ANONYME - PAPIER A LETTRE

PAPIER A LETTRE

ANONYME

Letter paper decorated with children from the Meiji period with stamps. Small ink smudgesNishiki-e...

ANONYME - IMAGERIE POPULAIRE CHINOISE DU NOUVEL AN : ENFANT ET POISSON

IMAGERIE POPULAIRE CHINOISE DU NOUVEL AN : ENFANT ET POISSON

ANONYME

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...

ANONYME - PAPIER A LETTRE

PAPIER A LETTRE

ANONYME

Letter paper decorated with butterflies from the Meiji period with a stamp. Nishiki-e.Small ink smudges..

ANONYME - COQ

COQ

ANONYME

Framed printNishiki-eSosaku-hangaCa.1930-1940On sight: 280 x 405Frame: 295x420..

CHIKANOBU TOYOHARA (1838–1912) - KAGOSHIMA BENTO HIKIAGE NO ZU, SAIGO TAKAMORI, KIRINO TOSHIAKI

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)..

TESSAI TOMIOKA (1836-1924) - SHIKI NO HANA

SHIKI NO HANA

TESSAI TOMIOKA (1836-1924)

Flowers and nashiEngraving 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..

TESSAI TOMIOKA (1836-1924) - SHIKI NO HANA

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 on a slightly micaceous background...

TESSAI TOMIOKA (1836-1924) - SHIKI NO HANA

SHIKI NO HANA

TESSAI TOMIOKA (1836-1924)

White liliesEngraving 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..

TESSAI TOMIOKA (1836-1924) - SHIKI NO HANA

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...

YOSHIIKU OCHIAI (1833~1904)  - KAWARAZAKI GONJURO I

KAWARAZAKI GONJURO I

YOSHIIKU OCHIAI (1833~1904)

From the suite of: Portraits in the light of moonlight, thirty six silhouettes Makoto no Tsuki Hana no Sugata-e Publisher: Hirookaya Kôsuke (Kikujudô) 1867 Oban Nishiki-e Small gap in the purple border at the bottom right and in the the top part..

YOSHIIKU OCHIAI (1833~1904)  - NAKAMURA SHIKAN IV

NAKAMURA SHIKAN IV

YOSHIIKU OCHIAI (1833~1904)

Nakamura Shikan IVFrom the following: Portraits in the light of the moonlight, thirty six silhouettesMakoto no Tsuki Hana no Sugata-ePublisher: Hirookaya Kosuke (Kikujuro)1867Slight weaknesses in the left outer border..

KUNIYOSHI UTAGAWA  ( 1798 – 1861) - LES ACTEURS DE KABUKI ONKICHI, SAIZABURO ET ONOE KIKUJIRO II

LES ACTEURS DE KABUKI ONKICHI, SAIZABURO ET ONOE KIKUJIRO II

KUNIYOSHI UTAGAWA ( 1798 – 1861)

Actors Onkichi as Tsurukiyo, Saizaburô as Senmatsu (R), and Onoe Kikujirô II as Nurse (Menoto) MasaokaPlay: Date Kurabe Okuni KabukiTheater: Kawarazaki Censors' seals: Mera, Murata 1849 (Kaei 2), 3rd month ObanNishiki-eDiptych slightly cut inside the subject, a few scattered rednesses mainly visible on the back, a few tiny holes along the connecting borders...

KUNICHIKA TOYOHARA (1835–1900) - SCENE DE KABUKI

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..

GIRIN ( Actif vers 1930 ) - JUMENT ET SON POULAIN

JUMENT ET SON POULAIN

GIRIN ( Actif vers 1930 )

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

HOKUUN KATSUSHIKA ( Début XIXè s) - FEMME JOUANT DU TSUZUMISUR SUR UN POEME DE KAKAEN CHÔCHÔSHI

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...

SHIGENOBU YANAGAWA ( 1787-1832 ) - GUERRIER A CHEVAL

GUERRIER A CHEVAL

SHIGENOBU YANAGAWA ( 1787-1832 )

SurimonoNishiki-eShikishibanCa.1890..

SHIGENOBU YANAGAWA ( 1787-1832 ) - FUGU NO BIJIN TO KURAGE NO TOMO

FUGU NO BIJIN TO KURAGE NO TOMO

SHIGENOBU YANAGAWA ( 1787-1832 )

Pufferfish courtesan and her jellyfish companion.SurimonoShikishibanNishiki-eCa.1890...

SHINSAI RYURYUKYO ( 1799-1823 ) - FLEURS DE CERISIER TAMBOUR ET EBOSHI

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...

SHINSAI RYURYUKYO ( 1799-1823 ) - RAMASSAGE DES ORMEAUX ( AWABI )

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...

BANDO TOSHIO ( 1895-1973 ) - OISEAUX ET NID
HIROSHIGE UTAGAWA II ( 1826-1869 ) - LES DOUZE TEMPLES DE KUMANO A TSUNOHAZU  ( TSUNOHAZUKUMANO JUNISHA )

LES DOUZE TEMPLES DE KUMANO A TSUNOHAZU ( TSUNOHAZUKUMANO JUNISHA )

HIROSHIGE UTAGAWA II ( 1826-1869 )

Print n ° 45 from the suite: Edo Meisho Yonjuhakkei (forty eight famous views of Edo) Publisher: Tsutaya Kichizo Censor: Kiwame1861 ChubanNishiki-e..

HIROSHIGE UTAGAWA II ( 1826-1869 ) - KAMEIDO UMEYASHIKI ( JARDIN DES PRUNIERS )

KAMEIDO UMEYASHIKI ( JARDIN DES PRUNIERS )

HIROSHIGE UTAGAWA II ( 1826-1869 )

Print n ° 24 from the suite: Edo Meisho Yonjuhakkei ( forty eight famous views of Edo ) 1861 Nishiki-eChuban..

