JAPANESE

Nice 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...

TACHIBANA OU MANDARINES

Beautiful proof with very fresh colors.Sosaku hangaNishiki-eCa.1970..

YUSOKUGANGU DARUMA KOKESHI

Nice 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...

IRIS

Nice woodcut, probably a bookplate.Small freckle under the red seal ( of the artist ? )Ca.1980..

IMAGERIE POPULAIRE CHINOISE DU NOUVEL AN : ENFANT ET POISSON

Good 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

Nice 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 borders on the left.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...

DEUX CHATAIGNES

CHIKANOBU TOYOHARA (1838–1912)

Beautiful proof with very fresh colors.Sosaku hangaNishiki-eCa.1970-1980..

VICTOIRE A ASAN

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...

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...

ACTEUR DU KABUKI

Play : Oshu Adachi-Ga-Hara1865Nishiki-eObanProof in very fresh colors..

MINAMOTO NO TAMETOMO

The great archer Chinzei Hachiro Minamoto Tametomo with two islanders from the island of Oniga-ShimaFrom the sequel: Yoshitoshi Musha buruiThe brave warriorsEdited by Maruya Tetsujirô1886Beautiful proof in very fresh colours, some scattered foxing mainly visible in the top margins, pinched fold in the upper border.Legend has it that Minamoto Tametomo (1139-1170) from a young age was an extremely skilled archer. Nearly seven feet tall and with a left arm four inches longer than his right, Tametomo used a seven and a half foot bow. Tametomo had a very wild and unpredictable character. At just fifteen years old, and without the emperor's permission, he conquered and took control of the island of Kyushu.Following the Hogen War (1156) in which he took part, Tametomo was sent into exile by the emperor on the island of Oshima (Izu province) where he gradually established himself as a local ruler.The print illustrates the moment when Tametomo discovered a nearby island, Oni-ga-shima, by following the flight of herons in a boat. The strange inhabitants were believed to be descendants of demons, but Tametomo subjugated them by impressing them with his strength.In 1170, the emperor sent the governor of Izu and his men to apprehend Tametomo. The hero sank the lead ship with a single arrow shot, but then decided to offer his bow to the Dragon King of the Sea and set his house on fire. By cutting his abdomen with his dagger, he would have initiated the tradition of honorable seppuku (ritual suicide)...

LA LUNE DE LA MONTAGNE DE KINTOKI

Kintoki-yama no tsukiThe boy with legendary strength, Kintoki, acting as referee in the sumo match between a monkey and a rabbit.N° 87 from the set: Tsuki No hyakushi (One Hundred Aspects of the Moon)1890ObanNishiki-eGood proof, tiny dirt on the outer borders, embossing in the white of one of the cartridges and in the rabbit's fur.Kintoki's father, a dissolute ronin, abandoned him at his birth on Mount Ashigara, not far from Fuji. He was taken in and raised by Yamauba, the woman-spirit who inhabited the mountains and embodied, in certain respects, the feminine side of primal savagery. She named him Kintarõ, the “Golden Boy”. He grew up among the mountain animals and the tengu, the birdmen who taught Yoshitsune martial arts. The child learned a lot from their contact, and quickly developed prodigious strength.One day when the warrior Yorimitsu, also called Raiko, was hunting in the vicinity of Mount Ashigara, an extraordinarily robust child, with skin the color of brick, suddenly appeared to him. He was uprooting a large tree to make a bridge that would allow the animals, his friends, to cross the river. Stunned, Yorimitsu convinced Yamauba to let him take the child to make him a hero.Renamed Kintoki, the young man became one of Raiko's four main lieutenants, proving his strength and bravery on many occasions. Yoshitoshi shows him battling monsters and demons in a multitude of prints. Perhaps the most famous example is the 1886 diptych from the Yoshitoshi manga series, where a superbly drawn spider-woman weaves her golden web around the sleeping Kintoki. The two characters in Kintoki's name mean "gold" and "time", but as with many Japanese names, the idea of a literal translation is somewhat futile. This change of name should above all be interpreted as marking the transition from boy to man.In ukiyo-e, Kintarõ is usually depicted in the company of mountain animals. We also see him as a wrestler, throwing a bear to the ground. Here he referees a parody of hand-to-hand combat between a monkey and a rabbit, two animals that we saw playing together in Sun Wukong's evocation. The color of his skin refers to his name - Kuniyoshi already liked to use shades of red to flatter the roundness of his body. Dressed as a boy, he displays the rolls of flesh which, in the minds of the Japanese and Chinese, denote a healthy child.His face beaming with happiness, Kintarõ watches his friends play. A branch of persimmon tree is placed between him and the animals: its persimmons perhaps allude to the fruits that the monkey stole from the immortals, or to the extraordinary powers of Kintaro. The fruit pigment has oxidized, taking on an interesting surface texture.The grain of the wood gives body to the rock, and the rabbit's coat is beautifully embossed.In : CENT ASPECTS DE LA LUNE, John STEVENSON, 2018, Editions Citadelles et MAZENODThe set “One Hundred Aspects of the Moon”, inspired by historical or legendary stories from China and Japan, is Yoshitoshi's most famo..

