AFTER Utagawa Hiroshige 歌川広重 (JAPAN, 1797-1858) ‘Awa Province: Naruto Whirlpools’ (Awa, Naruto no fûha 阿波鳴門の風波) First published in 1855, Second half of 20th century Ōban tate-e woodblock print From the series ‘Famous Places in the Sixty-odd Provinces [of Japan]’ ([Dai Nihon] Rokujûyoshû meisho zue 六十余州名所図絵) Dimensions (the leaf): 39,3 x 27 cm Catalogue raisonné: Jansen, Hiroshige's Journey (2004), #55; Ukiyo-e shûka 14 (1981), Hiroshige list, p. 249, ôban #64.03. Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Notes: Utagawa Hiroshige, was a Japanese ukiyo-e artist, considered the last great master of that tradition. He is best known for his horizontal-format landscape series ‘The Fifty-three Stations of the Tōkaidō’ and for his vertical-format landscape series ‘One Hundred Famous Views of Edo’. The subjects of his work were atypical of the ukiyo-e genre, whose typical focus was on beautiful women, popular actors, and other scenes of the urban pleasure districts of Japan's Edo period (1603–1868). For scholars and collectors, Hiroshige's death marked the beginning of a rapid decline in the ukiyo-e genre, especially in the face of the westernization that followed the Meiji Restoration of 1868. Hiroshige's work came to have a marked influence on western European painting (see, inter alia, Manet and Monet) towards the close of the 19th century as a part of the trend in Japonism. 2. Compare with a related print, dating to 1855, preserved in the collection of the Museum of Fine Arts (MFA) of Boston, USA, under accession number 11.26257. Click HERE to see the related prints. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
We found 314796 price guide item(s) matching your search
There are 314796 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
314796 item(s)/page
AFTER Utagawa Hiroshige 歌川広重 (JAPAN, 1797-1858) ‘Kai Province: Monkey Bridge’ (Kai, Saruhashi 甲斐さるはし) First published in 1853, Second half of 20th century Ōban tate-e woodblock print From the series ‘Famous Places in the Sixty-odd Provinces [of Japan]’ ([Dai Nihon] Rokujûyoshû meisho zue 六十余州名所図絵) Dimensions (the leaf): 39,6 x 25,8 cm Catalogue raisonné: Jansen, Hiroshige's Journey (2004), #13; Ukiyo-e shûka 14 (1981), Hiroshige list, p. 249, ôban #64.23. Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Notes: Utagawa Hiroshige, was a Japanese ukiyo-e artist, considered the last great master of that tradition. He is best known for his horizontal-format landscape series ‘The Fifty-three Stations of the Tōkaidō’ and for his vertical-format landscape series ‘One Hundred Famous Views of Edo’. The subjects of his work were atypical of the ukiyo-e genre, whose typical focus was on beautiful women, popular actors, and other scenes of the urban pleasure districts of Japan's Edo period (1603–1868). For scholars and collectors, Hiroshige's death marked the beginning of a rapid decline in the ukiyo-e genre, especially in the face of the westernization that followed the Meiji Restoration of 1868. Hiroshige's work came to have a marked influence on western European painting (see, inter alia, Manet and Monet) towards the close of the 19th century as a part of the trend in Japonism. 2. Compare with a related print, dating to 1853, preserved in the collection of the Museum of Fine Arts (MFA) of Boston, USA, under accession number 11.26224. Click HERE to see the related print. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
Utagawa Kuniyoshi 歌川国芳 (JAPAN, 1797–1861) ‘Sun Erniang, the Demon Mother’ (Boyasha Sonnijô母夜叉孫二娘) 1827–30 (Bunsei 10–Tenpo 1) Ōban tate-e woodblock print From the series ‘108 Heroes of the Popular Shuihuzhuan. (Tsûzoku Suikoden gôketsu hyakuhachinin no hitori 通俗水滸傳濠傑百八人一個) Publisher: Kagaya Kichiemon (Kichibei) Dimensions (the leaf): 35,8 x 24,4 cm Catalogue raisonné: Klompmakers, Of Brigands and Bravery (1998), #45; Robinson, Kuniyoshi: The Warrior-Prints (1982), list #S2.5. Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Notes : A member of the Utagawa School, Utagawa Kuniyoshi was one of the last great masters of the Japanese ukiyo-e style of woodblock prints and painting. His range of subjects included many genres: landscapes, beautiful women, Kabuki actors, cats, and mythical animals. He is known for depictions of the battles of legendary samurai heroes. 2. Compare with a related print preserved in the collection of the Museum of Fine Arts (MFA) of Boston, USA, under accession number 2016.1347. Click HERE to see the related print. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
Utagawa Kuniyoshi 歌川国芳 (JAPAN, 1797–1861) ‘Wang Dingliu, the Living Hag of Hell’ (Kassenba Ôteiroku 霍閔婆王定六) 1827–30 (Bunsei 10–Tenpo 1) Ōban tate-e woodblock print From the series ‘108 Heroes of the Popular Shuihuzhuan. (Tsûzoku Suikoden gôketsu hyakuhachinin no hitori 通俗水滸傳濠傑百八人一個) Publisher: Kagaya Kichiemon (Kichibei) Dimensions (the leaf): 37,3 x 25,8 cm Catalogue raisonné: Iwakiri et al., Edo no eiyû (2010), #112; Klompmakers, Of Brigands and Bravery (1998), #48; Robinson, Kuniyoshi: The Warrior-Prints (1982), list #S2.38. Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Notes : A member of the Utagawa School, Utagawa Kuniyoshi was one of the last great masters of the Japanese ukiyo-e style of woodblock prints and painting. His range of subjects included many genres: landscapes, beautiful women, Kabuki actors, cats, and mythical animals. He is known for depictions of the battles of legendary samurai heroes. 2. Compare with a related print preserved in the collection of the Museum of Fine Arts (MFA) of Boston, USA, under accession number 64.812. Click HERE to see the related print. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
