EISHI HOSODA (1756-1829): PORTRAIT OF WOMANBy Eishi Hosoda (1756-1829), signedJapan, Meiji Period (1868-1912) editionColor woodblock print on paper with Mica dust background. Vertical Oban. A traditional Japanese Ukyio-e style illustration of a Japanese woman. Mounted at the upper margin to a passepartout.SIZE of the sheet 38.5 x 26.8 cmCondition: Excellent condition with minor traces of wear.Provenance: Austrian private collection, acquired in the 1990s at Galerie Zacke, Vienna.Eishi Hosoda (1756-1829)Eishi Hosoda was primarily known for his elegant and refined portraits of beautiful women, known as bijin-ga. His works often depicted women in a variety of settings and activities, and he was particularly skilled at capturing the grace and poise of his subjects. He was also known for his use of delicate colors and intricate designs, which added to the beauty and sophistication of his works.
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EISHOSAI CHOKI (1725-1795): PORTRAIT OF THE COURTESAN TSUKASA-DAYUBy Eishosai Choki (1725-1795)Japan, Meiji Period (1868-1912) editionColor woodblock print on paper with Mica dust background. Vertical Oban. Beautiful portrait of the courtesan Tsukasa-dayu from the Shinmachi pleasure district in Osaka. She holds her kimono sleeve up to her face as she looks over her shoulder, smiling slightly. Elegantly drawn with flowing line work and delicate embossed detail in the tie-dyed under robe, with a dusting of mica over the background. A classic ukiyo-e beauty design. Mounted at the upper margin to a passepartout.SIZE of the sheet 40 x 25.5 cmCondition: Excellent condition with minor traces of wear.Provenance: Austrian private collection, acquired in the 1990s at Galerie Zacke, Vienna. Old Galerie Zacke label on the verso.Eishosai Choki (1725-1795)Eishosai Choki was a Japanese ukiyo-e artist who lived during the late 18th and early 19th centuries. Not much is known about his life, but he is recognized for his erotic and sensual works depicting women, known as shunga. Choki's style is characterized by its explicitness and use of bold, graphic lines and vivid colors. His works were popular among the urban population of Japan during the Edo period and were often produced in the form of illustrated books or single-sheet prints.
ELIZABETH KEITH: LAMA PRIEST IN CEREMONIAL DRESS, 1924By Elizabeth Keith (1887-1956), hand signed Elizabeth KeithColor woodblock print on paper, depicting a Lama priest seated on a brick wall, clad in a ceremonial dress and hat and holding a praying beads mala. Hand signed by the artist in pencil at the lower right and titled 'Lama Priest in Ceremonial dress'. The lower left bearing the artist monogram EK and dated 1924. In a vintage gilt wood frame, behind glass. Condition: Very good condition with minor wear. Provenance: Danish private collection, acquired at Bruun Rasmussen on 10 November 2011, lot 1145, with labels to the backside. Dimensions: Image size 38 x 26 cm, Size incl. frame 42 x 29 cm Elizabeth Keith (1887-1956), was a Scottish artist and writer known for her skills in print-making and watercolors. Her artistic style was greatly influenced by her extensive travels to Asian countries such as Japan, China, Korea, and the Philippines.
HASEGAWA MITSUNOBU (active between 1730-1760): TOBA-E STYLE WOODBLOCK PRINTBy Hasegawa Mitsunobu (active between 1730-1760), signed Hasegawa Mitsunobu Japan, 18th centuryMonochrome woodblock print on paper. From the series Ehon Yodo no Naagare: a collection of black and white, woodblock prints with humorous and lively depictions of everyday life in the Toba-e style of painting. The style Toba-e is named after the monk Toba-sojo (1053-1140) of the Tendai sect, who first painted humorous, secular depictions instead of sacred themes. Mounted with three small paper strips inside a paper passepartout, behind a clear sheet.SIZE of the sheet 24 x 16.4 cmCondition: Good condition with crisp impression. Backed with paper. Four very small binding holes on the left.Provenance: Austrian private collection, acquired in the 1990s at Galerie Asboth, Vienna. (Accompanied by original certificate of authenticity signed by Ute Asboth.)Hasegawa Mitsunobu Hasegawa Mitsunobu was an Edo period Japanese woodblock print artist active between 1730-1760. Not much is known about his life, but he is recognized for his elegant and refined depictions of actors, beauties, and landscapes. Hasegawa's works showcase a masterful use of color and delicate lines, capturing the subtle nuances of his subjects with great skill.
KATSUSHIKA HOKUSAI (1760 - 1849): DOCHU GAFU WOODBLOCK PRINTBy Katsushika Hokusai (1760 - 1849), signedJapan, 1835Color woodblock print on paper. From the album Hokusai dochu gafu (Hokusai's Pictures from the Streets), published in 1835. The album follows a series of depictions from the streets depicting lively scenes with craftsmen, fishermen, food carriers and bystanders going about their day. Mounted with small paper strips inside a paper passepartout, behind a clear sheet.Condition: Good condition with crisp impression. Backed with paper. Very small binding holes on the right.Provenance: Austrian private collection, acquired in the 1990s at Galerie Asboth, Vienna. Accompanied by original certificate of authenticity signed by Ute Asboth.Katsushika Hokusai (1760 - 1849)Hokusai is one of the most renowned and influential artists in Japanese history. Born in Edo (now Tokyo), Hokusai began his career as an apprentice in a woodblock print shop before venturing out on his own to pursue his passion for art. Over the course of his career, Hokusai created a vast body of work that included not only woodblock prints but also paintings, sketches, and illustrated books. His oeuvre is characterized by a relentless experimentation with style and technique, as well as a deep appreciation for the natural world and the beauty of everyday life.Hokusai is perhaps best known for his iconic series, "Thirty-Six Views of Mount Fuji," which includes the famous print "The Great Wave off Kanagawa." These prints, which were produced between 1826 and 1833, are considered some of the most recognizable and beloved works of art in the world.Dimensions: Image size 24 x 16 cm
KATSUSHIKA HOKUSAI (1760 - 1849): MANGA WOODBLOCK PRINTBy Katsushika Hokusai (1760 - 1849), signedJapan, 1814-1878Color woodblock print on paper. From the Manga, “Hokusai's Ten Thousand Sketches,” published between 1814-1878 in 15 volumes by Eirakuya Toshiro, Nagoya and others. Depicts a blooming flower. Mounted at the upper margin to a passepartout.SIZE of the sheet 22.5 x 15.5 cmCondition: Wear commensurate with age. Minor fading and smudging on the bottom-left corner. Small holes along the right margin, and minor pilling.Provenance: Austrian private collection, acquired in the 1990s at Galerie Zacke, Vienna. Old Galerie Zacke label inside the passepartout.Katsushika Hokusai (1760 - 1849)Hokusai is one of the most renowned and influential artists in Japanese history. Born in Edo (now Tokyo), Hokusai began his career as an apprentice in a woodblock print shop before venturing out on his own to pursue his passion for art. Over the course of his career, Hokusai created a vast body of work that included not only woodblock prints but also paintings, sketches, and illustrated books. His oeuvre is characterized by a relentless experimentation with style and technique, as well as a deep appreciation for the natural world and the beauty of everyday life. Hokusai is perhaps best known for his iconic series, "Thirty-Six Views of Mount Fuji," which includes the famous print "The Great Wave off Kanagawa." These prints, which were produced between 1826 and 1833, are considered some of the most recognizable and beloved works of art in the world.
KATSUSHIKA HOKUSAI (1760-1849): A SURIMONO OF HAIR ACCESSORIESBy Katsushika Hokusai (1760-1849), signed Hokusai aratame Iitsu hitsu Japan, Meiji period (1868-1912) edition Color woodblock print on textured paper with mica pigments. Depicting hair accessories, a verse in calligraphy is written on the top. In a passepartout. Condition: Good condition, very good color and impression, soiled and stained. With a single tiny wormhole. Provenance: German private collection. Dimensions: Image size 21.5 x 19 cm, Size incl. passepartout 50 x 35 cmKatsushika Hokusai (1760 - 1849) Katsushika Hokusai was a Japanese artist, ukiyo-e painter and printmaker. Born in Edo (now Tokyo), Hokusai is best-known as the creator of the woodblock print series 'Thirty-six Views of Mount Fuji' which includes the iconic and internationally recognized print 'The Great Wave off Kanagawa', created during the 1820s. Hokusai created the 'Thirty-Six Views' both as a response to a domestic travel boom and as part of a personal obsession with Mount Fuji. It was this series, specifically 'The Great Wave' print and 'Fuji in Clear Weather', that secured Hokusai's fame both within Japan and overseas. While Hokusai's work prior to this series is certainly important, it was not until this series that he gained broad recognition and left a lasting impact on the art world.
