340.
Various Authors, Hokusai, catalogue of the
exhibition at the Grand Palais, Paris 2014; cat. 368,
p. 301, illustrated.
Various Authors, catalogue of the exhibition at
Museum of Fine Arts di Boston, Boston 2015; no.
24, pp. 82-3, illustrated.
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20.
KITAGAWA UTAMARO 1753 – 1806
LOVERS YÛGIRI AND IZAEMON AS PUPPETS, 1801-2 ca.
YÛGIRI, IZAEMON
Vertical ôban, mm 380 x 258
Signed: Utamaro hitsu
Series: Manipulations of Love with Musical Accompaniment
Ongyoku koi no ayatsuri
Publisher: Moriya Jihei
Superb impression, colour and condition. Exceptional retention of the pigments with blind printing on thick
hosho paper. Full size with extra paper showing left and right.
Another impression of this print is at the Museum of Fine Art, Boston (accession number 11.14379).
The series Ongyoku koi no ayatsuri shows men and women manipulating puppets, each pair representing
a famous pairs of lovers. In this case the famous tayu Yûgiri of the Ogiya House and her lover Fuj iya
Izaemon. On Yûgiri’s kimono we see her insignia, the paulownia. The story relates how Fuj iya Izaemon’s
family cut him off because of his philandering in the licensed quarter and of his j ealousy of her other
clients. However, all ends well, with the forgiveness of the family and the marriage of the lovers.
Reference:
S. Asano- T. Clark, The Passionate Art of Kitagawa Utamaro, British Museum, 1995, p. 224, nos 381-2.
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21.
KITAGAWA UTAMARO, 1753 – 1806
TWO LOVERS BESIDE A LOW TEA-SCREEN PAINTED WITH CHRYSANTHEMUMS, 1788
Horizontal ôban, mm 238 x 369
Series: The Poem of the Pillow
Utamakura
Fine impression, very good colour. The print has been trimmed to the borderline and has been pasted on a
larger sheet. Trace of a vertical fold in the center, two minimal wormholes, otherwise in good condition.
The Poem of the Pillow is one of the undisputed masterpieces of Japanese erotic imagery, which presents
twelve different scenes of love-making: young lovers as well as a mature couple, samurai, townsmen,
servants, even a Dutch couple. It is generally thought that the Utamakura was published by Tsutaya
Jūzaburō (1750-1797), publisher of the most successful prints by Utamaro.
22.
KITAGAWA UTAMARO, 1753 – 1806
CHILD AND TWO STANDING BEAUTIES, c. 1798
Vertical ôban, mm 394 X 251
Signed: Utamaro Hitsu
Publisher: Tsuruya Kiemon
The right sheet from a triptych entitled:Parody of an imperial carriage scene
Mitate gosho guruma
Fine impression with burnishing, very good condition and colour, a small professional repaired worm hole.
The entire triptych is preserved at the Boston Museum of Fine Arts, accession number 21.7401-3.
The print depict in the foreground a child and two standing beauties, under a flowering cherry tree; in the
background an imperial carriage.
Reference:
S. Asano - T. Clark, The Passionate Art of Kitagawa Utamaro, British Museum, 1995, p. 157, n. 290.
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23.
KITAGAWA UTAMARO 1753 – 1806
THE LOVERS YAOYA OSHICHI AND KOSHÔ KICHIZABURÔ
Signed: Utamaro Hitsu
Censor’s Seal: Kiwame
Publisher’s mark: Nishimura ya
Series: True Feelings Compared: The Founts of Love.
Jitsu Kurabe Iro-no-Minakami.
Provenance: H. Vever (3), on the verso; Huguette Berès.
Very fine impression, good colour, a few expertly restored wormholes, otherwise in fine condition. Grey
ground.
The series depict half-length portraits of pair of lovers. Until now 21 designs are known. Here the lovers
are Yaoya Oshichi and Koshô Kichizaburô. She is on her knees with hands brought together imploringly
whilst he stares moodily away from her.
For other impressions see: British Museum (Museum number 1937,0710,0.73),
Museum of Fine Art Boston, (accession number 21.6432).
Utamaro, one of the leading Ukiyo-e artists, debuted illustrating popular books and, occasionally,
producing single - sheet portraits of kabuki actors. He is a painter, draftsman, designer of illustrations for
books and albums, he also worked in the genre of erotic prints, creating in this particular kind of subj ects,
works of extraordinary sophistication. He was in the group of the first Ukiyo-e artists to gain a large
appreciation in Europe, thanks to intellectuals as Edmond de Goncourt who introduced him to the West
as ‘the painter of Green Houses’. Utamaro is especially known for his masterfully composed portraits of
sensuous female beauties. He reached the hight of success between 1780 and 1790. During this period
he worked closely with the publisher Tsutaya Juzaburo, the best - remembered Ukiyo-e print publisher,
who took him under his protection. With Tsutaya Utamaro produced the finest of his female portraits, and
he also designed his masterworks in nature studies: the illustrated books ‘Ehon mushi erami’ (The Insect
Book) 1788, ‘Shiohi no tsuto’ (The Shell Book) 1789, ‘Momo chidori’ (The Bird Book) 1790. The almost
exclusive activity of Utamaro for Tsutaya Juzaburo ended around 1793. In 1804, at the top of his success,
Utamaro made some prints depicting the military ruler Toyotomi Hideyoshi (1536-1598) with his wife
and concubines. Consequently, he was accused of insulting Hideyoshi’s dignity and was ordered to be
handcuffed for 50 days. We should note that, in Utamaro’s days, Japan was still governed by a military
ruler, Tokugawa Ienari. According to some sources, this experience crushed him emotionally and ended his
career as an artist.
