YUSOKUGANGU
ANONYMENice proof in very fresh colors with highlights in gold and silver.Published by Geisodo in the 11th year of the Showa era, 1936.Tiny halo in the left outer border.Yusokugangu embody the essence of traditional Japanese toys, reflecting the opulent ceremonies and customs deeply rooted within the imperial court and aristocracy.Among the toys often represented we come across "cat ornaments", symbolizing good luck and guardians of homes and businesses; The "pully pigeon" where a wooden pigeon moves along a string or rod; The "denden daiko", a popular hand drum often used in festive celebrations; The “koma,” or spinning tops, demonstrating both the art of design and physics in motion; The samurai's iconic "Kabuto helmets", representing their honor, valor and nobility, often displayed during the Boys' Day festival; The “daruma kokeshi dolls” embodying perseverance and luck, inspired by the founder of Zen Buddhism or the “flower arrangement” which pays homage to the traditional art of Ikebana, emphasizing harmony, balance and simplicity...
IMAGERIE POPULAIRE CHINOISE DU NOUVEL AN : ENFANT ET POISSON
ANONYMEGood proof, several median folds While the carp symbolizes courage, perseverance, and success in exams; the red fish "jinyu"means gold and wealth.Ca.1950-1970The Chinese New Year print nianhua 年畫 finds its origins in the propitiatory images of Chinese antiquity. It adorned family altars and door leaves with its bright colors until the middle of the 20th century. This practice spread under the Tang Dynasty (618-906) and, with the arrival of Buddhism, broadened its themes to new deities and new pantheons. Then with the new printing techniques developed by the Song (960-1279), the nianhua prints won the family altars of most homes in China. The motifs further diversified under the Qing (1644-1911), incorporating scenes from novels and opera, portraits of women and children, and even satirical content. The print helps attract happiness, drive away evil spirits and protect the year to come. Through its illustrated themes, these prints reflect the customs, state of mind and aesthetic taste of the population. The production of prints continued to suffer from wars and social unrest during the 20th century, and only two or three workshops still existed in the 1940s. After the founding of the People's Republic of China in 1949, local artisans created Suzhou Taohuawu Woodblock New Year Print Society, thus protecting their know-how and perpetuating the tradition as best they can...
YUSOKUGANGU DARUMA KOKESHI
ANONYMENice proof in very fresh colors with highlights in gold and silver.Published by Geisodo in the 11th year of the Showa era, 1936.Small halo in the left outer border.Yusokugangu embody the essence of traditional Japanese toys, reflecting the opulent ceremonies and customs deeply rooted within the imperial court and aristocracy.Among the toys often represented we come across "cat ornaments", symbolizing good luck and guardians of homes and businesses; The "pully pigeon" where a wooden pigeon moves along a string or rod; The "denden daiko", a popular hand drum often used in festive celebrations; The “koma,” or spinning tops, demonstrating both the art of design and physics in motion; The samurai's iconic "Kabuto helmets", representing their honor, valor and nobility, often displayed during the Boys' Day festival; The “daruma kokeshi dolls” embodying perseverance and luck, inspired by the founder of Zen Buddhism or the “flower arrangement” which pays homage to the traditional art of Ikebana, emphasizing harmony, balance and simplicity...
YUSOKUGANGU
ANONYMENice proof in very fresh colors with highlights in gold and silver.Published by Geisodo in the 11th year of the Showa era, 1936.Small halos in the outer border and lower left corner.Yusokugangu embody the essence of traditional Japanese toys, reflecting the opulent ceremonies and customs deeply rooted within the imperial court and aristocracy.Among the toys often represented we come across "cat ornaments", symbolizing good luck and guardians of homes and businesses; The "pully pigeon" where a wooden pigeon moves along a string or rod; The "denden daiko", a popular hand drum often used in festive celebrations; The “koma,” or spinning tops, demonstrating both the art of design and physics in motion; The samurai's iconic "Kabuto helmets", representing their honor, valor and nobility, often displayed during the Boys' Day festival; The “daruma kokeshi dolls” embodying perseverance and luck, inspired by the founder of Zen Buddhism or the “flower arrangement” which pays homage to the traditional art of Ikebana, emphasizing harmony, balance and simplicity...