KATSUSHIKA HOKUSAI (1760-1849): KIZAMI NO FUJIBy Katsushika Hokusai (1760-1849), signed Japan, published 1876Monochrome woodblock print on paper. From the series Fugaku Hyakkei (one hundred Views of Mount Fuji), volume 2, first published 1834/35 by Nishimuraya Yohachi. In a passepartout. Condition: Very good condition with fading and minor soiling. Provenance: German private collection. Dimensions: Image size 23 x 14 cm, Size incl. passepartout 49.5 x 34.5 cmKatsushika Hokusai (1760 - 1849) Katsushika Hokusai was a Japanese artist, ukiyo-e painter and printmaker. Born in Edo (now Tokyo), Hokusai is best-known as the creator of the woodblock print series 'Thirty-six Views of Mount Fuji' which includes the iconic and internationally recognized print 'The Great Wave off Kanagawa', created during the 1820s. Hokusai created the 'Thirty-Six Views' both as a response to a domestic travel boom and as part of a personal obsession with Mount Fuji. It was this series, specifically 'The Great Wave' print and 'Fuji in Clear Weather', that secured Hokusai's fame both within Japan and overseas. While Hokusai's work prior to this series is certainly important, it was not until this series that he gained broad recognition and left a lasting impact on the art world.
KATSUSHIKA HOKUSAI (1760-1849): SHISHI IN THE WINDBy Katsushika Hokusai (1760-1849), signed Japan, 1814-1819Color woodblock print on paper. Two book leaves depicting the sketch of Shishi in the Wind from “Hokusai's Manga: Vol.14,” published between 1815-1819. Shishi is the mythical guardian lion of Buddha. These sketches were printed in albums as original prints and served as a template for many of Hokusai's famous works. Mounted at the upper margin to a passepartout.Condition: Good, detailed impression and very minor creasing on edges.Provenance: Austrian private collection, acquired in the 1990s at Galerie Asboth, Vienna. Accompanied by original certificate of authenticity signed by Ute Asboth.Katsushika Hokusai (1760 - 1849)Hokusai is one of the most renowned and influential artists in Japanese history. Born in Edo (now Tokyo), Hokusai began his career as an apprentice in a woodblock print shop before venturing out on his own to pursue his passion for art. Over the course of his career, Hokusai created a vast body of work that included not only woodblock prints but also paintings, sketches, and illustrated books. His work is characterized by a relentless experimentation with style and technique, as well as a deep appreciation for the natural world and the beauty of everyday life.Hokusai is perhaps best known for his iconic series, "Thirty-Six Views of Mount Fuji," which includes the famous print "The Great Wave off Kanagawa." These prints, which were produced between 1826 and 1833, are considered some of the most recognizable and beloved works of art in the world.Dimensions: Image size 22.7 x 25 cm
KEISAI EISEN (1790-1848): A COLOR WOODBLOCK PRINT OF A COURTESANBy Keisai Eisen (1790-1848)Japan, 19th century, Edo period (1615-1868) Color woodblock print on paper. Vertical Oban. With censor's seal kiwame. Depicting a courtesan with a detailed patterned kimono, the upper right area with a mirror. Condition: Good impression, faded colors, creases and browning. With a small, repaired tear to the upper left corner and very few tiny losses. Remnants of paper are found in both upper corners. Provenance: Austrian private collection. Dimensions: Image size 35 x 23.5 cmKeisai Eisen (1790-1848) was a renowned ukiyo-e artist, with a focus on creating bijin-ga, which are artworks depicting beautiful women. His most exceptional pieces, particularly his ōkubi-e or "large head pictures," are regarded as masterpieces from the "decadent" Bunsei Era (1818-1830). Additionally, he was recognized by the name Ikeda Eisen and wrote under the name of Ippitsuan.
KEISAI EISEN (1790-1848): A COLOR WOODBLOCK PRINT OF A COURTESANBy Keisai Eisen (1790-1848)Japan, 19th century, Edo period (1615-1868)Color woodblock print on paper. Vertical Oban. With censor's seal kiwame. Depicting a courtesan with a patterned kimono, wearing geta, and holding a book. Condition: Good impression, faded colors, creases and browning. With very few tiny losses backed with paper tape from the verso. Remnants of paper are found in both upper corners. Provenance: Austrian private collection. Dimensions: Image size 33.5 x 23 cm Keisai Eisen (1790-1848) was a renowned ukiyo-e artist, with a focus on creating bijin-ga, which are artworks depicting beautiful women. His most exceptional pieces, particularly his ōkubi-e or "large head pictures," are regarded as masterpieces from the "decadent" Bunsei Era (1818-1830). Additionally, he was recognized by the name Ikeda Eisen and wrote under the name of Ippitsuan.
KITAGAWA UTAMARO (1754-1806): WOMAN READING BOOKBy Kitagawa Utamaro (1754-1806), signedJapan, Meiji Period (1868-1912) editionColor woodblock print on paper with Mica dust background. Vertical Oban. Entitled Kobikicho Arayashiki Koiseya Ochie (Woman Reading Book). A traditional Japanese Ukyio-e style illustration of a Japanese woman portrait reading a book. Mounted at the upper margin to a passepartout, underneath a clear sheet.SIZE of the sheet 40 x 26.5 cmCondition: Excellent condition with minor traces of wear.Provenance: Austrian private collection, acquired in the 1990s at Galerie Zacke, Vienna.Kitagawa Utamaro (1754-1806)Kitagawa Utamaro is one of the most highly regarded designers of ukiyo-e woodblock prints and paintings and is best known for his bijin okubi-e (large-headed pictures of beautiful women) of the 1790s. He also produced nature studies, particularly illustrated books of insects. Little is known of Utamaro's life. His work began to appear in the 1770s, and he rose to prominence in the early 1790s with his portraits of beauties with exaggerated, elongated features. He produced over 2000 known prints and was one of the few ukiyo-e artists to achieve fame throughout Japan in his lifetime.
TSUKIOKA KOGYO (1869-1927): CHORYOBy Tsukioka Kogyo (1869-1927), signed and sealed Japan, dated 1898 Color woodblock print on paper, horizontal Oban format. Depicting Choryo, a Chinese heroic figure of the Han Dynasty. From the series pictures of Noh plays (Nogaku Zu-e). Publisher seal: Matsuki. Dated: Meiji 31st year, 1898. In a passepartout. Condition: Very good condition with vivid colors and fine impression, with minor wear, some creasing and two tiny wormholes. Backed on paper. Provenance: German private collection. Dimensions: Image size 24.5 x 36.5 cm, Size incl. passepartout 35 x 50 cmKogyo's Pictures of Noh Plays is a significant series issued between 1897 and 1902. It depicts famous Noh and kyogen plays with intricate detail, bringing them to life. Kogyo's attention to detail captures the richness of costumes, masks, and facial expressions.
TSUKIOKA KOGYO (1869-1927): KAMOBy Tsukioka Kogyo (1869-1927), signed Japan, dated 1898 Color woodblock print on paper. From the series pictures of Noh plays (Nogaku Zu-e). Publisher seal: Matsumoto. Dated: Meiji 31st year, 1898. In a passepartout. Condition: Very good condition with vivid colors and fine impression, with minor wear, some straining, browning and few tiny wormholes. Backed on paper. Provenance: German private collection. Dimensions: Image size 24.5 x 36.5 cm, Size incl. passepartout 35 x 50 cmKogyo's Pictures of Noh Plays is a significant series issued between 1897 and 1902. It depicts famous Noh and kyogen plays with intricate detail, bringing them to life. Kogyo's attention to detail captures the richness of costumes, masks, and facial expressions.
TSUKIOKA YOSHITOSHI (1839-1892): TAKEDA KOUNSAI'S MISTRESS TOKIKO, IN THE SNOWBy Tsukioka Yoshitoshi (1839-1892)Japan, 1886-1888Color woodblock print on paper. Vertical Oban. Engraved by Horikō Enkatsu. Published by Yamato Shinbunsha. No. 383 from the series Lives of Modern People (Kinsei jimbutsushi). Condition: Good impression, slightly faded colors, browning, staining. Backed on cardboard and with a passepartout (glued). Provenance: Austrian private collection. Dimensions: Image cut out 32 x 21 cm size incl. backing 48 x 37 cmLiterature comparison: A near identical print is in the collection of the Philadelphia Museum of Art, museum number 1989-47-569.Tsukioka Yoshitoshi was one of the leading woodblock print artists during the Meiji era (1868-1912) and one of the last to work in the traditional ukiyo-e manner. Born in Edo (today's Tokyo), he showed a strong interest in classical Japanese literature and history. When he was 11, he became a student at Kuniyoshi Utagawa's studio. Under his teacher's guidance, he showed exquisite draftsmanship skills and learned how to draw from life, something not necessarily part of the training schools of painting and illustration in Japan.
TSUKIOKA YOSHITOSHI: TRIPTYCH OF THE GREAT BATTLE OF AWAZUGAHARA, 1867By Yoshitoshi Tsukioka (1839 - 1892), signed Tsukioka Yoshitoshi Japan, dated 1867Color woodblock print on paper. A terrific depiction from the 'Battle of Awazugahara' (Awazugahara okassen no zu), the woman warrior Tomoe-gozen on a dappled horse, taking a brief break on a hilltop as the battle continues along the shore below. Her armor pierced with arrows, and the blade covered in blood. The warrior at left rests his hands atop a bloody sword, looking up with a defiant expression. To her right, a samurai kneels alongside a stream to fill his hat with water. Signed Tsukioka Yoshitoshi.Provenance: Czech private collection.Condition: Good condition, worm holes, creasing, the edges slightly worn.Dimensions: Size 36.2 x 24 cm (each sheet)Tsukioka Yoshitoshi was one of the leading woodblock print artists during the Meiji era (1868-1912) and one of the last to work in the traditional ukiyo-e manner. Born in Edo (today's Tokyo), he showed a strong interest in classical Japanese literature and history. When he was 11, he became a student at Kuniyoshi Utagawa's studio. Under his teacher's guidance, he showed exquisite draftsmanship and learned how to draw from life, something not necessarily part of the training schools of painting and illustration in Japan.