References:
Shibui, Ukiyo-e Zuten, vol. 13, Utamaro, Tokyo, 1964, p. 111, n.14.
Jack Hillier, Utamaro: Colour Prints and Paintings, London, 1961.
Jack Hillier, Japanese Prints and Drawings from Vever Collection, London, 1976, p. 425, n. 449.
Asano-Clark, The Passionate Art of Kitagawa Utamaro, two vols, London, 1995; series no. 298, page 195,
(not illustrated).
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24.
ACTORS NAKAMURA FUKUSUKE I AS MATSUGAE MATONOSUKE
AND ICHIKAWA KOMAZȎ VII AS NIKKI DANJȎ, 1855
Vertical ôban: mm 363 x 254
Signed :Toyokuni ga, in toshidama cartouche
Dated: 1855 (Ansei 2), 9th month
Publisher: Iseya Kanekichi
Play: Konoshita Kege Masago no Datezome
Extremely fine, early impression with strong wood-grain and overprinting.
Gloss black on the dress, brilliant unfaded colour.
Very good condition, unobtrusive binding holes at the right side.
For a similar impression see MFA, accession n. 11.40221.
25.
UTAGAWA KUNISADA, 1786 – 1865
THE ACTOR SAWAMURA TANOSUKE III AS YUFU TSUNADE, December 1861
Signed: Kio (at the age of 77) Toyokuni hitsu
Publisher: Hirayano Shinzo
Series: A Contest of Magic Scenes by Toyokuni
Toyokuni kigo kijutsu kurabe
An extraordinary fine impression from the ‘de-luxe’ first printing.
The finest materials have been used: thick hosho paper and specially mixed inks.
The printing incorporates karazuri, burnishing, metallic embellishment and mica.
Fine colour and condition.
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26.
CANDLE LIGHT AND SHINING JEWEL late 1830’s
TOKA YAKOJU
Fan print, mm 293 x 228
Signed: Kôchôrô Toyokuni ga
Very fine, early impression, fine colour and condition. A sophisticated overprinting technique has been used
in depicting the shadow area.
A beauty reading a letter by the light of a lantern.
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27.
ICHIKAWA DANJURO VIII AS TOKIJIRO AND BANDO SHUKA I IN THE ROLE OF URAZATO, IN
THE PLAY AKEGARASU HANA NI NUREGINU, 1852
Vertical ôban diptych, each sheet mm 367 x 256
Signed: Toyokuni ga in toshidama cartouche
Dated: 1852
Censor Seals: Hama - Magomi
Series: Parody of the Thirty-Six Poetry Immortals
Mitate sanjurokkasen no uchi
Very fine early impression, colour and condition, with over-printing, embellished with hand splashed gofun.
Printed with embossing, woodgrain and mica dust at the top of the composition.
At the top of th left print Koōkimi’s poem: At the stone bridge, our night together will be short-lived, as the
daybreak brings wariness of the god of Katsuragi.
The two lovers, the main characters of the kabuki play Akegarasu Hana ni Nureginu, are depicted in the
snowy courtyard of the brothel where Urazato works, both ready to escape. The courtesan Urazato and
Katsugaya Tokijirō were lovers and had a child, but the brothel owner forbade the two young people to meet.
One winter evening, the brothel keeper and his wife beated Urazato. Tokijirō comes to take her away, and
later manages to buy her freedom.
Reference:
Gunda Luyken and Beat Wismer: Samurai Stars of the Stage and Beautiful Women: Kunisada and
Kuniyoshi Masters of the Color Woodblock Prints, Stiftung Museum Kunstpalast Düsseldorf, Inv. No. J
1988-36 (68), Hatje Cantz, 2011, page 102 no. 77.
28.
THE GHOSTS OF KIKUNO AND MATAHACHI HAUNTING THEIR KILLER, 1855
Woodblock prints, nishiki-e
Diptych of vertical ôban, overall mm 362 x 508
Signed: Toyokuni ga, in toshidama cartouche
Censorship seal: aratame
Date seal: Hare 10 (1855/10)
Excellent impression, with karazuri fine overprinting and fresh wood-grain; fine colour and condition,
unobtrusive binding holes at the edges.
The actor interprets in this play a female role because, in the Kabuki theater there were no actresses
women.
In the scene, he reaches out towards the viewer with a snappy gesture, his eyes are alert under the
eyebrows. The ghost pursed through the mouth open a supernatural magical flame that rests on the head of
the woman, at the right. She holds in her hand a roll of fabric which means sexual availability.
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31
29.