Tachihara Inuki 立原位貫 (JAPAN, 1951-2015) AFTER Utagawa Kuniyoshi 歌川国芳 (JAPAN, 1797–1861) ‘Oniwakamaru killing the giant carp’ Originally published in 1847-1850, High quality reprint in late Showa - Heisei period with woodblocks carved by famous artist Katsuhara Shinia also known as Tachihara Inuki 立原位貫 (1951-2015) Ōban tate-e woodblock print Artist seal on the back: 彫摺 勝原伸也 Dimensions (the leaf): 39 x 27,5 cm Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Notes : A member of the Utagawa School, Utagawa Kuniyoshi was one of the last great masters of the Japanese ukiyo-e style of woodblock prints and painting. His range of subjects included many genres: landscapes, beautiful women, Kabuki actors, cats, and mythical animals. He is known for depictions of the battles of legendary samurai heroes. 2. A woodblock print artist, Tachihara Inuki is best-known for reproductions of prints by Kunisada, Hiroshige and Kuniyoshi. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
Utagawa Yoshitsuya 歌川芳艶 (JAPAN, 1822-1866) A battle 1864 Ōban tata-e woodblock print From the series of ‘Fifty-four Battle Stories of Hideyoshi’ Publisher Tsutaya Kichizo Koeido (蔦屋吉蔵紅英堂) Dimensions (the leaf): 35,5 x 25 cm Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Notes : A student of Utagawa Kuniyoshi, Utagawa Yoshitsuya is also known as Kōko Yoshitsuya (甲胡芳艶) and as Ichieisai Yoshitsuya (一英斎芳艶). He was a Japanese designer of ukiyo-e woodblock prints and has also produced many advertisements and designs for tattoos. 2. The ‘Fifty-four Battle Stories of Hideyoshi’ is Yoshitsuya’s finest series of prints. Hagiography is an art common to all cultures - this combination of historical fact, mythology and fiction, designed to elevate the subject and set him (usually) above his contemporaries. After 1864, the relaxation of rules banning the direct depiction of historical characters allowed this series to be made. Yoshitsuya takes passages from two old hagiographies as the subject matter, depicting true and fanciful stories of victories and battles. The series is lavishly printed, complex and detailed with many colors and blocks, beautifully carved and imagine. Each print is framed with a decorative border. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
Utagawa Kunisada I 歌川国貞 also known as Utagawa Toyokuni III 三代歌川豊国(JAPAN, 1786-1864) Yakusha-e kabuki actor with dragon design on his kimono 1859 Ōban tata-e woodblock print Dimensions (the leaf): 36,5 x 25 cm Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Notes: Utagawa Kunisada was the most popular, prolific and commercially successful designer of ukiyo-e woodblock prints in 19th-century Japan. In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi. 2. A superb printing with burnishing effect. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
Utagawa Kunisada I 歌川国貞 also known as Utagawa Toyokuni III 三代歌川豊国(JAPAN, 1786-1864) ‘Chōkichi of Eagle’ or ‘Hanazoroe Gonin Otoko Washi no Chōkichi’ (花揃五人男 鷲乃長吉) Ōban tata-e woodblock print Publisher: Kagaya Kichiemon & Kichibei 1861 Dimensions (the leaf): 36 x 25 cm Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Notes: Utagawa Kunisada was the most popular, prolific and commercially successful designer of ukiyo-e woodblock prints in 19th-century Japan. In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi. 2. Compare with a related print preserved in the collection of the Honolulu Museum of Arts (HoMA), Hawai, USA, under accession number 21557.02. Click HERE to see the related print. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
Katsukawa Shunsen 勝川春扇 also known as Shunkō II (JAPAN, 1762-1830) aka Shunko II Courtesan Oiran 1820-1830 Double oban tata-e woodblock print Dimensions (the leaves together): 72,3 x 24 cm Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Note: Katsukawa Shunsen was a designer of books and ukiyo-e style Japanese woodblock prints. He was born in 1762 and designed prints from about 1805 to about 1821. He initially studied with the Rimpa school artist Tsutsumi Tōrin III. In 1806 or 1807, Shunsen became a student of Katsukawa Shun'ei. He is best known for his genre scenes, landscapes, and prints of beautiful women. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
Utagawa Yoshiiku 歌川芳幾 also known as Ochiai Yoshiiku 落合芳幾 (JAPAN, 1833-1904) Kabuki play (Jôruri, final of Part 2) : Mata Meguri Kuruwa no IrodakoIchikawa Ichizô III as a Yakko Kite (Yakko-dako) (R) and Nakamura Tsurusuke IV as Musôbyôe (L), with Musicians 1862 (Bunkyu 2), 2nd month Ōban woodblock horizontal diptych Publisher: Ôtaya Takichi (Hori Takichi) Dimensions (the leaf): 50 x 36,4 cm Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Notes : 1. Born the son of teahouse proprietor Asakusa Tamichi in 1833, Yoshiiku became a student of ukiyo-e artist Utagawa Kuniyoshi toward the end of the 1840s. His earliest known work dates to 1852 when he provided the backgrounds to some actor prints by his master. 2. Compare with a related print preserved in the collection of the Museum of Fine Arts (MFA) of Boston, USA, under accession number 11.21592-3. Click HERE to see the related print. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
Utagawa Kuniyoshi歌川国芳 (Japan, 1797-1861) Enma-Ō, the god of hell who judges right and wrong after a human dies and falls into hell, from the theather play Noborigoi Taki no Shirohata, with Actors Ichikawa Ebizô V as Enma no Kohei and Ichikawa Danjûrô VIII as Ukiyo Inosuke Two (2) oban yoko-e from a triptych Dimensions (the two leaves together): 50 x 36,4 cm Catalogue raisonné: Iwakiri, Kuniyoshi (2011), #151. Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Notes : A member of the Utagawa School, Utagawa Kuniyoshi was one of the last great masters of the Japanese ukiyo-e style of woodblock prints and painting. His range of subjects included many genres: landscapes, beautiful women, Kabuki actors, cats, and mythical animals. He is known for depictions of the battles of legendary samurai heroes. 2. Compare with a complete triptych preserved in the collection of the Museum of Fine Arts (MFA) of Boston, USA, under accession number 11.38492a-c. Click HERE to see the related print. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