LUNE DU DRAP QU'ON BAT

Yugiri kinuta no tsuki #84From the sequel: Tsuki No hyakushi (The Hundred Aspects of the Moon)1890Publisher: Akiyama Buemon (Kokkeido)Seal: YoshitoshiEngraver: EnkatsuObannishiki-eGood proof, beautiful colors, a few folds in the upper border, some scattered foxing."In the nô play Kinuta (named after the roll of wood on which the sheet was beaten), a man from Kyüshü has been held in the capital for three years, awaiting a legal verdict. Nostalgic for his distant western island, he sends his servant Yúgiri to assure his wife that he will be back within the year. The wife is delighted by Yúgiri's visit, but longs for her husband. The two women hear then the sound of the sheet being beaten to wash or soften it. This is an obvious allusion to a poem from Tang China, in which a man hears despite the distance his wife beating the sheet while waiting for him. Yugiri brings a kinuta to console her mistress, who joins her in the nevertheless servile task of beating the sheet.When a new message arrives informing her that her husband will not return within a year, the woman goes crazy and dies of grief. Finally allowed to return home, the man learns of the death of his wife. His spirit appears to overwhelm him, but he manages to soothe it by chanting the Lotus Sutra - some sects believe that one can achieve salvation by repeating the name of this sutra alone.In the print, the wife beats the sheet, wrapped around her kinuta, with a wooden mallet.Obviously distant and absorbed in her work, she turns her back on Yugiri, who lowers her head. Instead of suggesting the comfort that the servant thought she brought, the image gives a feeling of overwhelm.The painted decoration of the screen, a bush of lespedezes in flower under the full moon, evokes autumn. The clear vertical lines on the left side reveal the structure of the panels. The background is otherwise totally abstract, reduced to a light gray wash which sinks into the darkness. If the servant's modern outfit is quite incongruous, the mistress wears an opulent dress worthy of a Noh costume. We glimpse a tabi, a tailor-made sock separating the big toe.The name Yügiri, which means "evening mist", is worn by many figures in Japanese culture, starting with the prince's son in Genji monogatari."In: ONE HUNDRED ASPECTS OF THE MOON, John STEVENSON, 2018, Editions Citadelles and MAZENODThe suite of “One Hundred Aspects of the Moon”, inspired by historical or legendary stories from China and Japan, is Yoshitoshi's most famous series, begun in 1885 and completed just before his death in 1892. Already at the time, each new print published was an event, the prints often selling out on the morning of their publication...

LE FOND DU SEAU

The bottom of the bucket filled by Lady Chiyo has fallen, the moon no longer has a place in the waterChiyodono ga | itadaku oke no | soko nuketemisu tamari tewa | tsuki mo yadorazu #74From the sequel: Tsuki No hyakushi (The Hundred Aspects of the Moon)1889Publisher: Akiyama Buemon (Kokkeido)Seal:TaisoEngraver: EnkatsuObannishiki-eGood proof with embossings, beautiful colors, a few folds and slight dusting in the upper border, some tiny foxing."The poet Chiyo was born in 1703 in the province of Kaga. The daughter of an art framer, she studied painting and calligraphy with local masters; some of her works have come down to us. She began composing haikus at the age of fifteen, and was soon noticed by Shikõ, a master in the subject, who made her his disciple. We know that she received following the visits of many great poets, and acquired a great reputation before becoming a nun in 1754.His most famous poem is about a bucket. Coming to fetch water from her well early in the morning, she notices that a climbing plant has launched its tendrils in the night to attack the rope. It is an asagao, literally “morning face”, either a bindweed or an ipomoea. To save the flowers, she goes to get supplies from her neighbor, and composes the haiku:asagao nitsurube toraretemoraimizubindweedgrabbed my bucket so I asked for water.It is in reference to this anecdote that the asagao, widely used as an ornamental plant, is often planted in a bucket.These are the associations of ideas on which the poem given in title plays.The poem is written in the spirit of kyoka, literally "crazy verses", a humorous form of tanka which often accompanied surimono type prints from the early 19th century.It perhaps dates back to this period, unless it is due to a contemporary of Yoshitoshi - or even to Yoshitoshi himself.Chiyo's toilet goes back to the beginning of the 18th century, a time when artof the textile reached heights of refinement and virtuosity with the presence of numerous floral motifs, large and asymmetrical, like those that Chiyo wears here at mid-body. The small repetitive patterns on the top and bottom of her kimono came into fashion in the following years. Her hairstyle and the wooden geta she wears refer to the same period.Among the susuki herbs grows a persimmon tree loaded with ripe persimmons, whose shape flatters the roundness.The combination of reeds, persimmon and chrysanthemums on the kimono indicates that this full moon is not the eighth, that of the harvest, but the ninth, at the edge of winter.If Chiyo became a nun, it was in particular to escape the restrictions imposed on women during the Edo period. After taking the tonsure, she continued to write poems sensitive to the beauties of nature and also to feminine affects. Her haikus remained famous after her death, and she is included in numerous painted or engraved portraits of famous poets. A charming print by Kuniyoshi shows her surrounded by flowering bindweed."In: ONE HUNDRED ASPECTS OF THE MOON, J..