ONOE KIKUGORŌ III AS KONOSHITAGAWA KŌSUKE (L) AND, BY THE TAIL OF THE FISH,
BANDŌ HIKOSABURŌ IV AS HANYUYA SUKESHIRŌ (R)
Vertical ôban diptych, each sheet mm 363 x 250, full size mm 363 x 500
Signed: Toyokuni ga in toshidama cartouche
Publisher: Ȏtaya Takichi
Censor’s seal: aratame
Date seal: Hare 6 (1855)
Fine impression, with mica powder, karazuri and fine bokashi; fine colour and condition, minimal traces of
binding holes on both sheets.
Our diptych is the first version of this subject, which Kunisada replicated in 7/1856 with the same
publisher. For this second version see, at the Museum of Fine Arts, Boston, nos. 11.43844a-b and
11.45270a-b. Another impression of the first version is in the Lyon Collection. The two versions have
great similarity but, in fact they are not the same. The left panel seems to be almost identical, but there are
differences: the actor and his identifying cartouche have been recarved. The right panel is almost entirely
different: there is no man holding a scroll on the shore and the actor at the tail of the fish is totally different
compared with the first version. The figure on the shore in our first version depicts Iwasa Matabei (1578–
1650), a painter of the popular school, somehow considered a father of the Ukiyo-e school.
30.
THE ACTORS IWAI KUMESABURO III AND ICHIKAWA DANJURO VII, IN THE ROLES OF
ATSUMORI AND NAOZANE, IN THE KABUKI PLAY ICHINOTANI FUTABA GUNKI, 1852 (Kaei 5)
Triptych of woodblock prints, nishiki-e
Vertical ôban, overall size mm 360 x 750 mm
Censors: Hama and Magome
Date seal: Rat 9 (1852/9)
Publisher: Sumiyoshiya Masagoro
Fine impressions, colour and condition; unobtrusive binding holes.
This scene of the kabuki is related to a very famous episode of the battle of Ichinotani, 1184. Kumagai no
Jirō Naozane, a warrior of the Minamoto clan, challenges to fight the young warrior Taira no Atsumori. The
older Minamoto warrior kills Atsumori, as a warrior’s duty, but considering that the young enemy has the
same age of his own son, Noazane feels pain in his heart and eventually he becomes a Buddhist monk.
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31
UTAGAWA KUNIYOSHI 1797 – 1861
ICHIKAWA DANJÛRÔ VIII IN THE ROLE OF ÔWASHI DENGO TADAO, 1852
Signed: Ichiyūsai Kuniyoshi ga and kiri on seal
Censors: Mera and Watanabe (1851 - 53)
Date seal: Rat/11 (1852)
Publisher: Kakumoto-ya Kinj irô
Series: Mirror of the Loyal Courage of the Faithful Retainers
h shin giy kaga i
Fine impression, colour and condition; small and unobtrusive binding holes on the right side.
The subj ect of the series is, once again, the very popular story of the revenge of the 47 rōnin. This true
story was popularized in Japanese culture as emblematic of the loyalty, sacrifice, persistence and honour
that people should preserve in their daily lives. The popularity of the tale grew during the Meij i era, in
which Japan underwent rapid modernization, and the legend became entrenched within discourses of
national heritage and identity.
Reference:
B. W. Robinson, Kuniyoshi, London, 1961, series no. 206, p. 55.
James King and Yuriko Iwakiri, apanese arrior rin s, Leiden and Boston, 2007.
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32.
UTAGAWA KUNISADA II, 1823 – 1880
ACTOR NAKAMURA KANTARÔ AS HIGAMI KYÛROKU, 12/1852
Signed: Kunisada ga, in toshidama cartouche
Censor seals: Kinugasa – Murata
Publisher: Tsutaya Kichizô
Series: The Book of the Eight Dog Heroes
Hakkenden inu no sôshi no uchi
Excellent impression, pristine colour, with over-printing and gloss black. Fine condition, unobtrusive
binding holes on the left.
Two other fine impressions are preserved at the Museum of Fine Arts, in Boston (accession number
11.39121), and at the Musée d’Art et d’Histoire de Genève, (accession number E 68-0033-029).
Reference:
Le Geste Suspendu: Estampes Kabuki du Cabinet d’Arts Graphiques.
The Frozen Gesture: Kabuki Prints from the collection of the Cabinet d’Arts Graphiques des Musée d’art et
d’histoire, Genève 2014, Exhibition’s catalogue, p. 74, no. 56.
33.
ACTOR ICHIKAWA KODANJ, IN THE ROLE OF TAIRA NO TOMOMORI, 1856 (ANSEI 3)
Censorship: Aratame
Date seal: Dragon 7 (1856/9)
Publisher: Ebiya Rinnosuke
Fine impressions, colour and condition; minor, unobtrusive binding holes on the right side.
Taira no Tomomori was a hero of the Taira clan in the battle of Ichinotani, 1184. He died sinking himself
into the sea with an giant anchor.
34.
A KABUKI ACTOR, 1852
Vertical ôban; mm 361 x 252
Censor seals: Hama and Magomi
Publisher: Tsuj iokaya Bunsuke
Fine impression with burnishing, karazuri and overpainting, very good colour and condition, small and
unobtrusive binding holes on the left side.