DEBAT DU SEIKANRON DE 1873
CHIKANOBU TOYOHARA (1838–1912)Beautiful triptych in very fresh colors formerly mounted on tabsObanNishiki-e1877This 1877 print depicts the 1873 Seikanron debates in the Court Council of the Meiji government on whether to invade Korea for ignoring the diplomatic missions of the Meiji government and "insulting" the Japanese nation.The leaders of the opposing factions, Iwakura and Saigō, are at the center of the triptych, surrounded by their followers.Seventeen red rectangular cartouches give the names of the characters taking part in the debate, all members of the Council of the Court (or Council of State).Among them :-Shinohara Kunimoto (left side, seated foreground) a longtime friend of Saigō Takamori and former major general and commander of the Imperial Guards who resigned after Saigō left the Imperial government.-Saigō Takamori (middle part, middle three-quarter face and bearded) hero of the battles that ended the Tokugawa shogunate in 1868, inaugurating the Meiji government that made Japan a modern nation. Court advisor and leader of the Seikanron faction pleading to send one last diplomatic mission, led by himself, to Korea before launching an invasion. Saigō knew the mission would fail, with its failure serving as the final justification for the Japanese invasion.-Kirino Toshiaki (middle part, back and right of Takamori) brigadier general during the early years of the Imperial Japanese Army, he joined Takamori Saigō's forces during the Satsuma Rebellion, participating in the march north to Kumamoto . Kirino stayed with Saigō until the end, where he was finally killed on the battlefield.-Iwakura Tomomi 岩倉具視 - (middle part, standing upper right) Right-wing minister who led the "Iwakura Mission", a two-year trip to visit European countries and the United States, renegotiate "unequal treaties" and gather information for the modernization of Japan. Major player in defeating Saigō's plan and preventing the invasion of Korea.-Okubo Toshimichi 大久保利通 - (right part, bearded, seated in the foreground) member of the "Iwakura mission" who sided with Iwakura against Saigō. As Minister of the Interior he suppressed the regional rebellions of the old class of samurai which ended with the rebellion of Satsuma. He was assassinated by a former samurai in 1878.-Sanjo Sanetomi (right part, seated in the foreground) imperial envoy. He sided with Iwakura in the debate against Saigō. He assumed the position of dajo daijin (Grand Minister of State) in 1871.The Seikanron Debate literally: “Conquest of Korea Debate” was an important political debate that took place in Japan in 1873.Takamori Saigō and his followers insisted that Japan confront Korea because of the latter's refusal to recognize the legitimacy of Emperor Meiji as head of state of the Empire of Japan and for having insulted and expelled the Japanese representatives sent to establish commercial and diplomatic relations. The option of war against Korea was also an ideal opportunity to occupy the thousands of idle samurai who had lost m..
KAGOSHIMA BENTO HIKIAGE NO ZU, SAIGO TAKAMORI, KIRINO TOSHIAKI
CHIKANOBU TOYOHARA (1838–1912)Beautiful triptych with fresh colors, representing the defeat of the famous Saigo Takamori, considered as the last samurai, during the rebellion of Kagoshima (Satsuma)"Born into a family of humble Satsuma officers, Saigō Takamori nonetheless enjoyed rapid promotion and was given special assignments by his daimyō to work for the entry of daimyōs into the shōgunal government. While in Kyoto, in 1858, during the repression organized by the bakufu in the imperial capital, he fled to his stronghold, then, involved in the dynastic quarrels of the seigneurial family, he lived in disgrace, most of the time, until 1864. He He then made himself the man of negotiations and narrowly succeeded in averting the first civil war between the bakufu and Chōshū, he commanded a detachment of the Imperial Guard and, against his will, was brought in to repel the companies of Chōshū who were attacking Kyoto. It was later that he was gradually convinced of the need to overthrow the shōgunate. He met Kido Takayoshi in 1866 and gradually realized the rapprochement between Satsuma and Chōshū, until the bakufu's second campaign against Chōshū, in 1867.One of the architects of the coup d'etat of January 3, 1868 by which the imperial court proclaimed the "return to the old monarchy", he commanded the army which conquered the main domains of the shōgun, between Kyoto and the Kantō, and secured Edo's unconditional surrender. However, convinced that it was necessary to mobilize the traditional forces, he shunned for a while the new regime which was moving towards modernization. He nevertheless agreed to enter the Executive Council in 1870, and offered the assistance of his army to make the abolition of the fiefs effective. When Kido Takayoshi and Ōkubo Toshimichi left Japan with Iwakura Tomomi's embassy, he remained in the Tokyo government. In order to bring together the bushi dissatisfied with the reorganization of the army, he planned to force Korea to open up, aware that his approach would probably end in war. Prevented by Ōkubo, returning from Europe, in 1873, he resigned from the government and returned to his old stronghold. There, he opened a school for young people and formed an army: Satsuma then became a de facto autonomous enclave. Ōkubo, impatient with this dissent, provoked war and had Satsuma occupied by the modern army, in 1877. Knowing the inevitable defeat, Saigō Takamori committed suicide. A character full of paradoxes, he was both one of the main founders of the Meiji regime and the greatest rebel that the renovated monarchy has known: he remains one of the most popular figures in Japan.in: Universalis Encyclopedia..