Toyohara Kunichika豊原国周 (JAPAN, 1835-1900) ‘Shinchû Kawanakajima daikassen’ (Takeda Shingen during the Kanawakajima battles between 1555 and 1564) 1862 A triptych of oban tata-e woodblock prints Publisher: Yamadaya Censor: aratame 1862 Dimensions (the triptych): 35,3 x 73,5 cm Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Note: Toyohara Kunichika was a ukiyo-e Japanese woodblock print artist. Talented as a child, at about thirteen he became a student of Tokyo's then-leading print maker, Utagawa Kunisada. His deep appreciation and knowledge of kabuki drama led to his production primarily of yakusha-e, which are woodblock prints of kabuki actors and scenes from popular plays of the time. He also portrayed women deemed beautiful (bijinga), contemporary social life, and a few landscapes and historical scenes. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
Toyohara Kunichika豊原国周 (JAPAN, 1835-1900) ‘Tōkyō jiman wakate sannin’ (東京自慢若手山人, lit. ‘Three Young Men, Pride of Tokyo’) 1874 (Meiji 7) A triptych of oban tata-e wopodblock prints Dimensions (the triptych): 36 x 72,3 cm Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Notes: 1. Toyohara Kunichika was a ukiyo-e Japanese woodblock print artist. Talented as a child, at about thirteen he became a student of Tokyo's then-leading print maker, Utagawa Kunisada. His deep appreciation and knowledge of kabuki drama led to his production primarily of yakusha-e, which are woodblock prints of kabuki actors and scenes from popular plays of the time. He also portrayed women deemed beautiful (bijinga), contemporary social life, and a few landscapes and historical scenes. 2. A high quality printing with mica powder with an interesting printing effect on the moon on the left sheet. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
Toyohara Kunichika豊原国周 (JAPAN, 1835-1900) Three (3) tattooed kabuki actors yakusha-e 1875 A triptych of oban tata-e woodblock prints Dimensions (the triptych): 35 x 71, cm Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Note: Toyohara Kunichika was a ukiyo-e Japanese woodblock print artist. Talented as a child, at about thirteen he became a student of Tokyo's then-leading print maker, Utagawa Kunisada. His deep appreciation and knowledge of kabuki drama led to his production primarily of yakusha-e, which are woodblock prints of kabuki actors and scenes from popular plays of the time. He also portrayed women deemed beautiful (bijinga), contemporary social life, and a few landscapes and historical scenes. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
Toyohara Kunichika豊原国周 (JAPAN, 1835-1900) Tattooed carpenter Kichizo Uzaemon Ichimura 1865 Oban tate-e woodblock print From the series of ‘The 36 views of the Eastern Capital’ Dimensions (the leaf): 24 x 35,5 cm Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Note: Toyohara Kunichika was a ukiyo-e Japanese woodblock print artist. Talented as a child, at about thirteen he became a student of Tokyo's then-leading print maker, Utagawa Kunisada. His deep appreciation and knowledge of kabuki drama led to his production primarily of yakusha-e, which are woodblock prints of kabuki actors and scenes from popular plays of the time. He also portrayed women deemed beautiful (bijinga), contemporary social life, and a few landscapes and historical scenes. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
Toyohara Kunichika豊原国周 (JAPAN, 1835-1900) Tattooed character with uchiwa (fan) background and poem (‘当世五明人 芝翫’) 1864 Ōban tata-e woodblock print Dimensions (the leaf): 35,5 x 25,2 cm Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Note: Toyohara Kunichika was a ukiyo-e Japanese woodblock print artist. Talented as a child, at about thirteen he became a student of Tokyo's then-leading print maker, Utagawa Kunisada. His deep appreciation and knowledge of kabuki drama led to his production primarily of yakusha-e, which are woodblock prints of kabuki actors and scenes from popular plays of the time. He also portrayed women deemed beautiful (bijinga), contemporary social life, and a few landscapes and historical scenes. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
Utagawa Kuniyoshi 歌川国芳 (JAPAN, 1797–1861) Kabuki actor Ichikawa Ebizo V as Fuwa Banzaemon 1851 (Kaei 4) Ōban tata-e woodblock print 37,5 x 25,5 cm Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Notes: A member of the Utagawa School, Utagawa Kuniyoshi was one of the last great masters of the Japanese ukiyo-e style of woodblock prints and painting. His range of subjects included many genres: landscapes, beautiful women, Kabuki actors, cats, and mythical animals. He is known for depictions of the battles of legendary samurai heroes. 2. Compare with a related print preserved in the collection of the Museum of Fine Arts (MFA) of Boston, USA, under accession number 11.38359a-b. Click HERE to see the related print. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
Utagawa Yoshikazu歌川芳員 (Japan, active 1850-1870) Russian Couple (Oroshiajin) 1861 Ōban tata-e woodblock print Publisher: Manya Yoshibei Dimensions (the leaf): 37,9 x 25,5 cm Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Notes: A late-Edo period Ukiyo-e artist and a student of Utagawa Kuniyoshi, Yoshikazu was known for his depictions of foreigners in the new port of Yokohama (opened in 1859) and other aspects of modernity (e.g. trains). 2. Compare with a related print preserved in the collection of the Harvard Museum, Boston, USA, under accession number 2007.214.27 . Click HERE to see the related print. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
Utagawa Yoshifuji 歌川芳藤 ALSO KNOWN AS Ippōsai Yoshifuji 一鵬斎芳藤 (JAPAN, 1828-1887) Foreigners at play on an in a park 1861 Ōban tata-e woodblock print Dimensions (the leaf): 36,7 x 25,2 cm Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