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37
35.
UTAGAWA HIROSHIGE 1797 – 1858
SHIOJIRI PASS IN SHINANO PROVINCE, 1858
SHINANO SHIOJIRITOGE
Van Vleck page 109 n. 29
Signed: Hiroshige ga
Date seal: for the fourth month of the Horse year (1858)
Publisher: Tsutaya Kichizo
Series: Thirty-six Views of Mount Fuji, 29th plate of the series
Fuji Sanjurokkei
Very fine impression, with strong wood-grain and overprinting and fine bokashi; brilliant colour, in pristine
condition.
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36.
SPRING RAIN AT TSUCHIYAMA, c. 1833
TSUCHIYAMA HARU NO AME
Horizontal ōban, mm 245 x 364
Van Vleck p. 36 n. 50, Suzuki 311, Tamba 289, UTK/14-50.
Publisher: Hoeido and Senkakudo, 1833-34.
Series: The Fifty-three Stations of the Tōkaidō, n. 50 of the Series
Tōkaidō gojusan tsugi no uchi
Fine early impression, very good colour and condition, faint centrefold and minor paper flaws. One of the
best designs of this series.
The print shows a daimyo’s procession crossing the Tamura River in Suzuka Pass, east of Tsuchiyama. This
area is famous for its green tea and known for the treacherous pass in winter.
For two other impressions of this print see the Collections at the British Museum and at the Museum of
Fine Arts in Boston (accession number 11.23105).
Reference:
The Edward Burr Van Vleck Collections of Japanese prints, Elvehjem Museum of Art, University of
Wisconsin-Madison 1990, pag. 36, n. 50.
Jūzō Suzuki, Utagawa Hiroshige, Tokyo, 1970, n. 105; Tamba 289; UTK /14-50, Van Vleck p. 36 n. 50.
37.
KEISAI EISEN 1790 – 1848
EVENING GLOW AT NIHONBASHI, c. 1843–45
NIHONBASHI NO SEIRAN
Horizontal oban, mm 257 x 380
Signed: Keisai Eisen ga
Censor seal: Watari (1843-45)
Publisher mark: Eikyudo
Series: Eight Views of Edo
Edo Hakkei
Fine impression, colour and condition.
Two other impressions of this print are at the Metropolitan Museum (Accession Number: JP1283) and
at the Museum of Fine Arts in Boston (Accession Number 11.25664).
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38.
MINOWA, KANASUGI, MIKAWASHIMA, 5th month, 1857
MINOWA, KANASUGI, MIKAWASHIMA
Van Vleck p. 134 n. 102
Dated: 1857, 5th month (year of the Snake)
Publisher: Uoya Eikichi
Censor : aratame
Series: One Hundred Famous Views of Edo, n. 102
Meisho Edo hyakkei
Fine impression, with karazuri on the plumage of the birds and strong wood grain in the sky and in the
water; fine colour, slight trimming in the margins. Otherwise in very good condition; album backing.
The title of the print lists three different villages northwest of the Yoshiwara: the scene is looking from
Minowa and Kanasugi toward Mikawashima, where the Shogun’s Crane Hunt occurred almost every
winter, when cranes migrated to Japan.
A fine, early impression of this print is at the Brooklyn Museum (Accession Number: 30.1478.102)
References:
Henry D. Smith II – Amy G. Poster , Hiroshige, One Hundred Views of Edo, 1986, n. 102.
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39.
INASA MOUNTAIN AT NAGASAKI IN HIZEN PROVINCE, 1856, Ansei 3
HIZEN NAGASAKI INASAYAMA
Van Vleck p. 101, n. 63.
Signed: Hiroshige hitsu
Censorship: aratame
Date seal: Dragon 9
Publisher: Koshihei (Koshimura Heisuke)
Series: Famous Views of the 60-odd- Provinces
Rokuj uyoshu meisho zue
Provenance:Hugette Berès, her mark on the verso.
Fine impression and colour, with mica powder and strong wood-grain, in very good condition.
This very ambitious series of ‘Views in different Provinces,’ being exceeded in number only by the ‘Hundred
Famous Views in Edo’, consists of sixty-nine plates and a title-page with list of contents. Owing partly to the
large number of plates comprised in this series, they are of very varying quality. Some views are amongst
Hiroshige’s master-pieces; speaking generally the views of coast, lake, and river scenery are the best, while
those of inland scenery are inferior. The series as a whole, however, is notable for the careful gradation and
shading of different tints, one into the other, particularly in the views of rock and mountain scenery.
40.
MISAKA PASS IN KAI PROVINCE, 4/1858
KAI, MISAKA-GOE
Vertical ōban, mm 376 x 257
Van Vleck p.109, n. 30
Dated: 4/1858
Series: Thirty-six Views of Mount Fuj i, 30th plate of the series
Fuj i sanj urokkei
Fine impression, very good colour and condition.
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41.
OPENING THE RIVER, CEREMONY IN RYȎGOKU, ca. 1800
RYOGOKU KAWABI RAKI
fan print, mm 224 X 295
Dated: c. 1840
Series: Famous Views of Edo and the Annual Events
Edo meisho nenju gyoji
Very fine impression, with refined bokashi; very good colour, fine condition, full size.