YOSHITOSHI: A TRIPTYCH OF WAR CHRONICLES OF OSAKA, 1884By Yoshitoshi Tsukioka (1839-1892), signed Ôju Taiso Yoshitoshi Japan, dated 1884Color woodblock print on paper. Depicting Okubo Hikozaemon Tadataka defending the Tokugawa Shogun from the spear of Goto Matabei Mototsugu. At left, Tadataka rushes forward gripping his sword above his head as Mototsugu thrusts a spear into a wooden crate. A small child is strapped to his back with a band of cloth and a wounded warrior lies bleeding on the ground behind his feet, while another samurai and a beauty peer around a tree at right. Publisher: Akiyama Buemon.Provenance: Czech private collection.Condition: Very good condition with minor wear, mostly to the edges, and browning.Dimensions: Size 36 x 24.4 cm (each sheet)
ANDO HIROSHIGE II (1826-1869): TAKANAWABy Ando Hiroshige II (1826-1869)Japan, 1864Color woodblock print on paper. Vertical Oban. Published by Fujikeo. Titled Takanawa, from the series Edo Meisho Zue (Views of Edo). The woodblock print series Edo Meisho Zue by Hiroshige II was designed and published between 1862 and 1864. It shows famous places of Edo, the Eastern Capital, in the old ukiyo-e tradition of Utagawa Hiroshige (1797 - 1858). It is like a nostalgic view back in history, shortly before the new era of modernization and westernization would change Japan's capital rapidly. Mounted at the upper margin to a passepartout.Condition: Good, detailed impression with vivid colors. Trimmed margins and creasing along the centerfold. Reinforced with paper tape along top-right corner for stability.Provenance: Austrian private collection, acquired in the 1990s at Galerie Zacke, Vienna. Old Galerie Zacke label inside the passepartout.Ando Hiroshige II (1826 - 1869)Ando Hiroshige II was the chief pupil of the great master Hiroshige. He first used the name Shigenobu, but when Hiroshige died in 1858, he married his daughter and took the name Hiroshige II. Around 1865 the marriage was dissolved, and he retired to Yokohama and reverted to the name Shigenobu. Today, he is more usually referred to as 'Hiroshige II'.Dimensions: Image size 33.5 x 22 cm
UTAGAWA HIROSHIGE (1797 - 1858): AKASAKABy Utagawa Hiroshige (1797 - 1858), Signed Hiroshige hitsu Japan, 1855Color woodblock print on paper. Vertical Oban. Akasaka Nawate-michi nite Yajiro Kitahachi o kitsune to omoite chochaku suru (Akasaka - On the Nawate Road, Yajirôbei Takes Kitahachi for a Fox and Beats Him). No. 37 from the series The Fifty-three Stations of the Tokaido Road (Gojūsan tsugi meisho zue). Published by Tsutaya Kichizô (Kôeidô). Censor's seals: aratame, Hare 7. Mounted at the upper margin to a passepartout.Condition: Very good condition, slightly faded colors, and good impression. Minor browning, small tears to corners, and staining. Provenance: German private collection. The passepartout with an old stamp 'ORIGINAL PRINT Guarantee by Sakai & Co., Established 1874'.Dimensions: Image size 36.5 x 25 cm, Size incl. passepartout 47.5 x 36 cm Utagawa Hiroshige (1797 - 1858) Utagawa Hiroshige (also referred to as Ando Hiroshige) is recognized as one of the last great masters of the ukiyo-e ('pictures of the floating world') woodblock printing tradition. His style can be characterized in the genre of landscape print, innovated by his early contemporary Hokusai (1760-1849). Hiroshige can be attributed to having created over 5,000 prints of everyday life and landscape in Edo-period Japan. Inspired by Katsushika Hokusai's popular Thirty-Six Views of Mount Fuji, Hiroshige took a softer, less formal approach with his Fifty-Three Stations of the Tokaido (1833-34), completed after a trip he made between Edo and Kyoto, which is acclaimed to be perhaps his finest achievement.He made numerous other journeys within Japan and issued a series of such prints, expressing in great detail the poetic sensibility inherent in the climate and topography of Japan and its people. Hiroshige's prolific output was somewhat due to his being paid very little per series. Still, this did not deter him, as he receded to Buddhist monkhood in 1856 to complete his brilliant and lasting One Hundred Famous Views of Edo (1856-58). He died in 1858, 10 years before Monet, Van Gogh, and a lot of Impressionist painters became eager collectors of Japanese art.Literature comparison: A near identical print is in the collection of The British Museum, Museum number 1915,0823,0.758. Another is in the Museum of Fine Arts in Boston, accession number 21.5278.
UTAGAWA HIROSHIGE (1797 - 1858): HONMOKU CLIFF IN MUSASHI PROVINCEBy Utagawa Hiroshige (1797 - 1858), signed Hiroshige ga Japan, 1858Color woodblock print on paper. Vertical Oban. A beautiful landscape portrait with a clear view of Mount Fuji. Entitled Honmoku Cliff in Musashi Province, from the series Thirty-Six Views of Mount Fuji. Publisher seal Tsutaya Kichizo. Mounted at the upper margin to a passepartout. Condition: With browning, staining and slightly faded colors. The upper area with some creases and losses, backed by Japan paper. Provenance: German private collection. Dimensions: Image size 36. 5 x 23.5 cm, Size incl. passepartout 52.5 x 38 cmUtagawa Hiroshige (1797 - 1858) Utagawa Hiroshige (also referred to as Ando Hiroshige) is recognized as one of the last great masters of the ukiyo-e ('pictures of the floating world') woodblock printing tradition. His style can be characterized in the genre of landscape print, innovated by his early contemporary Hokusai (1760-1849). Hiroshige can be attributed to having created over 5,000 prints of everyday life and landscape in Edo-period Japan. Inspired by Katsushika Hokusai's popular Thirty-Six Views of Mount Fuji, Hiroshige took a softer, less formal approach with his Fifty-Three Stations of the Tokaido (1833-34), completed after a trip he made between Edo and Kyoto, which is acclaimed to be perhaps his finest achievement.He made numerous other journeys within Japan and issued a series of such prints, expressing in great detail the poetic sensibility inherent in the climate and topography of Japan and its people. Hiroshige's prolific output was somewhat due to his being paid very little per series. Still, this did not deter him, as he receded to Buddhist monkhood in 1856 to complete his brilliant and lasting One Hundred Famous Views of Edo (1856-58). He died in 1858, 10 years before Monet, Van Gogh, and a lot of Impressionist painters became eager collectors of Japanese art.Literature comparison: A near identical print is in the collection of the Van Gogh Museum, Amsterdam, object number n0089V1962.
UTAGAWA HIROSHIGE (1797 - 1858): ISE-EBI AND SHIBA-EBIBy Utagawa Hiroshige (1797 - 1858), signed Hiroshige ga Japan, 19th century Color woodblock print on paper. Horizontal Oban. Lobster (Ise ebi) and prawn (shiba ebi), from the series Uozukushi (Every Variety of Fish). Published by Nishimuraya Yohachi (Eijudô). Censor's seal: kiwame. Inscriptions: poems by Shimotsuke Edozaki Ryokujuen Motoari (Ryokujuen Motoari from Edozaki in Shimotsuke Province) and Nen'an Machikado. Inscribed to the backside. Mounted at the upper margin to a passepartout. Condition: Slightly faded colors, and good impression. With browning and staining as well as few wormholes. The upper margin with tears. Provenance: German private collection. Dimensions: Image size 24.5 x 37.5 cm, Size incl. passepartout 38.5 x 52.5 cmThe series initially appeared as a privately printed kyōka poetry album in the orihon format, containing ten illustrated sheets and four text-only sheets. The blocks were later reused for commercial prints, with added publisher's marks, censor's kiwame seals, and occasionally different poems. Additional designs, including one with a trout, were included in the commercial series. Another publisher later added nine more designs. For a complete reproduction and detailed discussion of the first edition, consult Mann 2021, pages 290-311. Utagawa Hiroshige (1797 - 1858) Utagawa Hiroshige (also referred to as Ando Hiroshige) is recognized as one of the last great masters of the ukiyo-e ('pictures of the floating world') woodblock printing tradition. His style can be characterized in the genre of landscape print, innovated by his early contemporary Hokusai (1760-1849). Hiroshige can be attributed to having created over 5,000 prints of everyday life and landscape in Edo-period Japan. Inspired by Katsushika Hokusai's popular Thirty-Six Views of Mount Fuji, Hiroshige took a softer, less formal approach with his Fifty-Three Stations of the Tokaido (1833-34), completed after a trip he made between Edo and Kyoto, which is acclaimed to be perhaps his finest achievement.He made numerous other journeys within Japan and issued a series of such prints, expressing in great detail the poetic sensibility inherent in the climate and topography of Japan and its people. Hiroshige's prolific output was somewhat due to his being paid very little per series. Still, this did not deter him, as he receded to Buddhist monkhood in 1856 to complete his brilliant and lasting One Hundred Famous Views of Edo (1856-58). He died in 1858, 10 years before Monet, Van Gogh, and a lot of Impressionist painters became eager collectors of Japanese art.Literature comparison: A near identical print is in the collection of The Metropolitan Museum of Art, accession number JP3597. Another is in the Museum of Fine Arts in Boston, accession number 21.9605.