BATAILLE DE SEONGHWAN
CHIKANOBU TOYOHARA (1838–1912)Beautiful triptych in very fresh colors formerly mounted on tabsObanNishiki-e1894The Battle of Seonghwan (Seikan) was the first major land confrontation of the First Sino-Japanese War. It took place on July 29, 1894 in Seonghwan, near Cheonan, in the Korean province of South Chungcheong. It is sometimes called Battle of Asan...
VICTOIRE A ASAN
CHIKANOBU TOYOHARA (1838–1912)Beautiful triptych in very fresh colors formerly mounted on tabsObanNishiki-e1894 "At 3 am on July 29 a battle commenced and after five hours our troops were completely victorious" begins the text panel account of this print. Chikanobu depicts two officers leading the assault with the nation's flag held high. A Chinese canon in the foreground is turned around with its barrel down and its carriage broken. The Chinese soldiers in this print are dressed in cumbersome archaic uniforms, making them seem helpless against the Japanese troops smartly dressed in modern European style uniforms.The Battle of Seonghwan (Seikan) was the first major land confrontation of the First Sino-Japanese War. It took place on July 29, 1894 in Seonghwan, near Cheonan, in the Korean province of South Chungcheong. It is sometimes called Battle of Asan...
LA LUNE A ITSUKUSHIMA
YOSHITOSHI TSUKIOKA (1839 - 1892)A courtesan from Muro is on a boat to the Itsukushima shrine n°21From the set: Tsuki No hyakushi (One Hundred Aspects of the Moon)1886Publisher: Akiyama Buemon (Kokkeido)Seals: Taiso, Enkatsu toObanNishiki-eGood proof, beautiful colors, short consolidated tear in the lower margin...
ACTEUR DU KABUKI
YOSHITOSHI TSUKIOKA (1839 - 1892)Play : Oshu Adachi-Ga-Hara1865Nishiki-eObanProof in very fresh colors..
SHIKI NO HANA
TESSAI TOMIOKA (1836-1924)Engraving on wood (nishiki-e) From a suite SHIKI NO HANA (flowers of the four seasons) print Kachô-e (fauna and flora)Usual median fold, beautiful, very fresh colors, slight browning on one of the outer edges...
SHIKI NO HANA
TESSAI TOMIOKA (1836-1924)Engraving on wood (nishiki-e) From a suite SHIKI NO HANA (flowers of the four seasons) print Kachô-e (fauna and flora)Usual median fold, beautiful, very fresh colors, slight browning on one of the outer edges...
SHIKI NO HANA
TESSAI TOMIOKA (1836-1924)Engraving on wood (nishiki-e) From a suite SHIKI NO HANA (flowers of the four seasons) print Kachô-e (fauna and flora)Usual median pleat, beautiful, very fresh colors.Slight browning in the upper margin...
SHIKI NO HANA
TESSAI TOMIOKA (1836-1924)Engraving on wood (nishiki-e) From a suite SHIKI NO HANA (flowers of the four seasons) print Kachô-e (fauna and flora)Usual median fold, beautiful, very fresh colors, slight browning on one of the outer edges...
CAMPANULE
TOKURIKI TOMIKICHIRO (1902-2000)From the set: Akijai, Botan, Kikyo1950/60Very fresh proof signed and numbered 155/300, slight soft handling crease in the upper right corner.Shin HangaKacho-eNishiki-eIcône de validation par la communauté..
AKI MIYAJIMA
TOKURIKI TOMIKICHIRO (1902-2000)From the set : Famous, sacred and historical placesCa.1940Editor: UchidaShin-HangaNishiki-e..
OMIWA
TOKURIKI TOMIKICHIRO (1902-2000)Figure from Bunraku (puppet theater)Piece: ImoseyamaVery beautiful and fresh proof bearing the red stamp and the handwritten signature of the artist.Ca.1950/70Sosaku hangaNishiki-eThis piece is one of the masterpieces of the Bunraku repertoire, whose success at the premiere in 1771 has never wavered...
LE PONT KINTAI
TOKURIKI TOMIKICHIRO (1902-2000)KintaikyoCa.1965Shin HangaNishiki-eVery beautiful and fresh proof..