In this print Hiroshige depicts the seasonal event of the ‘opening’ of the Ryögoku River, which started with
the fireworks festival. A courtesan wearing an elegant kimono stands on the centre of the pleasure boat.
Many people flocked to the river for attend the ceremony and watch the fireworks. In the background
appears the Ryögoku Bridge with a crowd of people gathered to watch the festival.
Ukiyo-e artists often were engaged to design prints that would be made into fans; since fans were
constructed for short-term use, not many prints of this kind survive. However, not all the fan prints were
used for that purpose. Often they were pasted on screens and lamps as decorative elements. They were
also searched by the most sophisticated connoisseurs who collected uncut fine impressions of them just for
pleasure.
For another impression, a little bit trimmed, of this rare print see: Honolulu Museum of Art (Accession
number: 21719)
Literature:
Okuda Atsuko, Hiroshige Fan Prints – Hiroshige no uchiwa-e: Shirarezaru ukiyo-e; Tokyo, 2010, p. 20,
ill. n. 17.
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42.
SUKIYAGASHI IN THE EASTERN CAPITAL, 4/1858
TOTO SUKIYAGASHI
Van Vleck p. 106, n.3
Dated: date seal for the fourth month of the Horse year (1858)
Series: Thirty-six Views of Mount Fuji, 3th plate of the series
Fuji Sanjurokkei
Fine impression, very good colour and condition.
43.
TILE KILNS AND THE HASHIBA FERRY ON THE SUMIDA RIVER, 4/1857
SUMIDAGAWA HASHIBA NO WATASHI KAWARAGAWA
Dated: 4/1857
Publisher: Uoya Ekichi
Censorship: aratame
Series: One-hundred Views of Famous Places in Edo, 37th plate of the series
Meisho Edo hyakkei
Provenance: Huguette Berès, her mark on the verso.
Fine early impression, with visible wood-grain and bokashi, very good colour and condition, album
backing.
Reference:
Henry D. Smith II, Amy G. Poster, Hiroshige, One Hundred Famous Views of Edo, New York, the
Brooklyn Museum of Art, 1986; no. 37.
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44.
ATAGOSHITA AND YABU LANE, 12/1857
ATAGO-SHITA YABUKȎJI
Van Vleck p. 135, n. 112
Dated: date seal for the 12th month of the Snake year (1857)
Censorship: aratame
Series: One-hundred Views of Famous Places in Edo, 112th plate of the set
Meisho Edo hyakkei
Fine impression with very nice bokashi, fine colour and condition, full margins.
This is the last of the four famous snow scenes in the series. We see in the distance the district known as
Atagoshita, which means ‘beneath Mount Atago’, the hill rising to the right. The foreground is animated
and lively: on the right a rapid stream flows toward us and branches of bamboo, bending under the weight
of snow, emerge from behind a fence. On the left three sparrows fly about in search of food. The clamp of
bamboo was an established landmark that would have instantly identified the place to Edo residents. These
plants were believed to protect the place against demons and evil influence.
45.
JAVA SPARROW AND MORNING GLORIES
ASAGAO
Chutanzaku, mm 344 x 114
Signed: Hiroshige hitsu
Censor’s seal: kiwame
Publisher: Kawaguchiya Shōzō
Very fine early impression, colour and condition.
This print belongs to a group of ‘tanzaku’ published by Kawaguchiya Shōzō with ‘kaiku’ in cursive script.
Poem: Haiku
Asagao no
The morning glories (?)
akareno sono hi
are out today! The morning
sonohi ka na
glories bloom today.
A similar early impression is preserved in the Collection of Minneapolis Institute of Arts, Richard P. Gale
Collection (acc. 74.1.257).
For others prints see: Cat. Tokyo, National Museum, III, 3532-3537 and Tamba, 1965, 397.
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46.
NEW YEAR’S EVE FOXFIRES AT THE CHANGING TREE, ŌJI 9/1857
ŌJI SHŌZOKU-ENOKI ŌMISOKA NO KITSUNEBI
Censorship: aratame
Series: One-hundred Views of Famous Places in Edo, 118th and last plate of the series
Meisho Edo hyakkei
A fine impression, embellished with mica powder, with full margins. Very good colour, fine condition.
Unobtrusive binding holes on the left margin.
This print, usually considered between the masterpieces of the series, is the only one that involves fantasy;
it depicts the popular legend of the magic foxes of the Kantō provinces gathering, on New Year’s Eve, to a
particular tree near the Ōji Inari Shrine. On their way to the shrine the foxes gave forth distinctive flames,
by which local farmers were able to predict the crops of the coming year.
Reference:
Henry D. Smith II, Amy G. Poster, Hiroshige, One Hundred Famous Views of Edo, New York, the
Brooklyn Museum of Art, 1986; no. 118.
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47.
RAIKŌ AND HIS RETAINERS ATTACKING THE DRUNKEN MONSTER SHUTEN-DŌJI ON
MOUNT ŌE, 1851
Vertical ōban triptych, each sheet mm 359 x 250; overall size mm 359 x 750.