UTAGAWA HIROSHIGE (1797 - 1858): SHIMA PROVINCE, MOUNT HIYORI AND TOBA HARBORBy Utagawa Hiroshige (1797 - 1858), Signed Hiroshige hitsu Japan, 1853 Color woodblock print on paper. Vertical Oban. From the series Rokujuyoshu meisho zue (Pictures of famous places in the sixty-odd provinces). Published by Koshimuraya Heisuke (Koshihei). Blockcutter: Hori Ta. Censor seal: Watanabe Mera (1851-1853). Mounted at the upper margin to a passepartout.Condition: Very good condition, fresh colors, and good impression. Minor browning. Provenance: German private collection. Dimensions: Image size 37.5 x 25.5 cm, Size incl. passepartout 42 x 29 cm Utagawa Hiroshige (1797 - 1858) Utagawa Hiroshige (also referred to as Ando Hiroshige) is recognized as one of the last great masters of the ukiyo-e ('pictures of the floating world') woodblock printing tradition. His style can be characterized in the genre of landscape print, innovated by his early contemporary Hokusai (1760-1849). Hiroshige can be attributed to having created over 5,000 prints of everyday life and landscape in Edo-period Japan. Inspired by Katsushika Hokusai's popular Thirty-Six Views of Mount Fuji, Hiroshige took a softer, less formal approach with his Fifty-Three Stations of the Tokaido (1833-34), completed after a trip he made between Edo and Kyoto, which is acclaimed to be perhaps his finest achievement.He made numerous other journeys within Japan and issued a series of such prints, expressing in great detail the poetic sensibility inherent in the climate and topography of Japan and its people. Hiroshige's prolific output was somewhat due to his being paid very little per series. Still, this did not deter him, as he receded to Buddhist monkhood in 1856 to complete his brilliant and lasting One Hundred Famous Views of Edo (1856-58). He died in 1858, 10 years before Monet, Van Gogh, and a lot of Impressionist painters became eager collectors of Japanese art.Literature comparison: A near identical print is in the collection of Museum of Fine Arts in Boston, accession number 11.26227. Another is in the British Museum, Registration number 1902,0212,0.397.61
UTAGAWA HIROSHIGE (1797 - 1858): SHONO DRIVING RAINBy Utagawa Hiroshige (1797 - 1858), Signed Hiroshige ga Japan, originally issued 1834 - 19th century edition Color woodblock print on paper. No. 46 from the series Fifty-three Stations of the Tôkaidô Road (Tôkaidô gojûsan tsugi no uchi), also known as the First Tôkaidô or Great Tôkaidô. Published by Takenouchi Magohachi (Hoeidô). Censor's seal: kiwame. Condition: Good condition, good impression, colors somewhat faded, and browning. Provenance: German private collection. Dimensions: Image size 35.5 x 38.5 cm, Size incl. passepartout 36 x 48.5 cmLiterature comparison: A near identical but earlier print, is in the collection of The Metropolitan Museum of Art, accession number 11.26227. Another is in the Museum of Fine Arts in Boston, accession number 11.25063. Auction result comparison: Compare to a near identical bur earlier print at Christie´s New York, in Japanese and Korean Art on 22 September 2020, lot 128, sold for USD 30,000.Sudden Shower at Shōno is one of the best-known scenes from Hiroshige's series. It showcases his skill in capturing the intensity of a rainstorm, with palanquin bearers and villagers rushing through the rain. The design is purely imaginative, as Shōno doesn't match the depicted scenery. The umbrella bears inscriptions related to the publisher and series titles. Utagawa Hiroshige (1797 - 1858) Utagawa Hiroshige (also referred to as Ando Hiroshige) is recognized as one of the last great masters of the ukiyo-e ('pictures of the floating world') woodblock printing tradition. His style can be characterized in the genre of landscape print, innovated by his early contemporary Hokusai (1760-1849). Hiroshige can be attributed to having created over 5,000 prints of everyday life and landscape in Edo-period Japan. Inspired by Katsushika Hokusai's popular Thirty-Six Views of Mount Fuji, Hiroshige took a softer, less formal approach with his Fifty-Three Stations of the Tokaido (1833-34), completed after a trip he made between Edo and Kyoto, which is acclaimed to be perhaps his finest achievement.He made numerous other journeys within Japan and issued a series of such prints, expressing in great detail the poetic sensibility inherent in the climate and topography of Japan and its people. Hiroshige's prolific output was somewhat due to his being paid very little per series. Still, this did not deter him, as he receded to Buddhist monkhood in 1856 to complete his brilliant and lasting One Hundred Famous Views of Edo (1856-58). He died in 1858, 10 years before Monet, Van Gogh, and a lot of Impressionist painters became eager collectors of Japanese art.
UTAGAWA HIROSHIGE (1797-1858): AUTUMN MOON OVER THE TAMA RIVERBy Utagawa Hiroshige (1797-1858), signed Hiroshige ga Japan, late 19th century editionColor woodblock print on paper. Horizontal Oban. Titled Tamagawa no shugetsu (Autumn Moon over the Tama River), from the series Edo kinko hakkei no uchi (Eight Views of the Suburbs of Edo). Boating and angling on the Tama River on the night of a full moon. The Tama River ran along the western border of Edo, while the Sumida River flowed through the east side of the city. The Tama tended to evoke poetic associations, such as with the desolate Musashino moor and the autumnal moon. Mounted at the upper margin to a passepartout.Inscription: Poem (signed Asanoyadō Massugu)The image of the moon in the autumn night which is luminous as day,lingers on the Tama stream as the river lingers by the Twin Pines.Condition: Very good condition with good colors, fine impression, and browning.Provenance: Austrian private collection, acquired in the 1990s at Galerie Zacke, Vienna.Utagawa Hiroshige (1797 - 1858)Utagawa Hiroshige (also referred to as Ando Hiroshige) is recognized as one of the last great masters of the ukiyo-e (“pictures of the floating world”) woodblock printing tradition. His style can be characterized in the genre of landscape print, innovated by his early contemporary Hokusai (1760-1849). Hiroshige can be attributed to having created over 5,000 prints of everyday life and landscape in Edo-period Japan. Inspired by Katsushika Hokusai's popular Thirty-Six Views of Mount Fuji, Hiroshige took a softer, less formal approach with his Fifty-Three Stations of the Tokaido (1833-34), completed after a trip he made between Edo and Kyoto, which is acclaimed to be perhaps his finest achievement. He made numerous other journeys within Japan and issued a series of such prints, expressing in great detail the poetic sensibility inherent in the climate and topography of Japan and its people.Hiroshige's prolific output was somewhat due to his being paid very little per series. Still, this did not deter him, as he receded to Buddhist monkhood in 1856 to complete his brilliant and lasting One Hundred Famous Views of Edo (1856-58). He died in 1858, 10 years before Monet, Van Gogh, and a lot of Impressionist painters became eager collectors of Japanese art.Dimensions: Image size 24 x 37.3 cm
UTAGAWA HIROSHIGE (1797-1858): CLEAR WEATHER AFTER SNOWBy Utagawa Hiroshige (1797-1858), signed Hiroshige ga Japan, late 19th century editionColor woodblock print on paper. Horizontal Oban. Titled Kameyama, yukibare (Kameyama: Clear Weather after Snow), from the series Tokaido gojusan tsugi no uchi (Fifty-three Stations of the Tokaido Road). No. 47 in 'Hoeido Tokaido' series. A daimyo procession makes its way up a steep snow-covered path to the 16th century Kameyama Castle at the upper right. The soldiers' blue coats and yellow hats are visible through the snowy trees. Next to the gate, a stone rampart topped by a watchtower serves to fortify the town's entrance and guard the clan's stronghold. Inside a passepartout.Condition: Good impression and colors. Minor material loss along the centerfold as well as a very small ink stain on the bottom left corner, some minor wear.Provenance: Austrian private collection, acquired in the 1990s at Galerie Zacke, Vienna.Utagawa Hiroshige (1797 - 1858)Utagawa Hiroshige (also referred to as Ando Hiroshige) is recognized as one of the last great masters of the ukiyo-e (“pictures of the floating world”) woodblock printing tradition. His style can be characterized in the genre of landscape print, innovated by his early contemporary Hokusai (1760-1849). Hiroshige can be attributed to having created over 5,000 prints of everyday life and landscape in Edo-period Japan. Inspired by Katsushika Hokusai's popular Thirty-Six Views of Mount Fuji, Hiroshige took a softer, less formal approach with his Fifty-Three Stations of the Tokaido (1833-34), completed after a trip he made between Edo and Kyoto, which is acclaimed to be perhaps his finest achievement. He made numerous other journeys within Japan and issued a series of such prints, expressing in great detail the poetic sensibility inherent in the climate and topography of Japan and its people.While on road, he stayed at 53 overnight stations and made numerous sketches of everything he saw. Eventually publishing 55 landscape prints: one for each station as well as one at the beginning of the highway and one for his arrival in Kyoto. Later, he repeatedly executed new designs of the 53 Tokaido views employing his unused sketches of the previous years.Hiroshige's prolific output was somewhat due to his being paid very little per series. Still, this did not deter him, as he receded to Buddhist monkhood in 1856 to complete his brilliant and lasting One Hundred Famous Views of Edo (1856-58). He died in 1858, 10 years before Monet, Van Gogh, and a lot of Impressionist painters became eager collectors of Japanese art.Dimensions: Image size 25.5 x 37.5 cm