LE JARDIN DE PIERRES AU TEMPLE DE RYOANJI
TOKURIKI TOMIKICHIRO (1902-2000)From the set: The four seasons of KyotoShin-HangaNishiki-eVery beautiful and fresh proof bearing the artist's red stamp and signed in pencil..
LES ACTEURS ICHIMURA UZAEMON ET ICHIMURA TAKEMATSU
YOSHIIKU OCHIAI (1833~1904)Light dirt on the outer edges.ObanNishiki-e1862..
SCENE DE KABUKI
KUNICHIKA TOYOHARA (1835–1900)The actors Ichikawa Kuzo in the role of Wakasa Shinkichi, Sawamura Tanosuke in the role of Ane-Musume Kakesara and Nakamura Shikan in the role of Temmoku Sunosuke.Triptych formerly mounted, two small holes in the bottom of the left board, very fresh colors. Oban , nishiki-e1865..
ACTEUR DU KABUKI
KUNICHIKA TOYOHARA (1835–1900)Portrait of a Kabuki actor in two of his roles.Very fresh proof with embossing, slight scuffing on the left outer border.Nishiki-eObanMeiji period print..
QUATRE ACTEURS DU KABUKI
KUNICHIKA TOYOHARA (1835–1900)Piece: Mureire tazu yayoi no sogagiku1874Beautiful triptych in very fresh colors representing one of the actors wearing a kimono with skulls.Previously mounted leaves, two small losses, one in the left outer border, the other in the upper left margin, a few soft handling folds.ObanNishiki-eKunichika's success continued throughout the Meiji era. In 1874, the magazine Shinbun hentai wrote: "Color woodblock prints are one of the specialties of Tokyo and Kyōsai, Yoshitoshi, Yoshiiku, Kunichika and Ginkō are experts in this field." His contemporaries agreed that in Utagawa school: "Yoshitoshi was the specialist in impressions of warriors, Kunichika the wood engraver known for his portraits of actors and Chikanobu for court ladies. He also distinguished himself by the skillful use of color". Most artists of the time, he used strong reds and dark purples, often as background colors, rather than the softer colors used until then. These new colors were made of aniline, an imported dye. of Germany during the Meiji era (To the Japanese, the color red signifies progress and awakening in the new era of Western-style progress.)..
FEMME JOUANT DU TSUZUMISUR SUR UN POEME DE KAKAEN CHÔCHÔSHI
HOKUUN KATSUSHIKA ( Début XIXè s)Surimono Nishiki-e Shikishiban Ca.1890 Beautiful print with embossing. Poem by Kakaen Chôchôshi. The tsuzumi is a Japanese drum of Sino-Indian origin used in Noh and Kabuki theater music, but also in min'yō Japanese folk music...
ENTRAINEMENT A NARASHINOHARA DEVANT L EMPEREUR
ANONYME XIXèLarge view of Narashinohara training ground, Shimousa provinceMeiji 7.1874Beautiful triptych in very fresh colors, formerly bound and mounted on tabs.ObanNishiki-eThis area, used as grazing land since ancient times, was called "Owatawara" after the Meiji Restoration and became a training ground for the army's royal guards. It was frequently used because it was conveniently located near Tokyo, many of the Imperial Guards who formed the core of the pre-war Imperial Japanese Army were said to have trained there.In April 1873 Emperor Meiji, who visited the area to observe the grand exercises of the royal guard led by Takamori Saigo, named this area "Narashinohara". The same year, the Daijokan officially named it "Narashinohara"...
KOUMETSUMI
HIROSHIGE UTAGAWA ( 1797-1858 )Koume Dyke( Winter )From the sequel: Meisho Edo HyakkeiReduced version of "One Hundred Views of Edo's Most Famous Places"ChubanNishiki-eTaisho period, ca.1920Slight uniform yellowing...
FUGU NO BIJIN TO KURAGE NO TOMO
SHIGENOBU YANAGAWA ( 1787-1832 )Pufferfish courtesan and her jellyfish companion.SurimonoShikishibanNishiki-eCa.1890...
JOUEUSE DE SHAMISEN AJUSTANT SA COIFFURE
SHIGENOBU YANAGAWA ( 1787-1832 )ShikishibanSurmonoNishiki-eCa.1890.Proof falsely attributed to Hokusai with gold highlights.The geisha's favorite instrument, this Bijin is represented kneeling, undoubtedly on a zabuton concealed by her clothing, at her side a large ivory plectrum (bashi or bachi) used to pluck the strings of her instrument...