Tsukioka Yoshitoshi 月岡 芳年 ALSO KNOWN AS Taiso Yoshitoshi 大蘇 芳年 (JAPAN, 1839-1892) European warriors or soldiers Ōban tata-e woodblock print Dimensions (the leaf): 30,5 x 21,3 cm Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Note: Yoshitoshi has widely been recognized as the last great master of the ukiyo-e genre of woodblock printing and painting. He is also regarded as one of the form's greatest innovators. Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
Tsukioka Yoshitoshi 月岡 芳年 ALSO KNOWN AS Taiso Yoshitoshi 大蘇 芳年 (JAPAN, 1839-1892) ‘Dawn moon in the theatre district’ (‘Shibaimachi no gyogetsu’) 1886 Ōban tata-e woodblock print From the series 'One Hundred Aspects of the Moon’ (‘Tsuki no hyakushi’) Dimensions (the leaf): 35,9 x 24,3 cm Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Notes: 1. Yoshitoshi has widely been recognized as the last great master of the ukiyo-e genre of woodblock printing and painting. He is also regarded as one of the form's greatest innovators. Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing. 2. Compare with a related print preserved in the collection of the British Museum, London, UK, under accession number 1906,1220,0.1478. Click HERE to see the related print. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
Toshikata Mizuno 水野年方 (JAPAN, 1866-1908) ‘Hatsune, Manji koro fujin’ (lit. ‘First Call of the Warbler: Women of the Manji Era [1658-61]’) 1893 (Meiji 26) Ōban tata-e woodblock print From the series ‘Thirty-Six Elegant Selections’ (三十六佳撰, Sanjûroku kasen) Publisher: Akiyama Buemon Dimensions (the leaf): 35 x 22,1 cm Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Notes: A bridge between traditional ukiyo-e and modern Japanese print, Toshikata Mizuno was one of the best students of Yoshitoshi, who succeeded in blending the traditional ukiyo-e style with Western realism. Toshikata later became the teacher of Kaburagi Kiyokata, who was to become the teacher of Ito Shinsui, Kawase Hasui and Kasamatsu Shiro, the artists who would lead the Shin Hanga (New Print) movement, i.e. the renaissance of Japanese woodblock print. 2. Compare with a related print preserved in the collection of the Museum of Fine Arts (MFA) of Boston, USA, under accession number 41.940.23. Click HERE to see the related print. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
Shodo Kawarazaki (JAPAN, 1889-1973) ‘Bamboo’ Circa 1970s Ōban tata-e woodblock print From the series ‘Floral calander of Japan’ Publisher: Unsodo Dimensions (the leaf): 40 x 27,5 cm Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Note: Shodo Kawarazaki worked as a painter and print designer of flower subjects from Kyoto. He notably worked for the publisher Unsodo who has been active until our days. Most of the woodblock prints were published in the 1950s when there was a strong demand for handmade Japanese woodblock prints by the American occupation forces. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
Fukuda Suiko (JAPAN, 1895-1973) Flowers 1936 Showa 11 Ōban tata-e woodblock print Publisher: Unsodo Dimensions (the leaf): 40,5 x 26,6 cm Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Note: Suiko was a Kyoto artist who studied under Nishiyama Suisho (1879-1958). His painting entitled ‘Hawk’, this bird being one of his favourite subjects, won first prize in 7th Teiten in 1926. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
Nakamura Shundei春泥 (JAPAN, 1904-1966) Shin hanga - Flowers Circa 1950s Ōban tata-e woodblock print Dimensions (the leaf): 41 x 26,8 cm Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Note: Nakamura Shundei belonged to the Shin-hanga (‘新版画’, lit. ‘New Prints’), an art movement in early 20th-century Japan, that revitalized the traditional ukiyo-e art rooted in the Edo and Meiji periods (17th to 19th century). It maintained the traditional ukiyo-e collaborative system (hanmoto system) where the artist, carver, printer, and publisher engaged in division of labor, as opposed to the parallel sōsaku-hanga (creative prints) movement which advocated the principles of self-drawn, carved etc. the artist doing everything from A to Z. The movement was initiated and nurtured by publisher Watanabe Shozaburo (1885–1962), and flourished from around 1915 to 1942. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
Nakamura Shundei春泥 (JAPAN, 1904-1966) Shin hanga - Snowy plum branches Circa 1950s Ōban tata-e woodblock print Dimensions (the leaf): 41 x 26,8 cm Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Note: Nakamura Shundei belonged to the Shin-hanga (‘新版画’, lit. ‘New Prints’), an art movement in early 20th-century Japan, that revitalized the traditional ukiyo-e art rooted in the Edo and Meiji periods (17th to 19th century). It maintained the traditional ukiyo-e collaborative system (hanmoto system) where the artist, carver, printer, and publisher engaged in division of labor, as opposed to the parallel sōsaku-hanga (creative prints) movement which advocated the principles of self-drawn, carved etc. the artist doing everything from A to Z. The movement was initiated and nurtured by publisher Watanabe Shozaburo (1885–1962), and flourished from around 1915 to 1942. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
Nakamura Shundei春泥 (JAPAN, 1904-1966) Shin hanga – Flowers Circa 1950s Ōban tata-e woodblock print Dimensions (the leaf): 41 x 26,8 cm Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Note: Nakamura Shundei belonged to the Shin-hanga (‘新版画’, lit. ‘New Prints’), an art movement in early 20th-century Japan, that revitalized the traditional ukiyo-e art rooted in the Edo and Meiji periods (17th to 19th century). It maintained the traditional ukiyo-e collaborative system (hanmoto system) where the artist, carver, printer, and publisher engaged in division of labor, as opposed to the parallel sōsaku-hanga (creative prints) movement which advocated the principles of self-drawn, carved etc. the artist doing everything from A to Z. The movement was initiated and nurtured by publisher Watanabe Shozaburo (1885–1962), and flourished from around 1915 to 1942. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