UTAGAWA HIROSHIGE (1797-1858): CLEAR WEATHER AFTER SNOW AT MASSAKIBy Utagawa Hiroshige (1797-1858), signed Hiroshige ga Japan, late 19th century editionColor woodblock print on paper. Horizontal Oban. With a censor's seal: kiwame. Titled Massaki yukibare no zu (Clear Weather after Snow at Massaki)], from the series Tôto meisho (Famous Places in the Eastern Capital). Massaki after heavy snowfall, view of boatmen rowing through the scenic river with the Massaki Inari shrine in the background. Mounted at the upper margin to a passepartout.Condition: Good, detailed impression and colors. Trimmed along the margins with material loss, cuts, and ink stains along the edges. Creasing along centerfold and slight browning.Provenance: Austrian private collection, acquired in the 1990s at Galerie Zacke, Vienna. Old Galerie Zacke label inside the passepartout.Utagawa Hiroshige (1797 - 1858)Utagawa Hiroshige (also referred to as Ando Hiroshige) is recognized as one of the last great masters of the ukiyo-e (“pictures of the floating world”) woodblock printing tradition. His style can be characterized in the genre of landscape print, innovated by his early contemporary Hokusai (1760-1849). Hiroshige can be attributed to having created over 5,000 prints of everyday life and landscape in Edo-period Japan. Inspired by Katsushika Hokusai's popular Thirty-Six Views of Mount Fuji, Hiroshige took a softer, less formal approach with his Fifty-Three Stations of the Tokaido (1833-34), completed after a trip he made between Edo and Kyoto, which is acclaimed to be perhaps his finest achievement. He made numerous other journeys within Japan and issued a series of such prints, expressing in great detail the poetic sensibility inherent in the climate and topography of Japan and its people.Hiroshige's prolific output was somewhat due to his being paid very little per series. Still, this did not deter him, as he receded to Buddhist monkhood in 1856 to complete his brilliant and lasting One Hundred Famous Views of Edo (1856-58). He died in 1858, 10 years before Monet, Van Gogh, and a lot of Impressionist painters became eager collectors of Japanese art.Dimensions: Image size 25.5 x 37.5 cm
UTAGAWA HIROSHIGE (1797-1858): DESCENDING GEESE AT KATADABy Utagawa Hiroshige (1797-1858), signed Hiroshige ga Japan, late 19th century editionColor woodblock print on paper. Vertical Oban. Titled Katada rakugan (Descending Geese at Katada), from the series Omi hakkei (Eight Views of Omi) of 1857. Geese descending to Katata, in the foreground there is a partial view of a pavilion at the end of the pier. Mounted at the upper margin to a passepartout.Inscription (poem):Mine amatakoete koshiji nimazu chikakiKatada ni nabikiotsuru kariganeCondition: Slightly trimmed with good impression and colors. Material loss along the edges, creasing, folds, and minor foxing. Paper slightly browned.Provenance: Austrian private collection, acquired in the 1990s at Galerie Zacke, Vienna. Old Galerie Zacke label on the verso.Utagawa Hiroshige (1797 - 1858)Utagawa Hiroshige (also referred to as Ando Hiroshige) is recognized as one of the last great masters of the ukiyo-e (“pictures of the floating world”) woodblock printing tradition. His style can be characterized in the genre of landscape print, innovated by his early contemporary Hokusai (1760-1849). Hiroshige can be attributed to having created over 5,000 prints of everyday life and landscape in Edo-period Japan. Inspired by Katsushika Hokusai's popular Thirty-Six Views of Mount Fuji, Hiroshige took a softer, less formal approach with his Fifty-Three Stations of the Tokaido (1833-34), completed after a trip he made between Edo and Kyoto, which is acclaimed to be perhaps his finest achievement. He made numerous other journeys within Japan and issued a series of such prints, expressing in great detail the poetic sensibility inherent in the climate and topography of Japan and its people.Hiroshige's prolific output was somewhat due to his being paid very little per series. Still, this did not deter him, as he receded to Buddhist monkhood in 1856 to complete his brilliant and lasting One Hundred Famous Views of Edo (1856-58). He died in 1858, 10 years before Monet, Van Gogh, and a lot of Impressionist painters became eager collectors of Japanese art.Dimensions: Image size 37.5 x 24 cm
UTAGAWA HIROSHIGE (1797-1858): IKI PROVINCE, SHISABy Utagawa Hiroshige (1797-1858), signed Hiroshige ga Japan, late 19th century editionColor woodblock print on paper. Vertical Oban. Titled Iki, Shisa (Iki Province: Shisa), from the series Rokujuyoshu meisho zue (Famous Places in the Sixty-odd Provinces) of 1853-6. Hiroshige captures the landscape of Iki province as snow falls gently on the high peaks. The contrast between the grey and white provides depth to the scene. Mounted at the upper margin to a passepartout.Condition: Good condition with vibrant impression and fresh colors. Paper slightly browned and minor rubbing to lower right corner.Provenance: Austrian private collection, acquired in the 1990s at Galerie Zacke, Vienna.Utagawa Hiroshige (1797 - 1858) Utagawa Hiroshige (also referred to as Ando Hiroshige) is recognized as one of the last great masters of the ukiyo-e (“pictures of the floating world”) woodblock printing tradition. His style can be characterized in the genre of landscape print, innovated by his early contemporary Hokusai (1760-1849). Hiroshige can be attributed to having created over 5,000 prints of everyday life and landscape in Edo-period Japan. Inspired by Katsushika Hokusai's popular Thirty-Six Views of Mount Fuji, Hiroshige took a softer, less formal approach with his Fifty-Three Stations of the Tokaido (1833-34), completed after a trip he made between Edo and Kyoto, which is acclaimed to be perhaps his finest achievement.He made numerous other journeys within Japan and issued a series of such prints, expressing in great detail the poetic sensibility inherent in the climate and topography of Japan and its people. Hiroshige's prolific output was somewhat due to his being paid very little per series. Still, this did not deter him, as he receded to Buddhist monkhood in 1856 to complete his brilliant and lasting One Hundred Famous Views of Edo (1856-58). He died in 1858, 10 years before Monet, Van Gogh, and a lot of Impressionist painters became eager collectors of Japanese art.Dimensions: Image size 38.5 x 26 cm
UTAGAWA HIROSHIGE (1797-1858): URAGA IN SAGAMI PROVINCE (SOSHU URAGA)By Utagawa Hiroshige (1797-1858), signed Hiroshige ga Japan, late 19th century editionColor woodblock print on paper. Horizontal Oban. With a censor's seal: kiwame. Titled Soshu Uraga (Uraga in Sagami Province), from the series Nihon minato zukushi (Harbors of Japan). Uraga harbor in snow, with houses on a reinforced embankment by the sea. Snowflakes fall gently over the sleepy houses lining the shore, boats anchored at the water's edge. The blue waters form a striking contrast against the white snow and the wintry grey sky. An attractive design from a rarely seen series. Mounted at the upper margin to a passepartout.Condition: Slightly trimmed with good impression and colors. Material loss along the edges, creasing, folds, wear, and minor foxing.Provenance: Austrian private collection, acquired in the 1990s at Galerie Zacke, Vienna. Old Galerie Zacke label inside the passepartout.Utagawa Hiroshige (1797 - 1858)Utagawa Hiroshige (also referred to as Ando Hiroshige) is recognized as one of the last great masters of the ukiyo-e (“pictures of the floating world”) woodblock printing tradition. His style can be characterized in the genre of landscape print, innovated by his early contemporary Hokusai (1760-1849). Hiroshige can be attributed to having created over 5,000 prints of everyday life and landscape in Edo-period Japan. Inspired by Katsushika Hokusai's popular Thirty-Six Views of Mount Fuji, Hiroshige took a softer, less formal approach with his Fifty-Three Stations of the Tokaido (1833-34), completed after a trip he made between Edo and Kyoto, which is acclaimed to be perhaps his finest achievement. He made numerous other journeys within Japan and issued a series of such prints, expressing in great detail the poetic sensibility inherent in the climate and topography of Japan and its people.Hiroshige's prolific output was somewhat due to his being paid very little per series. Still, this did not deter him, as he receded to Buddhist monkhood in 1856 to complete his brilliant and lasting One Hundred Famous Views of Edo (1856-58). He died in 1858, 10 years before Monet, Van Gogh, and a lot of Impressionist painters became eager collectors of Japanese art.Dimensions: Image size 24.5 x 36.5 cm
UTAGAWA HIROSHIGE (1797-1858): VIEW OF KONODAI AND THE TONE RIVERBy Utagawa Hiroshige (1797-1858), signed Hiroshige ga Japan, late 19th century editionColor woodblock print on paper. Vertical Oban. Titled Konodai Tonegawa fukei (View of Konodai and the Tone River), from the series Meisho Edo hyakkei (One Hundred Famous Views of Edo) of 1856-8. No 95 in series. View of the cliff Konodai overlooking the Tone River with sailing boats plying the river at sunset. A few visitors admire the view from the heights beneath pine and maple trees with autumn foliage, Mt. Fuji in the distance at center right. Boats sail along the river below, with a few houses along the water's edge. The Konodai or "Provincial Capital Bluff" served as a regional military center in early times as it was easily defended. Mounted at the upper margin to a passepartout.Condition: Trimmed, detailed impression and vivid colors with very minor smudging.Provenance: Austrian private collection, acquired in the 1990s at Galerie Zacke, Vienna.Utagawa Hiroshige (1797 - 1858)Utagawa Hiroshige (also referred to as Ando Hiroshige) is recognized as one of the last great masters of the ukiyo-e (“pictures of the floating world”) woodblock printing tradition. His style can be characterized in the genre of landscape print, innovated by his early contemporary Hokusai (1760-1849). Hiroshige can be attributed to having created over 5,000 prints of everyday life and landscape in Edo-period Japan. Inspired by Katsushika Hokusai's popular Thirty-Six Views of Mount Fuji, Hiroshige took a softer, less formal approach with his Fifty-Three Stations of the Tokaido (1833-34), completed after a trip he made between Edo and Kyoto, which is acclaimed to be perhaps his finest achievement. He made numerous other journeys within Japan and issued a series of such prints, expressing in great detail the poetic sensibility inherent in the climate and topography of Japan and its people.Hiroshige's prolific output was somewhat due to his being paid very little per series. Still, this did not deter him, as he receded to Buddhist monkhood in 1856 to complete his brilliant and lasting One Hundred Famous Views of Edo (1856-58). He died in 1858, 10 years before Monet, Van Gogh, and a lot of Impressionist painters became eager collectors of Japanese art.Dimensions: Image size 35 x 22 cm