FLEURS DE CERISIER TAMBOUR ET EBOSHI
SHINSAI RYURYUKYO ( 1799-1823 )The elements represented, inspired by an episode from : "Tale of Genji", symbolize the figure of Lady Aoi (Aoi knot). Surimono, shikishiban, nishiki-e. ca.1880. Proof with embossing, printing fold...
RAMASSAGE DES ORMEAUX ( AWABI )
SHINSAI RYURYUKYO ( 1799-1823 )Surimono, shikishiban, nishiki-e.ca.1890.Representation of one of these traditional fisherwomen of the coastal regions, who dived half-naked into the sea in search of abalones. An inexhaustible source of fascination for Westerners, these images invaded Europe during the second half of the nineteenth century. Intended for the general public, they respond to the general demand for representations of female nudes and beautiful women. Far from the ethnographic subject, these fisherwomen impose themselves in the collective imagination as courtesans of the sea, their sensual bodies delivered to the male gaze in Japan and elsewhere...
KOKESHI OU LES POUPEES
MOKUHANSHA MIKUMO ( 1900- ? )Sosaku hanga, numbered 41 on the back. Ca.1960..
KINUTA NO TAMAGAWA
SORI HISHIKAWA ( 1789-1818 )Surimono, Shikishibanca.1890 Light crease print.Print180x170 mm Frame 275x255 mm..
BIJIN SCULPTANT UNE FIGURE DE KAMURO
EISHI CHÔBUNSAI ( 1756–1829 )Beautiful print, a few scattered foxing.SurimonoShikishiban, nishikie, Ca.1890The Kamuro were the little girls who frequented the great courtesans. Placed in their service from an early age, they were between five and nine years old, they marched in the procession of their courtesan "elder sister" when she appeared in public, ran errands for her and accompanied her when she met clients...
YAMAOTOKO 4 ( L'HOMME DES MONTAGNES 4 )
AZECHI UMETARO ( 1902-1999 )Signed proof bearing the dry stamp of the : Yoseide GalleryCa.1956Showa 31Sosaku-hangaNishiki-eAzechi, born to a poor farming family in what is now Uwajima, Ehime, first enrolled in a correspondence art course. In 1920 he had the opportunity to settle in Tokyo but returned home to Shikoku after the Great Kantō earthquake of 1923. He returned to Tokyo in 1925, where he worked for a printing company.Azechi's prints were noticed by Unichi Hiratsuka, who took him under his wing. The latter belonging to the Japan Print Association and the Kokugakai Arts Association presented some of his works in their exhibitions. Azechi then quit his job and became a freelance artist. At the same time he met Maegawa Sempan and Kōshirō Onchi who influenced his art.His early works reflected the monochromatic sosaku hanga style. He began to develop his own style in the late 1930s when he specialized in mountain landscapes and their natives. This passion for the mountains led him to become an experienced mountaineer. His deliberately primitive style was intended to be close to naive artists, simplifying the patterns and using mainly cold colors such as blues, greens and purples.It was from the 1940s that he met with success and participated in the three print biennials in Sao Paulo, Lugano and Tokyo.The Umetaro Azechi Memorial Museum opened in Uwajima in 2003 and today his prints are present in major museum collections such as the Achenbach Foundation in San Francisco, the Art Institute of Chicago, the Boston Museum of Fine Arts or the British Museum in London...
KAGOSHIMA CHINTEI SOSHO SHOKYU SHOHAI O TAMAWARU NO ZU
KOBAYASHI EITAKU ( 1843-1890 )Fresh triptych formerly mounted on tabs.Meiji ProofNishiki-e..
DOJOJI
MATSUNO SOFU ET HIDEYO ( ACTIFS XXEME S)Red Wig Dancefrom the suite: Jūnikagetsu nōga suri" (Twelve months of Noh theatre)1975ObanShin-hangaNishiki-eBeautiful colors.Perhaps no temple is more popular than Dojoji Temple in the history of Japanese public entertainment, but no reference is made to it in this drama. The drama deals with the metamorphosis of a woman into a dragon. The print illustrates the moment when the woman, having thrown her eboshi hood with her fan, is about to be consumed.The characters inscribed in the seal mean:"Other than cherries, nothing but pines."..