SHIKI NO HANA

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

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

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

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...

OMIWA

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...

FESTIVAL DE GION LE 17 JUILLET

From the set: The four seasons of KyotoShin-HangaNishiki-eVery beautiful and fresh proof bearing the artist's red stamp and signed in pencilCa.1950The Gion Matsuri in Kyoto is one of the three largest local festivals in Japan. The other two are Kanda Matsuri in Tokyo and Tenjin Matsuri in Osaka. The Gion Matsuri can be considered the largest and most spectacular. It is held every year from July 1 to 31 for the celebration of the summer solstice at Yasaka Jinja Shrine. The two key dates of this celebration take place on July 17 (Saki Matsuri or pre-festival) and July 24 (Ato Matsuri or post-festival) when all thirty-four floats crisscross the main streets of the city.Its origin dates back to the plague of 869. The emperor sent a special messenger to Yasaka Jinja, the ancient name of the shrine of Gion known to house the spirit of the brother of the sun goddess supposed to fight this evil, to pray and him To do this, he ordered the creation of sixty-six halberds representing the sixty-six provinces of the country.Once the epidemic was stopped, the inhabitants of Kyoto decided from 970, in gratitude, to organize a festival each year...

SEICHI SHISEKI MEISHO

No.48. Meiji Shrine and cherry blossomsFrom the set : Famous, sacred and historical places1941Shin-HangaNishiki-e..

LE TEMPLE KISHU HIMAEMIYA A NICHIZEN

From the set : Famous, sacred and historical placesca.1950Shin-HangaNishiki-e..

VILLA IMPERIALE DE KATSURA

From the set: The four seasons of KyotoShin-HangaNishiki-eVery beautiful and fresh proof bearing the artist's red stamp and signed in pencilCa.1950..

LE PONT KINTAI

KintaikyoCa.1965Shin HangaNishiki-eVery beautiful and fresh proof..

LES COULEURS DE L AUTOMNE AU TEMPLE KOZANJI

YOSHIIKU OCHIAI (1833~1904)

From the set: The four seasons of KyotoShin-HangaNishiki-eVery beautiful and fresh proof bearing the artist's red stamp and signed in pencilCa.1950..

LES ACTEURS ICHIMURA UZAEMON ET ICHIMURA TAKEMATSU

Light dirt on the outer edges.ObanNishiki-e1862..

QUATRE ACTEURS DU KABUKI

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.)..

SAWAMURA TANOSUKE

Representation of the tattooed Kabuki actor.Light soiling.Nishiki-eObanMeiji period print..

ACTEUR DU KABUKI

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..

SCENE DE KABUKI

GIRIN ( Actif vers 1930 )

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..

JUMENT ET SON POULAIN

Sosaku-hanga, Nishiki-e.Ca.1930..

RENARD ATTRAPANT UNE DAME

UTAMARO KITAGAWA (1753-1806)

ShikishibanNishiki-eA Bijin looks at a trap holding a mushroom, while in the background a fox holds a rope snare. The poem translates: How exciting this For country recreation Playing Catch the Fox With pretty young woman Around about the haystack!Woodblockprint ( nishiki-e )Shikishiban, Ca.1890..

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...

KIKUJIRO HIKOSABURO KODANJI

ANONYME XIXè

Or literally: New turtle carBeautiful triptych with fresh colors.Signature: Kamukamo?ObanUkiyo-eNishiki-eCensor: Rat Sho Aratame1864Each Oban ca. 350 x 245..

LES LANTERNES

ANONYME XIXè

Beautiful print with fresh colors.Shin hangaEarly 20th century...

SHOKOKU MEISHO HYAKKEI

HIROSHIGE UTAGAWA ( 1797-1858 )

Small version of: One hundred views of the various provincesMade by Hiroshige I (1797-1858) and Hiroshige II (1826-1869)Pretty print with fresh colorsNishiki-e1880..