UTAGAWA HIROSHIGE II (1829 - 1869): RIVER CROSSING AT KANBARABy Utagawa Hiroshige II (1829-1869), signed Japan, 19th century Color woodblock print on paper. Vertical Oban. From the series 'Tokaido Meisho no Uchi' (The Scenic Places of Tokaido). This large series by different artists and publishers was made for the commemoration of shogun Tokugawa Iemochi's historic travel from Edo to Kyoto to pay respect to the emperor. Mounted at the upper margin to a passepartout. Condition: Very good condition, well preserved colors, and good impression. Minor browning and creasing to the upper area. Provenance: German private collection. Dimensions: Image size 35.5 x 24.5 cm, Size incl. passepartout 47 x 36 cm Hiroshige II was born in 1829 with the original name of Chinpei Suzuki. According to tradition, his master Ando Hiroshige, gave him an artist name - usually derived from the first or last part of the master's name. Hiroshige I first gave his gifted pupil the name Shigenobu. Shigenobu was then integrated into the family and was adopted by the great ukiyo-e master when his own son had died in 1845. Hiroshige I (Ando) died in 1858 and Shigenobu took his master's go calling himself Hiroshige Ichiryusai, generally referred to as Utagawa Hiroshige II.
UTAGAWA KUNISADA I AND UTAGAWA HIROSHIGE II: NARIAI-JI IN TANGO PROVINCEBy Utagawa Kunisada I (Toyokuni III) (1786-1864) and Utagawa Hiroshige II (Shigenobu) (1826-1869)Signed Toyokuni ga, in toshidama cartouche (below); and Hiroshige ga (above) Japan, dated 1859 Color woodblock print on paper. Vertical Oban. Nariai-ji in Tango Province, No. 28 of the Saikoku Pilgrimage Route (Saikoku junrei nijûhachiban Tango Nariai-ji), from the series Miracles of Kannon (Kannon reigenki). Depicting the story of the Temple Founder Saien Zenshi (Kaisan Saien Zenshi). Blockcutter: Yokokawa Takejirô (Hori Take). Condition: Very good condition, fresh colors, and fine impression. The left margin with small losses. Provenance: Austrian private collection. Dimensions: Image size 36.3 x 24.6 cmLiterature comparison: A near identical print but with cut off censor's seal is in the collection of the Museum of Fine Arts in Boston, accession number 00.1131.
UTAGAWA KUNISADA I AND UTAGAWA HIROSHIGE II: SOJI TEMPLE, SETTSU PROVINCEBy Utagawa Kunisada I (Toyokuni III) (1786-1864) and Utagawa Hiroshige II (Shigenobu) (1826-1869)Signed Toyokuni ga, in toshidama cartouche (below), and Hiroshige ga (above).Japan, dated 1859Color woodblock print on paper. Vertical Oban. No. 22 of the Saikoku Pilgrimage Route (Saikoku junrei nijûniban Settsu no kuni Sôji-ji), from the series Miracles of Kannon (Kannon reigenki). Ilustrating the story of Yamakage Chûnagon. Condition: Good, detailed impression with slightly faded colors, browning. Creasing along the centerfold and the left side. Provenance: Austrian private collection. Dimensions: Image size 35.5 x 24.5 cm, size incl. the frame 41.5 x 30 cmLiterature comparison: A near identical print but with cut off censor's seal is in the collection of the Museum of Fine Arts in Boston, accession number 00.1143.
UTAGAWA KUNISADA II (1823-1880), PENTAPTYCH: COURTESANS OF THE HOUSE OF OWARIYA HIKOTARO VIEWING CHERRY BLOSSOMSBy Utagawa Kunisada II (1823-1880), signed Kunisada ga Japan, dated 1866Color woodblock print on paper. Vertical oban pentaptych. Each sheet signed Kunisada ga; published by Tsutaya Kichizo (Koeido), 1866, 2nd month. Entitled Shin Yoshiwara karitaku, Owariya Hikotaro kakae yujo hanami zu (Temporary quarters of the New Yoshiwara: Courtesans of the House of Owariya Hikotaro Viewing Cherry Blossoms). Sold with a frame (behind glass).Here courtesans decked out in their finery parade in decorated boats on the Sumida River in Edo. They are embarking on a cherry blossom-viewing party, accompanied by their young attendants, also dressed in elaborate gowns. A spectacle equal to the blossoming flowers, the women are the center of attention of boatloads of patrons, many of whom include samurai who wave and call out to them. Taking advantage of the expansiveness of the pentaptych (five-part) format, Kunisada creates a panoramic view of the festivities.Oban pentaptych SIZE ca. 35 x 123 cm (the image) and 49 x 136.5 cm (the frame)Condition: Good colors and impression. With minor stains, fading, creasing mainly along the centerfold, repairs, material loss and tears. Utagawa Kunisada II (1823-1880), also known as Toyokuni III, was a prominent ukiyo-e artist of the Edo period, specializing in prints of actors, kabuki theater scenes, and beautiful women. He was a student and adopted son of ukiyo-e master Utagawa Kunisada (Toyokuni I). Despite facing financial challenges, Kunisada II continued to produce a significant body of work known for its distinctive style and innovative compositions. His prints are prized for their artistic merit and cultural significance, and he is recognized as a prominent figure in Japanese art history.
A FINE GROUP OF FOUR WOODBLOCK PRINT BOOKS, EDO - MEIJIJapan, 19th century, Edo period (1615-1868) to Meiji period (1868-1912)The first a sewn, intricate ehon (picture book) of color woodblock prints. The album features a broad range of simplified illustrations of samurai preparing for combat, horses, mythological creatures, plants, and various bonsai trees in intricate pots.Dimensions: 17.4 x 11.6 x 0.7 cm Condition: Detailed and intricate depictions in color commensurate with age. Creasing on the edges, soiling, spotting, fading, pilling and minor material loss. Accompanied by label from the collector, 'Sammlung Goncourt No 1572 Cataloges' on the front.The second by Hokusai Katsushika (1760 - 1849), fugaku hyakkei, vol. 1. Sewn. Entitled Fugaku hyakkei (100 Views of Mount Fuji). The yellow cover indicates a Meiji-era reprint of the Edo-period book. The volume features splendid prints and inspiring landscapes.100 Views of Mount Fuji was originally published as a three volume ehon (picture book) starting in 1834 and into the 1840s. Devoid of any meaningful color, the 102 designs contained in the monochrome woodblock printed books are considered by many to be amongst Hokusai's masterpieces.Dimensions: 22.6 x 15.8 x 0.8 cm Condition: Intricate design and detail commensurate with age. Creasing on the edges, soiling, spotting, fading, pilling, and minor material loss. Illegible handwriting in pencil on the back.Hokusai Katsushika (1760 - 1849) is one of the most renowned and influential artists in Japanese history. Born in Edo (now Tokyo), Hokusai began his career as an apprentice in a woodblock print shop before venturing out on his own to pursue his passion for art. Over the course of his career, Hokusai created a vast body of work that included not only woodblock prints but also paintings, sketches, and illustrated books. His work is characterized by a relentless experimentation with style and technique, as well as a deep appreciation for the natural world and the beauty of everyday life.Hokusai is perhaps best known for his iconic series, "Thirty-Six Views of Mount Fuji," which includes the famous print "The Great Wave off Kanagawa." He followed this in the next few years with the spectacular Fugaku hyakkei (100 Views of Mount Fuji).The third a sewn black and white manga album, featuring a broad range of subjects ranging from landscapes to flora, fauna, and human figures.Dimensions: 22 x 15.5 x 0.7 cm Condition: Detailed and intricate depictions on slightly browned paper commensurate with age. Creasing, soiling, spotting, fading, pilling and minor material loss. Hints of water stains. Accompanied by labels of the collector, 'Hokusai Baishoku dzu-ko' on the front cover and collector's remark in pencil on the verso of the front-cover, 'Hokusai: Baishoku dzu-ko (Shrinta) 1835'.The fourth by Koikawa Shozan (1821-1907), a shunga erotica color woodblock print book, sewn. From Koikawa Shozan's six volume series, “Shaka hassho zoku yamato bunko” which was published around 1870. There are a total of 18 color pages of shunga woodblock prints, and another 8 black and white pages of shunga artwork. The remaining 15 pages are kanji text pages. Shozan initially produced this series in the Edo Period (1854), but because it proved to be so popular amongst the masses, he made it again in the Meiji Period, with a few subtle differences. Most notably, the Meiji Period artwork has elaborate bordering, whereas the Edo version does not.Dimensions: 22 x 14.6 x 1 cm Condition: Very vivid colors and elaborate details. Commensurate with age, creasing, soiling, fading and very minor material loss.The art of erotic print was practiced by many artists, including Hokusai. It was a relatively easy way to monetize art. Its figuration, like anything in Japan is codified: coupling servants and lords, monstrous size of the sexes, voyeurism, and sadism.