Iwami Furusawa (JAPAN, 1912-2000) Nude beauty Circa 1970s-1980s Ōban tata-e woodblock print Dimensions (the leaf): 41 x 29 cm Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Notes: A rare nude print originally published in five (5) prints as part of a limited edition of two-hundred (200) copies portfolio. Iwami Furusawa is a well-known Japanese printmaker whose works have been widely exhibited. Amongst his exhibitions are: - the first Bienal of São Paulo (1951); - ‘1945±5: War and Reconstruction – How Artists Faced the Turbulent Period’, Hiroshima CIty Museum of Contemporary Art (2016); - National Museum of Modern Art Tokyo (MOMAT). NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
Yamamoto Hisashi 山本ひさし (JAPAN, 1905-) ‘Sukeroku - Ichikawa Ebizo’ (lit. ‘Kabuki actor Ichikawa Ebizo is in the role of Sukeroku’) Circa 1970s-1980s Ōban tata-e woodblock print with its original folder Limited edition of 200 copies, numbered 92 Dimensions (the leaf): 45 x 30 cm Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
TSUYOSHI YOSHIDA ALSO KNOWN BY HIS PEN NAME MISHIMA GO 三島剛 (Japan, 1924-1988) A tattooed man tied up in Japanese shibari Circa 1970s-1980s Lithography print From ‘Mishima Gō gashū Wakamono’ (‘三島剛画集 若者’, lit. ‘Mishima Go Book of Pictures of Young Men’ Publisher: Daini Shobo Dimensions (the leaf): 42 x 29,6 cm Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Notes: A rare and sought-after subject, a gay bondage with tattoos. 2. Tsuyoshi Yoshida was a Japanese homoerotic fetish artist. He contributed to Barazoku (The Rose Tribe), the first gay magazine published by Daini Shobo in Tokyo in 1971. In 1974, Mishima founded his own gay magazine called Sabu.He is noted for his illustrations of macho-type men, often with yakuza-inspired irezumi tattoos. Mishima, along with Tatsuji Okawa, Sanshi Funayama, and Go Hirano, is regarded by artist and historian Gengoroh Tagame as a central figure in the first wave of contemporary gay artists in Japan. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
TSUYOSHI YOSHIDA ALSO KNOWN BY HIS PEN NAME MISHIMA GO 三島剛 (Japan, 1924-1988) Nude man Circa 1970s-1980s Lithography print From ‘Mishima Gō gashū Wakamono’ (‘三島剛画集 若者’, lit. ‘Mishima Go Book of Pictures of Young Men’ Publisher: Daini Shobo Dimensions (the leaf): 42 x 29,6 cm Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Note: Tsuyoshi Yoshida was a Japanese homoerotic fetish artist. He contributed to Barazoku (The Rose Tribe), the first gay magazine published by Daini Shobo in Tokyo in 1971. In 1974, Mishima founded his own gay magazine called Sabu.He is noted for his illustrations of macho-type men, often with yakuza-inspired irezumi tattoos. Mishima, along with Tatsuji Okawa, Sanshi Funayama, and Go Hirano, is regarded by artist and historian Gengoroh Tagame as a central figure in the first wave of contemporary gay artists in Japan. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
Kunio Kaneko (JAPAN, b. 1949) ‘Fuji 70’ Circa 1990s Chuban yoko-e woodblock print Handsigned in the lower right margin Limited edition, numbered in the lower central margin: 161/250 Dimensions (the leaf): 18,9 x 24,7 cm Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Notes: A very high quality printing with embossing, gold and silver pigments. 2. Born in Tokyo, Kunio Kaneko graduated from the Musashino University of Fine Arts. His woodblocks are pressed by traditional Japanese Baren. He has had several solo shows notably in Tokyo and Kanagawa. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
YOSHIMOTO MASAO 吉本雅生 (Japan, 1897-1974) Mount Fuji as seen from Lake Ashi at dawn (‘芦ノ湖の富士 夕暮れ’) Circa 1950s Ōban tata-e woodblock print Publisher: Kyoto Hanga-in Carver: Ikeda Printer: Sato Dimensions (the leaf): 29,1 x 41,4 cm Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
Gihachiro Okuyama奥山儀八郎 (JAPAN, 1907-1981) Landscape with a scupture of Kannon Circa 1950s Ōban tata-e woodblock print Publishers: Kyoto Hanga-Institute, Shinagawa Dimensions (the leaf): 41,2 x 28,7 cm Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Note: Gihachiro Okuyama was a 20th-century Japanese commercial artist and woodblock printmaker. He was a prolific artist of the shin-hanga and sōsaku-hanga movements. Okuyama is noted for his landscape prints, both in color and black-and-white, as well as his simple prints of scenes that interject elements of the modernization of Japan into an otherwise traditional view. Okuyama studied printmaking with Gajin Kosaka beginning in 1923, as well as with noted artist Kendo Ishii, and began exhibiting prints with the Nihon Sosaku Hanga Association in 1927. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
Gihachiro Okuyama奥山儀八郎 (JAPAN, 1907-1981) ‘A Great Image of Buddha in Kamakura’ Circa 1950s Ōban tata-e woodblock print Publishers: Kyoto Hanga-Institute, Shinagawa Dimensions (the leaf): 40,7 x 29,2 cm Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Note: Gihachiro Okuyama was a 20th-century Japanese commercial artist and woodblock printmaker. He was a prolific artist of the shin-hanga and sōsaku-hanga movements. Okuyama is noted for his landscape prints, both in color and black-and-white, as well as his simple prints of scenes that interject elements of the modernization of Japan into an otherwise traditional view. Okuyama studied printmaking with Gajin Kosaka beginning in 1923, as well as with noted artist Kendo Ishii, and began exhibiting prints with the Nihon Sosaku Hanga Association in 1927. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