SHOJO
MATSUNO SOFU ET HIDEYO ( ACTIFS XXEME S)Midare or an instrumental dancefrom the suite: Jūnikagetsu nōga suri" (Twelve months of Noh theatre)1975Shin-hangaNishiki-eBeautiful colors very light flexible folds of impression.There are two midare dances in the Noh theater which are performed accompanied by instruments such as a bamboo flute, drums and small hand drums. One of them is "Shojo no Mai" or the dance of an orangutan-like supernatural being (the other being Sagi no Mai, The Dance of a Snowy Heron).It is always presented as the last number of a program.The characters inscribed in the seal mean: "The well which contains water in infinite supply"..
KIKU JIDO
MATSUNO SOFU ET HIDEYO ( ACTIFS XXEME S)From the suite: Jūnikagetsu nōga suri" (Twelve months of Noh theatre)1975ObanShin-hangaNishiki-eBeautiful colors.He was one of the favorite subjects of Emperor Mu, until the day when, falling into disgrace following the machinations of a rival, he was banished to the mountains. Upon parting ways with him, Emperor Mu took pity on him and taught him a line from the Lotus Sutra to ensure his safety. Kikujidou, exiled to a valley of blooming chrysanthemums, spent his days writing this Buddhist saying on chrysanthemum leaves, and when one day he immersed those leaves in the stream in the valley, the water turned into an elixir of 'immortality...
HANAGATAMI
MATSUNO SOFU ET HIDEYO ( ACTIFS XXEME S)The Basket of Flowers' Dancefrom the suite: Jūnikagetsu nōga suri" (Twelve months of Noh theatre)1975ObanShin-hangaNishiki-eBeautiful colors, printing with embossing.Hanagatami or The Basket of Flowers, narrates an idyll, although not recorded in the annals, between a prince who later acceded to the throne as the twenty-sixth emperor of Japan and the daughter of a provincial lord.Princess Teruhi-no-Mae imitates here the behavior of the emperor who adored his ancestors by offering flowers to their souls in the village of Ajimano before his accession to the throne.The characters inscribed in the seal mean:"Maple Leaves Scattered in the Wind"..
DOKE KYOGA : ACROBATIES
YOSHIKAZU UTAGAWA ( ACTIF 1848 - 1870 )Dôke kyôga means comic pictures.Editor : KakukinCa.1858Nishiki-eObanPinhole, light dust and gaps in the left border...
BIJIN SOUS LA LUNE
HIROSHIGE IV UTAGAWA ( ACT. 1910-19030 )Beautiful framed print.Shin HangaNishiki-eCa.1910-1930In view: 370 x 167Frame: 450 x 240..
CHEVAL CABRE
NISABURO ITO (1905 – 2001)Very good proof, light embossing and gold printing, small ink smudges in the right outer border.Sosaku-hangaNishiki-eCa.1990-2000..
MENG ZONG ( MÔ SÔ )
HOKKEI TOTOYA (1780–1850)Geisha with a box of bamboo shootsSurimono from a suite of 24: Paragons of Filial PietyShikishiban, Nishiki-e,ca.1890Beautiful fresh color print..
ENTREE DU TORII D'ENOSHIMA
HOKKEI TOTOYA (1780–1850)Surimono Shikishiban, Nishiki-e,ca.1890 Nice print with few heightened gold, Mount Fuji sketched by the use of embossing.A couple is represented here in front of the gate (torii) leading to the Shinto shrine on the promontory of Enoshima. The bag on the man's back and the woman's outfit wearing the ageb'shi (headdress protecting her elaborate bun), suggests that they are travelers from the neighboring city of Edo.The geometric pattern of the woman's kimono (yagasuri) is a kind of ikat weave reproducing the distinctive design of the arrow feather (ya). This model initially worn by women of the warrior class and then adopted by the servants of the Court of the Shoguns spread in the 19th century among the women of the city of the merchant class...
RAMASSEURS DE COQUILLAGES, KAIZUKUSHI
HOKKEI TOTOYA (1780–1850)Some scattered foxing.SurimonoNishiki-eShikishibanCa.1890..
SERPENT ET MELONS DU CHOMON-JÛ
HOKKEI TOTOYA (1780–1850)From the set: Washo Kurabe (a comparison of Japanese books) Creation of Hokkei, falsely signed and attributed to Hokusai. ca.1890, Shikishiban, Nishiki-e Printing with embossing, some tiny foxing..
SUTRA ET ARMURE D'AVALOKITESVARA A MOTIF DE CHRYSANTHEME
HOKUSAI KATSUSHIKA (1760-1849)Armor depicting the Tachibana clan, one of the four powerful families of the Japanese nobility (Kuge) from the Nara era to the beginning of the Heian era. From the series: Four types of existence (Shishô no Uchi) Poem by Sôkaen Takemaru Proof with gold highlights on the armor and embossingSurimono Nishiki-e ShikishibanTwo tiny freckles at the top, small ink smear to the left of the armor..