A GROUP OF EIGHT COLOR WOODBLOCK PRINTS, 19TH CENTURYJapan, 1836-1884Two prints from the series 'Heroes of popular history of the three kingdoms, one by one' (Tsuzoku Sangokushi eiyu no ichi-nin) (1836), three prints from the series 'Biographies of modern men' (Kinsei kyogiden), all signed Kaisai Yoshitoshi hitsu (1865-1866). Another print titled 'Flowers at Takada in Musashi Province, Ota Dokan', by Toyohara Chikanobu (1884), and two prints depicting an actor and a figural scene.Provenance: Czech private collection.Condition: Overall good condition, the prints with foxing, creasing, worm holes, wear to the margins, tears, browning and thinning of the paper.Dimensions: Sizes ca. 36 x 25 cm
A GROUP OF FIVE ORIGINAL COLOR WOODBLOCK PRINTS, 19TH CENTURYJapan, 1850-1886Consisting of four warrior prints: 'Yamato warriors: Yoshida Sawaemon Kanesada and Okuda Magodayu Shigemori, from Chushingura', by Kawanabe Kyosai (1877), 'Samurai fight in the water', by Utagawa Yoshikazu (active ca. 1850-1870), and two prints by Tsukioka Yoshitoshi from the series 'Courageous warriors' (Yoshitoshi musha burui) titled 'Yamato Takeru no Mikoto killing the chief of the Kumaso' (1883) and 'Chinzei Hachiro Tametomo with two islanders on the beach at Ashijima', (1886). Another wood block print titled 'Egret in reed' by Ohara Koson, signed Shoson.Provenance: Czech private collection.Condition: Overall very good condition, minor wear, browning, a few worm holes and repairs, and soiling.Dimensions: Size ranging from 35.5 x 25.1 to 38.6 x 25.7 cm
A GROUP OF SEVEN COLOR WOODBLOCK PRINTS, 19TH CENTURYJapan, 1876-1893Consisting of two wood block prints from the series 'Mirrors of the famous generals of Japan' (Dai nihon meishou kagami) by Tsukioka Yoshitoshi (1876, 1878), two wood block prints from the series 'New forms of thirty-six ghosts' (Shinkei sanjurokkaisen) (1891) by Yoshitoshi Taiso, a print from the series 'Twenty-four Accomplishments in Imperial Japan' (Kōkoku nijōshi kō) by Tsukioka Yoshitoshi (1881), one from the series 'Snow, moon, flowers' (Setsugekka) by Yoshu Chikanobu (1885), and another by Kunichika from the series 'Hundred roles of Baiko' (1893).Provenance: Czech private collection.Condition: Overall good condition, creasing, browning, foxing, minuscule tears, worm holes, wear to the margins, and with repairs. Dimensions: Size from 35.1 x 23 cm to 37 x 25 cm
CHIKASHIGE: A DIPTYCH OF ALL-STARS SUMO WRESTLING, 1875By Morikawa Chikashige (active circa 1869 - 1882), signed Ichibaisai Chikashige Japan, dated 1875Color woodblock print on paper. The wood block print titled All-stars sumo wresting (Yuriki Sekitori Kagami), depicting legendary sumo wrestlers of all periods throughout Japan, lined up in a 'Hall of Fame', including legendary wrestlers, such as Raiden Tame'emon, Unryu Hisakichi, Nomi-no-Sukune. Signature to the lower left side ´Ichibaisai Chikashige.Provenance: Czech private collection.Condition: Very good condition with minor wear, browning, creasing, a few papers attached onto the reverse for support.Dimensions: Size 48 x 35.4 cmChikashige Morikawa was a pupil of Kunichika Toyohara. Like his master, he was active in the design of Kabuki prints.Japanese sumo wrestling, an ancient sport, captivated woodblock print artists in the Edo and Meiji eras. The wrestlers, adorned in ceremonial belts opening into fringed aprons, were often portrayed during the ring entering ceremony. Dynamic designs depicted them in action during matches, with referees and judges surrounded by enthusiastic crowds of sumo fans.
UTAGAWA SADAHIDE (1807-1873), COURT LADIES GOING OUT FOR CHERRY BLOSSOM VIEWINGBy Utagawa Sadahide (1807-1873), signed Sadahide gaJapan, dated 1843Color woodblock print on paper. Vertical oban. One sheet of a triptych. Signed Sadahide ga; published by Izumiya Ichibei. Mounted firmly inside a cardboard passepartout.In this print, a group of high-rank ladies is seen walking along the river. They are richly dressed and carry various items which they will be using for their cherry blossom picnic. Boats can be seen on the river and the cherry trees in bloom are framing the overall joyous image. Cherry blossom viewing was and is a favorite pastime for the Japanese.SIZE ca 36.5 x 25 cm (image cut-out) and 50.5 x 38.5 cm (the frame)Condition: Good colors and impression. With minor ink stains, creases, rubbings, slightly trimmed margins, and several worm holes.Utagawa Sadahide (1807-1873) was born under the given name of Hashimoto Kenjiroin in Fusa province. He was a pupil of the ukiyo-e master Utagawa Kunisada. Sadahide was a popular ukiyo-e artist of the late Edo and early Meiji period. He experimented with panoramic perspectives and bird's eye view to depict panoramas of Osaka, Kyoto and Nagasaki. The woodblock prints of Sadahide Utagawa were shown at the Japanese pavilion in the spectacular World Exhibition in Paris of 1866.
YOSHITORA: A TRIPTYCH OF FLOODING THE CASTLE OF AKAMATSUBy Utagawa Yoshitora, active around 1836-1887, signed Ichimôsai Yoshitora ga (on each sheet) Japan, late Edo period (1615-1868)Color woodblock print on paper. The wood block print titled 'Flooding the castle of Akamatsu' (Akamatsu Mizuzeme no zu). Depicting a scene of the attack on the castle of the Akamatsu clan in the early 14th century, by the talented general Kusunoki Masashige, during the regency of the emperor Go Daigo trying to reunite and bring peace to the country. This triptych is part of a six-piece panorama. Publisher: Izumiya Ichibei (Kansendô). Censors' seals: Mera, Murata.Provenance: Czech private collection.Condition: Very good condition with minor wear, soiling, and a minuscule worm hole to the margin.Dimensions: Size 36.3 x 24.5 cm (each sheet)Yoshitora was one of the leading pupils of Utagawa Kuniyoshi and excelled at warrior paintings. He also produced actor portraits, Yokohama-e, and pieces on Japan's enlightenment.Literature comparison: An almost identical print but comprising six sheets is in the collection of the Museum of Fine Arts in Boston, accession number 11.41260a-b, 11.41364a-c, 11.41263.
YOSHITORA: TRIPTYCH OF THE BATTLE AT FUJISHIRAKAWA, 1856By Utagawa Yoshitora, active around 1836-1887, signed Yoshitora Japan, dated 1856Color woodblock print on paper. Depicting a battle scene titled 'The battle at Fujishirakawa' (Fujishirakawa kassen no zu), showing a river with two shores, each shore with an army of fierce looking warriors. Signed Yoshitora.Provenance: Czech private collection.Condition: Good condition with minor wear, browning, small water damage, a few worm holes, repairs, the edges slightly worn.Dimensions: 36.5 x 25.5 cm (each sheet)Yoshitora was one of the leading pupils of Utagawa Kuniyoshi and excelled at warrior paintings. He also produced actor portraits, Yokohama-e, and pieces on Japan's enlightenment.