HIYOSHI MAMORU 日吉守 (Japan, 1885-) Cormorant Fishing on the Nagara River in Gifu Prefecture - Scene 1 Circa 1950s Ōban yoko-e woodblock print Publisher: Kyoto Hanga Carver: Ikeda Kanekichi (1900-1965) Printer: Ito Toraji (1903-1957) Dimensions (the leaf): 28,3 x 40,8 cm Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Notes: Terrific scene of cormorant fishing on the Nagara River in Gifu City, a traditional method still in practice today. In the early 1950s, Hiyoshi Mamoru began designing woodblock prints for the publisher Kyoto Hanga. Most of these works consist of scenes of Korean customs and scenic places, idyllic remembrances of Mamoru's many years living there. Ōban woodblock print NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
HIYOSHI MAMORU 日吉守 (Japan, 1885-) Cormorant Fishing on the Nagara River in Gifu Prefecture - Scene 2 Circa 1950s Ōban yoko-e woodblock print Publisher: Kyoto Hanga Carver: Ikeda Kanekichi (1900-1965) Printer: Ito Toraji (1903-1957) Dimensions (the leaf): 28,5 x 40,5 cm Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Notes: Terrific scene of cormorant fishing on the Nagara River in Gifu City, a traditional method still in practice today. 2. In the early 1950s, Hiyoshi Mamoru began designing woodblock prints for the publisher Kyoto Hanga. Most of these works consist of scenes of Korean customs and scenic places, idyllic remembrances of Mamoru's many years living there. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
AFTER Kitagawa Utamaro喜多川歌麿 (JAPAN, 1753-1806) Shunga / erotic subject Showa period Ōban tata-e woodblock reprint Dimensions (the leaf): 26,3 x 39,6 cm Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Notes: A rare subject, that of a female diver for abalone shellfish (ama) observing with a mix of horror and fascination her companion being violated beneath the waves by two scaly river creatures known as kappa. Kitagawa Utamaro is one of the most highly regarded designers of ukiyo-ewoodblock prints and paintings, and is best known for his bijinōkubi-e ‘Large-headed pictures of beautiful women’ created in the of the 1790s. 3. Compare with a related print preserved in the collection of the British Museum, London, UK, under accession number OA+,0.133.1. Click HERE to see the related print. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
Narazaki Eisho (JAPAN, 1864-1936) Kingfisher on snowy reeds Hosoban tata-e chirimen woodblock print 30,8 x 13,8 cm Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Notes: - Eisho Narazaki was born in 1864. He studied the art of woodblock printmaking with Eitoku Kobayashi (1843-1890). In the beginning, he used the artist name Furo and later Eisho. In the early 1930s, he made a few designs in shin hanga style with Watanabe. - See a related print preserved in the collection of the Chazen Museum of Art of the University of Wisconsin-Madison, USA, under the accession number 1984.230. Click HERE to see the related print. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
Itō Sōzan 伊藤 総山 (JAPAN, 1884-1926) An egret hunting fishes over a river on a rainy day A chirimen chuban tata-e woodblock print 20,3 x 14,2 cm Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Note: Itō Sōzan is a Japanese artist who lived in the late 1800 – early 1900, a member of the currently called Shin Hanga movement. Little known, his undoubted qualities and production have been overshadowed by one of his contemporaries, i.e. Ohara Koson NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
Mizuno Toshikata 水野年方 (JAPAN, 1866-1908) Shinobi Oto Kuchi-e tata-e woodblock print Publisher: Bungei Kurabu 22 x 31 cm Note: Mizuno Toshikata was an ukiyo-e artist and Japanese-style painter of the Meiji period. He apprenticed under Tsukioka Yoshitoshi tutelage, and succeeding his master’s style of painting, worked on historical paintings, bijin-ga (portraits of beautiful women), newspaper illustrations, and war picture depicting the Sino-Japanese war NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
Yoshida Hiroshi 吉田博 (JAPAN, 1876-1950) In a Temple yard Oban tata-e woodblock print From the series ‘Sakura Hachidai’ (‘櫻八題’, lit. ‘Eight views of cherry blossoms’ Signed on the lower right margin Titled on the lower left margin Seal: Jizuri 41 x 27 cm Note: Hiroshi Yoshida was a 20th-century Japanese painter and woodblock printmaker. He is regarded as one of the greatest artists of the shin-hanga styleand is noted especially for his excellent landscape prints. Yoshida travelled widely, and was particularly known for his images of non-Japanese subjects done in traditional Japanese woodblock style, including the Taj Mahal and the Swiss Alps. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
Iwata Sentaro (JAPAN, 1901-1974) ‘Hiru Sagari’ (lit. ‘Early Afternoon’, a beauty in Bunka, Bunsei era (1804-1830) Oban tata-e woodblock print From the series ‘Mohukan Bijin Meisaku Sen – Shiraume’ (lit. ‘Masterpieces of Beauties in Woodblock Print’) 42,5 x 30,5 cm Note: Iwata Sentaro was from the Asakusa district in Tokyo, although after his father's business failed he spent some time in Kyoto where he studied yuzen design and dyeing. He returned to Tokyo in 1919, and the following year began producing newspaper and magazine illustrations while studying with Ito Shinsui (1898-1972). By the 1930s Sentaro was well-established as an illustrator but he produced few woodblock print designs during this period (this design is one of only two published in Kindai Nihon hanga taikei). In 1950 he formed the Federation of Publishing Artists (Shuppan Bijutsuka Renmei). In 1976 he produced a limited edition set, Shirabai (White Plum), distributed by the Asahi Newspaper Company in collaboration with several publishers including Shinbi Shoin, Takamizawa, Adachi, Kato Junji and Watanabe Shozaburo NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
YOSHIDA TOSHI 吉田遠志 (JAPAN, 1911-1995) Birds of the Spring Season Double oban tata-e woodblock print Part of a series of four (4) prints (for the Four Seasons) made for the Franklin Mint, USA Dimensions (the leaf) : 54 x 35 cm Note : Tōshi Yoshida was a Japanese printmaking artist associated with the sōsaku-hanga movement, and son of shin-hanga artist Hiroshi Yoshida. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