Signature: Ichiyūsai Kuniyoshi ga in a gourd-shaped cartouche, red yoshikiri seal
Censor’s seals: Mera - Watanabe
Publisher: Amatsu
Very fine, even impressions, in the rare variant edition with red circular shapes on Shuten-doji’s robe.
Extensive use of mica powder in the dark areas. There are no traces of oxidation, often found on this print,
particularly on the right hand of the monster. Fine colour, album trimming and slight wear on the left of the
central sheet, minor binding holes, otherwise in excellent condition.
This triptych, one of Kuniyoshi’s finest designs, depicts the fight of Minamoto no Yorimitsu and his
retainers to kill the demon of Mount Ōe in Tamba province.
Reference:
B. W. Robinson, Kuniyoshi, The Warrior Prints, Oxford, 1982, no T261;
James King and Yuriko Iwakiri, Japanese warrior prints, Leiden and Boston, 2007; ill 82;
Iwakiri Yuriko and Amy Reigle Newland, Kuniyoshi, Japanese master of imagined worlds, Leiden and
Boston, 2013, cat. no. 37, p. 63.
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48.
WIND, c. 1847 – 52
KAZE
PRINCE GENJI WITH TWO BEAUTIES IN A WINDY
GARDEN
Vertical ȏban triptych, each sheet mm 360 x 250,
overall size mm 360 x 750
Signature: Ichiyūsai Kuniyoshi ga, red yoshikiri seal
Censors’ seals: Fuku-Muramatsu
Dated: c. 1847 – 52
49.
KIYO-HIME TURNING INTO A DRAGON AS
SHE LIFTS THE BELL OF DŌJŌJI, 1845
Signed: Utagawa Kuniyoshi
Censor seal: Yoshimura Gentaro (1843 - 46)
Very fine early impression with brilliant and pristine colour,
album trimming, otherwise in very good condition. An
extremely rare print. One of the best Kuniyoshi’s legendary
prints.
We know only two other impressions of this print, one in
the Finnish National Gallery and the other at the Victoria
& Albert Museum, listed by Robinson (S1f.17). Both these
prints are trimmed.
Anchin, an attractive priest, who frequently travelled to
the important temple in Kii Province, felt in love with the
charming Kiyohime, in whose home he often spent the night.
When Anchin overcame his passions and refrained from
further meetings, Kiyohime became infuriated and pursued
him in a rage. Anchin and Kiyohime met at the edge of the
Hidaka River, where the priest asked a boatman to ferry him
across the river, requesting that the woman not be allowed
on the same boat. When Kiyohime saw Anchin fleeing, she
jumped into the river and swam after him. Her rage caused
her transformation into a serpent. Anchin, to escape the
suddenly formed monster, ran into the temple called Dōjō-ji,
asking help of the priests, who hid him underneath the temple
bell. The serpent smelled him hiding inside the bell, and
started to coil around it. Kiyohime then gave off a great belch
of fire that melted the bell, killing Anchin.
This legendary tale was immensely popular to artists;
we know a very interesting print depicting Kiyohime by
Yoshitoshi, Kuniyoshi’s best scholar.
Publisher: Arita-ya Seiemon
Series: Contemporary Flowers, Birds, Wind and
Moon
Jisei Kwachofugetsu
Very fine, even impressions, with nice karazuri;
brilliant, pristine colour and excellent condition.
Album backing.
The series, of four tryptichs, has been co-designed
by Kunisada and Kuniyoshi.
The complete set is preserved at the Museum of
Fine Arts, Boston.
50.
TSUKIOKA YOSHITOSHI 1839 – 1892
LAY PRIEST TOKIYORI OF SAIMYÔ-JI
TEMPLE, 1878
SAIMYÔ-JI TOKIYORI NYÛDÔ
Signed: Oju Yoshitoshi hitsu, and red Taiso seal
Publisher: Funazu Chȗjirô
Series: Mirror of famous commanders of great
Japan
Dai Nippon meishô kagami
Fine impression of the first edition, with the border
coloured in moss-green, the green dress of Tokiyori
overprinted . Fine colour, full sheet with white margins
on top and left. Minimal flaws, generally in very good
condition.
The print, one of the most celebrated from this series,
depicts Hôjô Tokiyori, regent (shikken) during the
Kamakura period (1185-1333) and famous for his humane
and exemplary rule. In 1256 he took the tonsure and retired
to the Temple of Saimyôji. At this time he also started to
travel incognito about the country in order to get acquainted
with the general situation of the people.
Another impression of the print is at the Museum of Fine
Arts, Boston (accession number 11.18100)
Reference:
Eric van den Ing, Robert Schaap, John Stevenson, Beauty
& Violence: Japanese Prints by Yoshitoshi, 1839-1892,
Netherlands 1992; cat. no 27.13, illustrated in colour.
Reference:
B. W. Robinson, Kuniyoshi: The Warrior Prints, Oxford,
1982, no. S1f.17.
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51.
TSUKIOKA YOSHITOSHI 1839 – 1892
KINTARŌ CAPTURES THE CARP, 1885
KINTARŌ RIGYO O TORU
Vertical ôban diptych
Top sheet mm 390 x 261; bottom sheet mm 389 x 260; overall mm 750 x 260.