SHIRO KASAMATSU (1898-1991), MT. FUJI FROM YOSHIDABy Shiro Kasamatsu (1898-1991), signed Shiro KasamatsuJapan, dated 1951Color woodblock print on paper. Vertical Oban. Signed Shiro Kasamatsu along with Unsodo publisher seal on the left margin (first seal). Entitled Mount Fuji from Yoshida. Vertical inscription along the left margin (top).Handsome view of Mt. Fuji from Yoshida against a pale-yellow sky, behind the snow-capped peak of the mountain. Below, a parent and child in silhouette walk along an empty road, warm light glowing from the windows of the buildings along the edge of the street.SIZE of the sheet 40.5 x 27.6 cmCondition: Great impression, and vivid colors. Very minor material loss on the lower right corner with some ink stains along the right margin.Shiro Kasamatsu (1898-1991) was a renowned Japanese print artist known for his contributions to the shin-hanga movement. He began his artistic training at the age of 13 under Kaburaki Kiyokata (1878-1973), studying painting and printmaking. In 1919, he caught the attention of publisher Watanabe Shozaburo (1885-1962) who commissioned him to design woodblock prints. In the 1950s, Kasamatsu changed his publishing partner to Unsōdō in Kyoto, creating over 100 prints for them, mostly in shin-hanga style featuring traditional subjects. This partnership provided him with a stable income and enabled him to explore other artistic endeavors.
SHIRO KASAMATSU (1898-1991), WATERS AT KIBABy Shiro Kasamatsu (1898-1991), signed Shiro KasamatsuJapan, dated 1958Color woodblock print on paper. Vertical Oban. Signed Shiro Kasamatsu along with Unsodo publisher seal on the left margin (first seal). Entitled Waters at Kiba. Vertical inscription along the left margin (top).The print depicts the Kiba area in Tokyo, Japan. Kiba is a waterfront district located in the eastern part of Tokyo, known for its historical importance as a hub of transportation and trade during the Edo period (1603-1868). It was a bustling area with canals, rivers, and warehouses, and it has been a popular subject for artists and printmakers.SIZE of the sheet 41 x 27.2 cmCondition: Great impression, and vivid colors. Very minor material loss on the lower right corner with some ink stains along the right margin.Shiro Kasamatsu (1898-1991) was a renowned Japanese print artist known for his contributions to the shin-hanga movement. He began his artistic training at the age of 13 under Kaburaki Kiyokata (1878-1973), studying painting and printmaking. In 1919, he caught the attention of publisher Watanabe Shozaburo (1885-1962) who commissioned him to design woodblock prints. In the 1950s, Kasamatsu changed his publishing partner to Unsōdō in Kyoto, creating over 100 prints for them, mostly in shin-hanga style featuring traditional subjects. This partnership provided him with a stable income and enabled him to explore other artistic endeavors.
TSUCHIYA KOITSU (1870-1949), BENKEI BRIDGEBy Tsuchiya Koitsu (1870-1949), signed Koitsu with seal 'Shinsei'Japan, dated 1933Color woodblock print on paper. Vertical Oban. Signed Koitsu with 'Shinsei' seal on the bottom right corner of the image. With Doi Hangaten publisher watermark 'Doi' located on the top-left corner. Entitled Benkei Bashi (Benkei Bridge) from the series Tokyo Fukei (Views of Tokyo). Vertical inscription along the right margin.A beautiful bridge illuminated by streetlights on a spring evening with trees in full bloom.SIZE of the sheet 40 x 26.5 cmCondition: Great impression, registration and vivid colors. Wear commensurate with age with two minor binding holes on the left margin.Tsuchiya Koitsu (1870-1949) was a renowned landscape artist and a student of the famous Meiji-era print designer Kobayashi Kiyochika (1847-1915). He gained prominence as a designer of shin hanga (New Prints) for major woodblock print publishers from the early 1930s to 1940. Tsuchiya Koitsu's prints were known for their dramatic use of light and interesting color effects, influenced by his teacher Kiyochika. While some critics praised his work, noting its quality on par with famous shin hanga landscape artists like Kawase Hasui, Kasamatsu Shiro, and Yoshida Hiroshi, others criticized his heavy-handed design and unconventional color sensibility.
HIROSHI YOSHIDA (1876-1950), EVENING ON THE CHIKUGO RIVERBy Hiroshi Yoshida (1876-1950), signed Yoshida Japan, 20th centuryColor woodblock-print on paper. Titled Evening View on the Chikugo River in Hita. (Hita Chikugogawa no yoru.) Splendid evening scene along the Chikugawa river, which runs through Yoshida's native Kurume in Fukuoka. Most interesting is the way the trees have been depicted as if a soft wind were moving the branches. Bright, orange-yellow lights are reflected on the darkening river. Mounted at the upper margin to a passepartout.Condition: Good condition with crisp impression and vivid colors. Trimmed, with negligible material loss along edges.Provenance: Austrian private collection, acquired in the 1990s at Galerie Zacke, Vienna.Hiroshi Yoshida (1876-1950)Hiroshi Yoshida began his artistic training with his adoptive father in Kurume, Fukuoka prefecture. Around the age of twenty, he left Kurume to study with Soritsu Tamura in Kyoto, subsequently moving to Tokyo and the tutelage of Shotaro Koyama. Yoshida studied Western-style painting, winning many exhibition prizes, and making several trips to the United States, Europe and North Africa selling his watercolors and oil paintings. While highly successful as an oil painter and watercolor artist, Hiroshi Yoshida turned to woodblock printmaking upon learning of the Western world's infatuation with ukiyo-e. While widely traveled and knowledgeable of Western aesthetics, he maintained an allegiance to traditional Japanese techniques and traditions.Dimensions: Image size 40.5 x 27.8 cm
KAWASE HASUI (1883-1957), MATOBA IN TAKEHARABy Kawase Hasui (1883-1957), signed Hasui and sealed SuiJapan, dated 1948Color woodblock print on paper. Horizontal Oban. Signed Hasui with seal “sui” (lower-right) in the image along with publisher Watanabe's seal (bottom-left corner). Entitled Takehara Matoba (Matoba in Takehara). Mounted inside a cardboard passepartout.Landscape scene depicting Matoba beach in Takehara.SIZE of the sheet 26.5 x 39 cmCondition: Great impression, fresh colors, very few holes and creases along the outer margin. Kawase Hasui (1883-1957) was a prominent Japanese artist and printmaker of the shin-hanga ("new prints") movement. He is best known for his landscape prints depicting scenes of Japan, which were highly detailed and often captured the beauty and tranquility of the country's natural landscapes. Hasui's works were characterized by their delicate colors and sophisticated composition, and his legacy as a master of shin-hanga continues to influence Japanese art and culture today.Museum comparison:An identical print is in the collection of the Art Institute of Chicago, reference number 1990.607.575.
KAWASE HASUI (1883-1957), MYOHONJI TEMPLE, KAMAKURABy Kawase Hasui (1883-1957), signed Hasui and sealed SuiJapan, dated 1931Color woodblock print on paper. Oban-tate format. Signed Hasui with seal “sui” (lower-right) in the image along with publisher Watanabe's seal (bottom-left corner). Entitled Kamakura Myohonji (Myohonji Temple, Kamakura). Depicting the Myohonji Temple of the Nichiren Sect in Kamakura, the cherry trees are in full bloom at the main gate.SIZE of the sheet 39.5 x 26.5 cmCondition: Great impression, good colors, firmly mounted to cardboard. Minor signs of wear, and slightly browned commensurate with age.Kawase Hasui (1883-1957) was a prominent Japanese artist and printmaker of the shin-hanga ("new prints") movement. He is best known for his landscape prints depicting scenes of Japan, which were highly detailed and often captured the beauty and tranquility of the country's natural landscapes. Hasui's works were characterized by their delicate colors and sophisticated composition, and his legacy as a master of shin-hanga continues to influence Japanese art and culture today.
KAWASE HASUI (1883-1957), MT. FUJI FROM YUIMACHI AT SURUGABy Kawase Hasui (1883-1957), signed Hasui and sealed Sui Japan, dated 1934Color woodblock print on paper. Vertical Oban. Signed Hasui with seal “sui” (bottom-right) in the image along with Watanabe publisher seal from the years 1931-1941 along the bottom-right margin. Entitled Mt. Fuji from Yuimachi at Suruga from the series Tokaido Fukei Senshu (Selection of Views of the Tokaido). Vertical inscription along the left margin.Mount Fuji seen from the town of Yui in Suruga province.SIZE of the sheet 37.6 x 25.8 cmCondition: Detailed impression and colors commensurate with age. Trimmed margins with slight material loss and creasing. Remains of paper mounting on the verso.Provenance: The Chaplain Collection, USA. Sylvia and Philip Chaplain were involved in the business of art and antique collecting for over six decades. Their interest in Asian arts and antiques began with the purchase of Japanese woodblock prints. After selling one for $90 and then discovering it was worth more than $500, they realized the value of their acquisitions and dedicated themselves to learning more. They traveled throughout Asia, acquiring items for their growing collection, and participating in American antique shows including the Arts of Pacific Asia shows in New York City and San Francisco. Kawase Hasui (1883-1957) was a prominent Japanese artist and printmaker of the shin-hanga ("new prints") movement. He is best known for his landscape prints depicting scenes of Japan, which were highly detailed and often captured the beauty and tranquility of the country's natural landscapes. Hasui's works were characterized by their delicate colors and sophisticated composition, and his legacy as a master of shin-hanga continues to influence Japanese art and culture today.
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