YOSHIDA TOSHI 吉田遠志 (JAPAN, 1911-1995) Birds of the Summer Season Double oban tata-e woodblock print Part of a series of four (4) prints (for the Four Seasons) made for the Franklin Mint, USA Dimensions (the leaf) : 54 x 35 cm Note : Tōshi Yoshida was a Japanese printmaking artist associated with the sōsaku-hanga movement, and son of shin-hanga artist Hiroshi Yoshida. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
YOSHIDA TOSHI 吉田遠志 (JAPAN, 1911-1995) Birds of the Autumn Season Double oban tata-e woodblock print Part of a series of four (4) prints (for the Four Seasons) made for the Franklin Mint, USA Dimensions (the leaf) : 54 x 35 cm Note : Tōshi Yoshida was a Japanese printmaking artist associated with the sōsaku-hanga movement, and son of shin-hanga artist Hiroshi Yoshida. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
YOSHIDA TOSHI 吉田遠志 (JAPAN, 1911-1995) Birds of the Winter Season Double oban tata-e woodblock print Part of a series of four (4) prints (for the Four Seasons) made for the Franklin Mint, USA Dimensions (the leaf) : 54 x 35 cm Note : Tōshi Yoshida was a Japanese printmaking artist associated with the sōsaku-hanga movement, and son of shin-hanga artist Hiroshi Yoshida. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
MINAGAWA CHIEKO (JAPAN, ACTIVE 20TH CENTURY) Maiko on a veranda Circa mid 20th century Oban tata-e woodblock print Carver: Matsuda Printer: Shinagawa Publisher: Kyoto Hanga-in (京都版画院) Dimensions (the leaf): 40 x 30 cm NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
Ôno Bakufu also known as Ohno Bakufu 大野麦風 (JAPAN, 1888-1976) Gardens of Shoren-In Temple in Autumn Oban yoko-e woodblock print Carver: Matsuda Torazo (1914-) Printer: Shinagawa Tomoro (1933-) Publisher: Kyoto Hanga-in (京都版画院) Dimensions (the leaf): 30 x 40 cm Note: Born in Tokyo, Ohno Bakufu was a Japanese painter and printmaker who created over seventy (70) designs. His best known piece is the ‘Japanese Fish Picture Collection’ (‘Dai Nihon gyorui gashu’). Although this is his most famous piece of work, he also created many landscapes and a few still lives. He was an honorary member of the Hyogo Prefecture Academy of Fine Arts, and a member of Taiheiyogakai. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
KOTOZUKA EIICHI 琴塚 英一 (JAPAN, 1906-1981) Blue iris Oban tata-e woodblock print Artist seal in the print Printer : Uchida Dimensions (the leaf) : 43 x 30 cm Note : Eiichi Kotozuka was a Japanese commercial artist and woodblock printmaker and also a prolific artist of the sōsaku-hanga style. He was one of four artists who co-founded the print publishing company Koryokusha. He was noted for his prints of Japanese cultural traditions, flowers, landscapes, and wildlife. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
Okada Koichi (JAPAN, B. in 1907) Kawaguchi-ko no Fuji (lit. ‘Mount Fuji and Lake Kawahuchi’) After 1960 Oban tata-e woodblock print Signed in the print on the lower right Titled in the print in the left margin Carver: Okura Printer: Harada Publisher: Unsodo Dimensions (the leaf): 40 x 27,5 cm Note: Koichi Okada was primarily a painter and studied with Ishii Halutei 石井柏亭 (Japan, 1882-1958). He is knownd among collectors for a series of twelve (12) woodblock prints showing Mount Fuji. The series is believed to have been published by Unsodo in Kyoro after World War II. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
SHUNSEN NATORI 名取春仙 (JAPAN, 1886-1960) Ichikawa Ennosuke as Sanbaso in Black Kimono Oban tata-e woodblock print From the series ‘Thirty Portraits of Contemporary Actors in Kabuki Plays’ Publisher: The S. Watanabe Color Print Co. (with seal) Dimensions (the leaf): 40 x 27 cm Note: Born in Yamanashi Prefecture, Shunsen Natori was a Japananese woodblock printer widely regarded as the last master in the art of ‘Kabuki Yakusha-e’ (lit. ‘Actor pictures’). In 1925, Natori and Watanabe worked together on a series of 36 actor portraits. did not design any other actor prints until the early 1950s. From 1951 to 1954, he again collaborated with Watanabe on another series of 30 actor prints. His works are held in several museums worldwide, including the British Museum and the Museum of Fine Arts, Boston. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
IDO MASAO 井堂雅夫 (Japan, 1945-2016) ‘Tofuku-ji’ (‘東福寺’) Woodblock print Artist seal in the print on the lower right Handsigned in the margin on the lower central part Titled in the margin on the lower left Limited edition, numbered in the margin on the lower right : 30/150 Dimensions (the leaf) : 30 x 30 cm Note: Masao Ido was born in 1945 in Beipiao in Northeastern China. After his family returned to their hometown of Kyoto in 1960, he began his artistic career under Koho Yoshida, working with dyes, before shifting to woodblock prints in 1972. Under the tutelage of Shigechika Ohtsubo, Ido honed his distinct style. His work captures a sense of tranquility, whether in the sloping eaves of old houses or lush gardens. Ido has exhibited his work worldwide. His work can be found in numerous permanent collections, including the Los Angeles County Museum of Art. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
IDO MASAO 井堂雅夫 (Japan, 1945-2016) ‘Toriimoto’ (‘鳥居本’ - possibly the Tsutaya restaurant near Toriimoto) Oban yoko-e woodblock print Artist seal in the print on the lower right Handsigned in the margin on the lower central part Titled in the margin on the lower left Limited edition, numbered in the margin on the lower right: 44/150 Dimensions (the leaf): 38 x 47 cm Notes: Masao Ido was born in 1945 in Beipiao in Northeastern China. After his family returned to their hometown of Kyoto in 1960, he began his artistic career under Koho Yoshida, working with dyes, before shifting to woodblock prints in 1972. Under the tutelage of Shigechika Ohtsubo, Ido honed his distinct style. His work captures a sense of tranquility, whether in the sloping eaves of old houses or lush gardens. Ido has exhibited his work worldwide. His work can be found in numerous permanent collections, including the Los Angeles County Museum of Art. A self-printed woodblock possibly depicting the Tsutaya restaurant near Toriimoto. This print is said to be part of a collegial series of six (6) prints depicting Kyoto by three (3) popular woodblock artists, i.e. Tokuriki Tomichikiro (徳力富吉郎, Japan, 1920-2000), Clifton Karhu (USA and Japan, 1927-2007) and Ido Masao. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