Signed: Oju Yoshitoshi ga, and red Yoshitoshi seal
Published by Matsui Eikichi on 1885. First edition.
Very fine impression of the first edition, application of mica powder, fine colour and condition.
Another fine impression of this diptych is at the British Museum (accession number 2012,3005.1).
In the period 1885-89 Yoshitoshi collaborated with the publisher Matsui Eikichi on fifteen vertical diptychs
that are today considered highlights of the artist’s career. The diptychs were a success but inexplicably the
blocks for some designs were sold rather quickly to the publisher Hasegawa Tsunejirō and re-published
with a date of 1th of September 1887. Hasegawa would later re-issue the majority, but not all, of the
remaining designs.
Kintaro is the childhood nickname of the warrior hero Sakata Kintoki, a retainer of Minamoto no
Yorimitsu (944-1021). He is usually portrayed as a plump round-faced reddish pink skinned child with a
body resembling a sumo wrestler. The carp is associated with enormous strength and subjugating this fish
requires immense power. Kintaro is always depicted struggling with the carp with bare hands.
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52.
SPRING AMUSEMENTS AT THE HONOURABLE LOWER PALACE c. 1850
GO-SHITA-YASHIKI HARU NO ASOBI
Vertical ôban triptych, each sheet mm 360 x 250 c., overall size mm 1000 x 750 c.
Signed: Ichiyusai Kuniyoshi ga
Censor’s seals: Hama- Magome
Publisher: Hamada-ya Tokubei
Series: The Four Seasons
Shiki no uchi
Very fine early impressions, brilliant colour, pristine condition. Album backing.
The triptych depicts Ladies among the cherry blossoms in the garden: two are sitting on a bench, three at
the centre are looking at them and one, at the right, is leaning on a tree.
A beautiful impression of the same triptych, coming from the Prof. Arthur R. Miller collection, is
preserved at the British Museum (registration number 2008,3037.18707). It is noteworthy that our sample
is a variant with the background printed in gray to suggest a scene at dusk. Conversely the triptych at the
British Museum describes the scene in broad daylight. That triptych is also reproduced in the first page
devoted to the triptychs of beautiful women at the Kuniyoshi Project.
Reference:
B. W. Robinson, Kuniyoshi, catalogue of the exhibition at the Victoria and Albert Museum, London, 1961;
series no. 130.
53.
SNOW, c. 1847-52
YUKI
Vertical ôban triptych, each sheet mm 360 x 250, overall size mm 360 x 750
Signature: Ichiyȗsai Kuniyoshi ga and red yoshikiri seal on each sheet.
Publisher: Jôshȗ-ya Kinzô
Censors’ seals: Mera-Murata
Series: Moon, Snow and Flowers
Getsusekka no uchi
Excellent, even impressions of this Kuniyoshi’s fine design, with strong wood-grain, brilliant colour, in
very good condition.
For another fine impression of this prints see the Collection at the Museum of Fine Arts, Boston (accession
numbers 11.21395 / 11.21396 / 11.21397) see this link
Our triptych has been inspired by the Genji Monogatari, the Tale of Genji, the classic work of Japanese
literature written by Murasaki Shikibu in the early years of the 11th century. For other triptychs by
Kuniyoshi referring to the Genji Monogatari see the Kuniyoshi Project.
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54.
MODERN CHECKERED MATERIALS FOR NIGHT COOLING AMONG THE FLOWERS c. 1848
TÔJI ICHIMATSU HANA NO YO-SUZUMI
Vertical ôban polyptych, four sheets, each sheet mm 359 x 250, overall size mm 359 x 1000
Signature: Ichiyūsai Kuniyoshi ga and red yoshikiri seal
Censor’s seals: Mera-Watanabe
Publisher: Iba-ya Kyȗbei
Extremely fine, even impressions, pristine colour and fine condition, album backing.
These prints depict beautiful women in checkered robes, each standing before an oversized flower. The four
prints, listed as series number 112 in ‘Kuniyoshi’ by B.W. Robinson, Victoria and Albert Museum, London,
1961, are, in fact, a polyptych, as noted in the web site Kuniyoshi Project. We know two states of it: one in
full colours, as our sample, and the other one printed in aizuri-e (see Kuniyoshi Project).
Three prints of this polyptych are at the British Museum (accession number: 2008,3037.08702).
This polyptych, evenly printed with harmonious colours, is of great rarity for its entirety and preservation.
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56.
57.
58.
OHARA KOSON 1877 – 1945
DRAGONFLY AND LOTUS, c.
1910/1920
TWO CRANES, c. 1910
FLYING BATS AND THE FULL
MOON c. 1930
Ō-tanzaku, mm 368 x 190
Dated: c. 1910/1920
Signed: Koson,+Artist’s seal (K. b I)
Daikokuya (172)
O-tankazu, mm 365 x 190
Dated: c. 1910
Signed: Koson
O-tanzaku, mm 365 x 100
dated: ca. 1930
signed: Koson
seal: Koson
Fine impression, colour and
condition.