IKEBANA OU LA PREPARATION DU BOUQUET
HOKUSAI KATSUSHIKA (1760-1849)ShikishibanSurmonoNishiki-eCa.1890...
LES PERLES DE LA MAREE BASSE ET LA SCYTHE DES FUJIWARA ( KANJU MANJU FUJI NO MAKIKAMA )
HOKUSAI KATSUSHIKA (1760-1849)Proof with embossing and gold highlights.SurimonoSmall freckle at the top. Shikishiban, nishikieCa.1890 From continuation: the four important clans of Japan (Shisei No Uchi). The beads of the ebbing tide are laid next to the Scythian of the Fujiwara clan on a silk fabric, decorated with plum blossoms, draped over a three-legged table. Two poems accompany the composition. The Fujiwara clan ( Fujiwara-shi) is a Japanese nobility family from which many emperors were descended during the Nara and Heian periods, from the 8th to the 12th centuries of our calendar. Branches of the clan continued to play an important role in the Japanese aristocracy until modern times. The name Fujiwara means "wisteria enclosure"...
ICHIKAWA KHIZO III, ONOE EIZABURO ET NAKAMURA SHIKAN IV
KUNISADA ( TOYOKUNI III DIT ) UTAGAWA (1786 - 1864)Respectively in the roles of Shoji Shigetaba, the courtier (Yokun) Akoya, and Iwanaga SaemonNext: Atari Yagura Kanban Zuroi (The successes of the big players).1863.Oban, Nishiki-e.Very nice and fresh proof with embossings...
KAWARAZAKI GONJURO I DANS TROIS DE SES ROLES
KUNISADA ( TOYOKUNI III DIT ) UTAGAWA (1786 - 1864)The actor Kawarazaki Gonjûro I in the role of Momoi Wakasanosuke, Ono Sadakuro and Hayano KanpeiPublisher: Iseya Kanekichi Edo Period,ObanNishiki-e..
BANDO SHOKA I ET ICHIKAWA DANJURO VIII
KUNISADA ( TOYOKUNI III DIT ) UTAGAWA (1786 - 1864)Bandô Shôka I as Takun no Aren and Ichikawa Danjurô VIII as Saimon Ya Koijuro in a new adaptation of Jinpingmoi ( Shinpan Kinpreibai ) Editor Uoya EikichiOban, Nishiki-e..
BANDO TAKEJA BURO I DANS LE RÔLE DE NARIHIRA
KUNISADA ( TOYOKUNI III DIT ) UTAGAWA (1786 - 1864)The Fifty-three Tokaido Stations (Tokaido Gojusan Tsugi no Uchi) Station 40 : ChiryûEditor : Iseya Kanekichi Oban, Nishiki-e 1852 Nice and fresh proof...
IWAI HANSHIRO IV DANS LE RÔLE DE SHIRAI GOMPACHI
KUNISADA ( TOYOKUNI III DIT ) UTAGAWA (1786 - 1864)The Fifty-three Tokaido Stations (Tokaido Gojusan Tsugi no Uchi) Station 3 : KawasakiEditor : Tsujiokaya Bunsuke Oban, Nishiki-e 1852 Nice and fresh proof...
L'ACTEUR OSAGAWA TSUNEYO II DANS LE ROLE DE CHURO ONOE
KUNISADA ( TOYOKUNI III DIT ) UTAGAWA (1786 - 1864)From the series: Portraits of actors reflected in mirrors. Publisher: Tsutaya Kichizo Censor: Kiwame Oban, Nishiki-e 1832 Very fresh colors, slight marginal dustiness, some galleries of worms and pinholes along the border...
ONOE KIKUJIRO II DANS LE RÔLE D'HITOMARU
KUNISADA ( TOYOKUNI III DIT ) UTAGAWA (1786 - 1864)The Fifty-three Tokaido Stations (Tokaido Gojusan Tsugi no Uchi) Station 41 : NarumiEditor : Sumiyoshiya Masagoro Oban, Nishiki-e 1852 Very nice and fresh proof, tiny traces in the right border...
SAWAMURA TOSSHÔ I DANS LE ROLE DE KARUKAYA SOMON
KUNISADA ( TOYOKUNI III DIT ) UTAGAWA (1786 - 1864)From the series: Portraits of actors reflected in mirrors. ( Imayo Oshi-e Kagami )Publisher: Tsutaya Kichizo Censor: Kiwame Oban, Nishiki-e 1832 Very fresh colors, slight marginal dustiness, some galleries of worms and pinholes along the borders...