IDO MASAO 井堂雅夫 (Japan, 1945-2016) ‘Takase-gawa’ (lit. ‘Charcoal cargo boat on the Takasa river’) Oban yoko-e woodblock print# Artist seal in the print on the lower right Handsigned in the margin on the lower central part Titled in the margin on the lower left Limited edition, numbered in the margin on the lower right: 44/150 Dimensions (the leaf): 38 x 47 cm Notes: Masao Ido was born in 1945 in Beipiao in Northeastern China. After his family returned to their hometown of Kyoto in 1960, he began his artistic career under Koho Yoshida, working with dyes, before shifting to woodblock prints in 1972. Under the tutelage of Shigechika Ohtsubo, Ido honed his distinct style. His work captures a sense of tranquility, whether in the sloping eaves of old houses or lush gardens. Ido has exhibited his work worldwide. His work can be found in numerous permanent collections, including the Los Angeles County Museum of Art. A self-printed woodblock possibly depicting the Tsutaya restaurant near Toriimoto. This print is said to be part of a collegial series of six (6) prints depicting Kyoto by three (3) popular woodblock artists, i.e. Tokuriki Tomichikiro (徳力富吉郎, Japan, 1920-2000), Clifton Karhu (USA & Japan, 1927-2007) and Ido Masao. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
Konishi Seiichirô 小西誠一郎 (JAPAN, B. 1919) ‘Kyōdai’ (‘姉弟’ - lit. ‘Siblings’ or ‘Brother and sister’ Oban tata-e woodblock print Handsigned in the lower right margin together with an artist seal Titled and dated in the print on the lower central part Limited edition, numbered in the margin on the lower central part: 53/200 Dimensions (the leaf) : 34,5 x 26 cm Note: Born in Kyoto in 1919, Seiichiro Konishi was a Japanese woodblock print artist of the Sosaku Hanga (lit. ‘Creative Print’) movement. Konishi’s self-carved, self-printed works focus on the traditional architecture, famous sites and natural beauty of his hometown. Self-taught in the technique of woodblock prints, Konishi became an official member of Nihon Hanga Kyokai in 1930, and participated in many solo and group shows throughout his career, including Shin Seisaku Kyokai, and Dokuritsu Bijutsu Kyokai. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
Konishi Seiichirô 小西誠一郎 (JAPAN, B. 1919) ‘Yō kibi’ (‘幼キ日’ - lit. ‘Childhood days’) Oban tata-e woodblock print Handsigned in the lower left margin together with an artist seal Titled and dated in the print on the lower central part Dimensions (the leaf) : 339 x 26,1 cm Note: Born in Kyoto in 1919, Seiichiro Konishi was a Japanese woodblock print artist of the Sosaku Hanga (lit. ‘Creative Print’) movement. Konishi’s self-carved, self-printed works focus on the traditional architecture, famous sites and natural beauty of his hometown. Self-taught in the technique of woodblock prints, Konishi became an official member of Nihon Hanga Kyokai in 1930, and participated in many solo and group shows throughout his career, including Shin Seisaku Kyokai, and Dokuritsu Bijutsu Kyokai. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
Konishi Seiichirô 小西誠一郎 (JAPAN, B. 1919) ‘Sosaku Hanga – Kobe Ko Fukei’ (lit. ‘The Scenery of Kobe Harbour’) Oban yoko-e woodblock print From the series ‘Konishi Seiichiro Sosaku Hanga’ (lit. ‘Sosaku Hanga by Konishi Seiichiro’) Handsigned in the lower left margin together with an artist seal Titled and dated in the print on the lower central part Limited edition, numbered in the margin on the lower central part: 53/200 Dimensions (the leaf): 26,1 x 34,8 cm Note: Born in Kyoto in 1919, Seiichiro Konishi was a Japanese woodblock print artist of the Sosaku Hanga (lit. ‘Creative Print’) movement. Konishi’s self-carved, self-printed works focus on the traditional architecture, famous sites and natural beauty of his hometown. Self-taught in the technique of woodblock prints, Konishi became an official member of Nihon Hanga Kyokai in 1930, and participated in many solo and group shows throughout his career, including Shin Seisaku Kyokai, and Dokuritsu Bijutsu Kyokai. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
Konishi Seiichirô 小西誠一郎 (JAPAN, B. 1919) ‘Kamakura - Yuki no Tsurugaoka Hachimangu’ (lit. ‘Snow at Hachimangu shrine at Kamakura’) Oban tata-e woodblock print Handsigned in yellow ink on the lower left Titled, dated and signed in the margin in the lower left (a combination of printed and handwritten characters) Limited edition, numbered in the margin on the left: 52/200 Dimensions (the leaf): 38,7 x 32,9 cm Paper size: 32.9 x 38.7 cm. Note : Born in Kyoto in 1919, Seiichiro Konishi was a Japanese woodblock print artist of the Sosaku Hanga (lit. ‘Creative Print’) movement. Konishi’s self-carved, self-printed works focus on the traditional architecture, famous sites and natural beauty of his hometown. Self-taught in the technique of woodblock prints, Konishi became an official member of Nihon Hanga Kyokai in 1930, and participated in many solo and group shows throughout his career, including Shin Seisaku Kyokai, and Dokuritsu Bijutsu Kyokai. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
Imai Takehisa 今井武久 (Japan, B. 1940) ‘Hino Shrine’ Oban yoko-e woodblock print Artist seal in the print on the lower right Handsigned in the margin on the lower right First edition, limited edition, numbered in the margin on the lower left: 39/150 Dimensions (the leaf): 35 x 47 cm NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
Loading...-
314796 item(s)/page