Of this subject are also known a
preparatory drawing, a painting
and a proof (cfr. Hiraki Ukiyo-e
Museum of Art, Ohara Koson:
images of birds and flowers
beloved in the west, Yokohama,
1998)
Reference:
Amy Reigle Newland, Jan
Perrée, Robert Schaap, Crows,
Cranes & Camellias, The Natural
World of Ohara Koson 18771945, Hotei Publishing, Leiden –
Boston, 2010, cat. n K.40.6, p. 199.
Two Japanese cranes (Grus
japonensis) wade through a misty
blue pond. Fine impression,
colour and condition, strong
bokashi (tonal shading) on the
background.
Reference:
Perrée, Robert Schaap, Crows,
Cranes & Camellias: The natural
world of Ohara Koson, Leiden:
Hotei Publishing 2001, cat. n.
106, p. 115.
Excellent impression, fine colour
and condition, strong bokashi.
The print depicts two silhouettes
of flying bats in a full moon
night.
The bat was considered in Japan
as a lucky symbol.
Reference:
Perrée, Robert Schap, Crows,
Cranes & Camellias: The
Natural World of Ohara Koson,
Leiden-Boston: Hotei Publishing,
2010, p. 138, pl. 135.
55.
ICHIYUSAI KUNIYOSHI 1797 – 1861
LAMPRERY FROM SUWA IN SHINANO PROVINCE, 1852
SHINSHŪ SUWA YATSUME UNAGI
Vertical ōban, mm 360 x 245
Signed: Ichiūsai Kuniyoshi ga
Publisher: Eisendō Mitaya Kihachi
Series: The Trasures of Mountains and Laakes
Shankai medetai zue
Very fine impression, colour and condition, with elaborate embossing in the white collar of the kimono.
The series features half-length portraits of women of different classes and occupations, paired with inset
pictures of well-known regional. The series listed as number 117 in Kuniyoshi by Basil William Robinson
(Victoria and Albert Museum, London, 1961).
The title of the cartouche design for the landscape is: Lamprery from Suwa in Shinano Province, Shinshȗ
Suwa yatsume unagi. The landscape is by Tori-yo (Utagawa Yoshitori), the oldest daughter from Kuniyoshi.
Literature:
Timothy Clark, Kuniyoshi from the Arthur R. Miller Collection, Royal Academy of Arts, London, 2009.
64
65
59.
60.
KAWASE HASUI 1883 – 1957
AUTUMN AT OIRASE, June 1933
OIRASE NO AKI
THE NIKKŌ HIGHWAY, 1930
NIKKŌKAIDŌ
Signed: Hasui
Sealed: Kawase
Publisher: Watanabe Shōzaburō
Series: Collection of scenic views of Japan: Eastern
Japan Edition
Nihon fūkei shū higashi Nihon hen, Oirase
no aki
Signed: Hasui
Sealed: Kawase
Published: Watanabe Shōzaburō (seal D)
Excellent impression, colour and condition.
In 1932 Hasui journeyed to the Tōhoku region (Aomori,
Akita, Iwate, Miyagi, Yamagata and Fukushima
prefectures) and the northem island of Hokkaido to
begin this series.Oirase is in Aomori prefecture.
Reference:
Excellent impression, fine colour and condition.
The Nikkō highway was one of the five roads that
began from the Nihonbashi in Edo (Tokyo) and ran
from Nihonbashi to Nikkō.
Reference:
Kendal H. Brown, Watanabe Shōichirō, Amy Reigle
Newland, Kawase Hasui, The complete woodblock
prints, Leiden-Boston, 2008, vol. I. n. 211; vol.II.,
p. 393, fig. 211,fig. 4 (watercolour).
Kendal H. Brown, Watanabe Shōichirō, Amy Reigle
Newland, Kawase Hasui, The complete woodblock
prints, Leiden-Boston, 2008, vol. I n. 300, p.95; vol.
II, fig. 300, p. 440.
61.
IN THE SNOW, NAKAYAMA
SCHICHIRI ROAD, HIDA
Horizontal ôban, mm 262 x 388
Signed: Hasui and red Kawase Seal
Dated: 1924
Publisher: Watanabe Shōzaburō (seal A)
Series: Souvenirs of Travel, third series
Tabi miyage dai sanshū, Hida Nakayama – shichiri
Very fine impression of the first printing, excellent colour and condition.
The distant mountains are printed without contour lines, conveying a sense that they are being buried under
the heavy snow.
References:
Kendal H. Brown, Watanabe Shōichirō, Amy Reigle Newland, Kawase Hasui, The complete woodblock
prints, Leiden-Boston, 2008, n. 123, ill. page 342.
A.V.: Visions of Japan: Kawase Hasui’s masterpieces, Hotei Publishing, Leiden – Boston, 2008, n. 16, page 52.
66
67
© 2015 by STANZA DEL BORGO
20121 Milano, via F. Turati 7
T (+39) 02 6598203
www.stanzadelborgo.it
[email protected]
Printed by Grafiche Milani, Segrate (Mi)
in a limited edition of 400 copies
October 2015

japanese prints - Galleria Stanza del Borgo

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