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...

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...

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...

SINGE PORTANT UN GOHEI

SHINSAI RYURYUKYO ( 1799-1823 )

Monkey Dressed for a New Year's Parade Surimono Nishiki-e Shikishiban Ca.1890 In the Shinto ritual the Gohei is an object dedicated to the Kamis (Deities) consisting of two shide (strips of paper) attached to a bamboo or a wand used to purify but also to repel malicious spirits..

OISEAUX ET NID

BANDO TOSHIO ( 1895-1973 )

Proof numbered 3/25..

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..

SHOGATSU SAKE BIROKU

GAKUTEI YASHIMA ( 1786 ?- 1868 )

Elegant Chronicles of New Year's SakeProof with embossings.SurimonoShikishibanNishiki-eCa.1890..

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...

OEILLETS

SHODO KAWARAZAKI (1889-1973)

From a suite: Floral calendar of JapanCa. 1970Unsodo EditorNishiki-eShin hangaKachoeGood proof, beautiful colors, tiny scattered foxing...

DOJOJI

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

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

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

GEKKO OGATA ( 1859-1920 )

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"..

BIJIN HAWA KURABE

Beauty and pinefrom the set : Bijin Hawa KagamiComparisons of beauties and flowers1898Publisher: Matsuki HeikichiNishiki-eSlight uniform yellowing, some light scattered foxing, small halo in the bottom margin, remains of old hinges on the back...

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...

LAC ET MONTAGNES

KOMATSU YOSHIMASA ( ACTIF XXè )

Beautiful proof in very fresh colors, signed.Some creases due to printing and handling.Ca.1960.Nishiki-eSosaku HangaYoshimasa Komatsu was an active member of the Japan Print Association, and lived in Hirosaki City in Aomori Prefecture. His favorite subjects are primarily landscapes...

SAIKAI YOHA KIGEN

SHOZAN HAYAKAWA ( 1850-1892 )

The Origin of the Turbulence in the Western Sea Are among other things represented, with their name appearing in a cartridge :Prince Komatsu Akihito, Kawamura Sumiyoshi, Prince Arisugawa Taruhito, Sanja Sanetomi, Iti Hirobumi, Kido Takayoshi, zkubo Toshimichi, Iwakura Tomomi, Kuroda Kiyotaka, Yamagata Aritomo, Itagaki TaisukeEtō Shinpei, Saigi Takamori,Kirino ToshiakiPublisher: Kobayashi Tetsujirō (Maruya Tetsujirō)Meiji era1877 (Meiji 10) Beautiful triptych in very fresh colors formerly joined together, central fold...

REUNION A TOKYO DES PREMIERS FONCTIONNAIRES PREFECTORAUX

TOSHINOBU YAMAKAZI (1857 – 1886 )

Meeting in Tokyo of the first prefectural officials elected to form the constitutional,Meiji1880Nishiki-eBeautiful triptych in very fresh colors formerly joined together, central fold...

DAI NIPPON KAIRIKUGUNICHIRAN

TOSHINOBU YAMAKAZI (1857 – 1886 )

Overview of the Japanese Naval ForceApril 21, 1878Meiji1878Beautiful triptych in very fresh colors formerly joined together, central fold...

SCENE DE LA GUERRE SINO-JAPONAISE

KIYOCHIKA KOBAYASHI (1847-1915 )

Tanaka Ishimatsu fights desperately in Sanchiaoyung, Taiwan1895 (Meiji 28)Part of a triptych representing the hero on the lookout under the moonlight.Beautiful impression, light soiling and soft creases in the upper margin.ObanNishiki-e..

TANAKA ISHIMATSU TAIWAN SANKAKUY NO NANSEN

MIZUNO TOSHIKATA ( 1866 – 1908 )

Tanaka Ishimatsu fights desperately in Sanchiaoyung, Taiwan1895 (Meiji 28)Part of a triptych representing the hero on the lookout under the moonlight.Beautiful impression, light soiling and soft creases in the upper margin.ObanNishiki-e..

RAISINS ET KAKI

SEIJI AKIMOTO ( 1924-? )

Beautiful print in fresh colorsSosaku hangaNishiki-eCa.1970..

HISHIKAWA MONOROBU ZU

Surimono in the Style of Hishikawa Moronobu Shikishiban, Nishiki-e ca.1890...

MUTSUMI-GAWA MAKURA SOSHI

Surimono, ShikishibanEdition Akashi ca.1890..

MENG ZONG ( MÔ SÔ )

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

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

Some scattered foxing.SurimonoNishiki-eShikishibanCa.1890..

SERPENT ET MELONS DU CHOMON-JÛ

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..

FAISAN