NAKAMURA SHIKAN I DANS LE ROLE DE OHIYARIKO DENBEI
KUNISADA ( TOYOKUNI III DIT ) UTAGAWA (1786 - 1864)From the series: Portraits of actors reflected in mirrors. ( Imayo Oshi-e Kagami )Publisher: Tsutaya Kichizo Censor: Kiwame Oban, Nishiki-e 1832 Very fresh colors, slight marginal dustiness, some galleries of worms and pinholes along the borders...
KOBAI
KUNISADA ( TOYOKUNI III DIT ) UTAGAWA (1786 - 1864)Sono sugata yukari no utsushi-ePlate from : le dit du Genji, chapter 43 : KobaiCensor : Kinugasa MurataEditor : Izumiya IchibeiUsual median fold..
IWAI KAMESABURO III DANS LE ROLE DE KOJORO
KUNISADA ( TOYOKUNI III DIT ) UTAGAWA (1786 - 1864)The Fifty-three Tokaido Stations (Tokaido Gojusan Tsugi no Uchi) Station 32: Arai Iwai Kamesaburo III as Kojoro Censor Muramatsu, Editor: Iseya Kanekichi, 1852..
ICHIMURA UZAEMON XII DANS LE RÔLE DE ISHII HYOSUKE
KUNISADA ( TOYOKUNI III DIT ) UTAGAWA (1786 - 1864)The Fifty-three Tokaido Stations (Tokaido Gojusan Tsugi no Uchi) Station 47 : KameyamaEditor : Iseya Kanekichi Oban, Nishiki-e 1852 Very fresh colors, some dirt on the arms...
ONOE KIKUGORO III DANS LE ROLE DE TOKUZO
KUNISADA ( TOYOKUNI III DIT ) UTAGAWA (1786 - 1864)Station 43: Kuwana From the suite of: Fifty-three Tokaido stations (Tokaido Gojusan Tsugi no Uchi) Censor: Mera Watanabe Editor: Sumiyoshiya Masaguro Oban, Nishiki-e 1852 Very nice and fresh print with embossing..
DEUX ACTEURS DU KABUKI
KUNISADA ( TOYOKUNI III DIT ) UTAGAWA (1786 - 1864)Small holes on the left and right edges, slight dirt on the lower corners.Kiwame Seal (1790-1845) Publisher: Kawa-Sho (Eisendo) Nishiki-e, oban..
L'ACTEUR ICHIKAWA DANZO V DANS LE ROLE DE SATO HIDA NO KAMI MASAKIYO
KUNISADA ( TOYOKUNI III DIT ) UTAGAWA (1786 - 1864)From the series: Portraits of actors reflected in mirrors. Publisher: Tsutaya Kichizo Censor: Kiwame Oban, Nishiki-e 1833 Very fresh colors, slight marginal dustiness, some galleries of worms and pinholes along the border...
NAKAMURA FUKUSUKE I
KUNISADA ( TOYOKUNI III DIT ) UTAGAWA (1786 - 1864)Actor Nakamura Fukusuke I in three performances, as Kagekiyo, as Toshimon in Kachôfûgetsu ( Kachôfûgetsu Noushi Toshima ) and as a seller, Edo period, Editor Iseya Kamekichi, Oban, Nishiki-e..
HISTOIRES ANCIENNES : TROIS HOMMES NOMMES CHOBEI
KUNISADA ( TOYOKUNI III DIT ) UTAGAWA (1786 - 1864)Beautiful printing in very fresh colors Edo period 1859Nishiki-e, oban..
L'ACTEUR IWAI SHIMA DANS LE ROLE D'OSHIZU
KUNISADA ( TOYOKUNI III DIT ) UTAGAWA (1786 - 1864)From the series: Portraits of actors reflected in mirrors. Publisher: Tsutaya Kichizo Censor: Kiwame Oban, Nishiki-e 1832 Very fresh colors, slight marginal dustiness, some galleries of worms and pinholes along the border...
L'ACTEUR NAKAYAMA BUNGORO II DANS LE ROLE D'ISHIKAWA AKUEMON
KUNISADA ( TOYOKUNI III DIT ) UTAGAWA (1786 - 1864)From the series: Portraits of actors reflected in mirrors. ( Imayo Oshi-e Kagami )Publisher: Tsutaya Kichizo Censor: Kiwame Oban, Nishiki-e 1832 Very fresh colors, slight marginal dustiness, some galleries of worms and pinholes along the borders...