HIROSHIGE UTAGAWA II ( 1826-1869 ) - SAN-NO GONGEN ( TEMPLE DE GONGEN )

SAN-NO GONGEN ( TEMPLE DE GONGEN )

HIROSHIGE UTAGAWA II ( 1826-1869 )

Print n ° 43 from the suite: Edo Meisho Yonjuhakkei (forty eight famous views of Edo) Publisher: Tsutaya Kichizo Censor: Kiwame 1861 Chuban Nishiki-e Small hole in the upper left margin..

HIROSHIGE UTAGAWA II ( 1826-1869 ) - YUSHIMA TENJIN ( TEMPLE DE YUSHIMA )

YUSHIMA TENJIN ( TEMPLE DE YUSHIMA )

HIROSHIGE UTAGAWA II ( 1826-1869 )

Print n ° 8 from the suite: Edo Meisho Yonjuhakkei ( forty eight famous views of Edo ) 1861 Nishiki-eChuban..

HIROSHIGE UTAGAWA II ( 1826-1869 ) - ZÔJÔ-JI ( TEMPLE DE ZÔJÔ )

ZÔJÔ-JI ( TEMPLE DE ZÔJÔ )

HIROSHIGE UTAGAWA II ( 1826-1869 )

Print n ° 33 from the suite: Edo Meisho Yonjuhakkei (forty eight famous views of Edo) 1861 Editor : Tsutaya KichizoSeal : KiwameNishiki-eChuban..

MOKUHANSHA MIKUMO ( 1900- ? ) - KOKESHI OU LES POUPEES

KOKESHI OU LES POUPEES

MOKUHANSHA MIKUMO ( 1900- ? )

Sosaku hanga, numbered 41 on the back. Ca.1960..

SORI HISHIKAWA ( 1789-1818 ) - KINUTA NO TAMAGAWA

KINUTA NO TAMAGAWA

SORI HISHIKAWA ( 1789-1818 )

Surimono, Shikishibanca.1890 Light crease print.Print180x170 mm Frame 275x255 mm..

MATORA OISHI ( 1792-1833 ) - SHIRABYOSHI

SHIRABYOSHI

MATORA OISHI ( 1792-1833 )

Surimono,Shikishiban Nishiki-eCa.1880. Shirabyōshi were traditional dancers of the 12th century, popular at the Japanese imperial court. They performed for kuge (nobles) and samurai.Shirabyōshi are recognizable by the white makeup covering their face and neck and their masculine Shinto-inspired attire, including the tate-eboshi hat and tachi sword worn by samurai, the red hakama, a white suikan and a red suikan robed by Shintoists and a kawahori (fan held by men)...

YOSHIMORI UTAGAWA ( 1830-1884 ) -  LA CONQUETE D'OSHU PAR LE SEIGNEUR MINAMOTO YOSHIIE ( MINAMOTO YOSHIIE ASON ÔSHU SEIBATSU NO ZU )

LA CONQUETE D'OSHU PAR LE SEIGNEUR MINAMOTO YOSHIIE ( MINAMOTO YOSHIIE ASON ÔSHU SEIBATSU NO ZU )

YOSHIMORI UTAGAWA ( 1830-1884 )

Publisher: Sagamiya Tôkichi (Ai-To) Edo period1863 (Bunkyû 3), 1st monthMarks Censor's seal: Boar 1 aratameNishiki-eObanCatalogue Raisonné Asai, Kinsei nishiki-e sesôshi 1 (1935), pp. 70-1Beautiful triptych, a few tiny pinholes including one in the last section in the print.Each oban: 350 x 250 mm..

KUMO INI ( ACTIF DANS LES ANNEES 1960 ) - BOUDDHA

BOUDDHA

KUMO INI ( ACTIF DANS LES ANNEES 1960 )

Print Sosaku Hanga Numbered 48 dated 1962 and signed by Inkumo Edition Nishiki-e..

GAKUTEI YASHIMA ( 1786 ?- 1868 ) - BIJIN ET PAON

BIJIN ET PAON

GAKUTEI YASHIMA ( 1786 ?- 1868 )

Poem by Naonari of Asa-no-ya. From a series of ten prints for the Honcho poetry club.Fresh colors, tiny scattered foxing.SurimonoShikishibanNishiki-eCa.1890..

NOBUZAKU WATANABE  ( 1872-1944 ) - VUE D'ENOSHIMA

VUE D'ENOSHIMA

NOBUZAKU WATANABE ( 1872-1944 )

Two oban forming a diptych.Nishiki-ePublisher Ryohachi Yokoyama1892Beautiful proofs in very fresh colours, slight crease in the lower right corner of the left flap, a few tiny foxing spots.Each oban (sheet) 250 x 370..

TOYONOBU UTAGAWA ( ACTIF 1859-1886 ) - BATAILLE DE CHIHAYA

BATAILLE DE CHIHAYA

TOYONOBU UTAGAWA ( ACTIF 1859-1886 )

Prince Moriyoshi (1308-1335) (also called Morinaga or Ôtônmiya) son of Emperor Go-Daigo (oban on the right) during the episode of the Battle of Chihaya.Nishiki-eMeiji periodBeautiful triptych formerly joined in very fresh colors.Each oban approximately 235 x 370..

EISHI CHÔBUNSAI ( 1756–1829 ) - BIJIN SCULPTANT UNE FIGURE DE KAMURO

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...

SHODO KAWARAZAKI (1889-1973)  - LYS

LYS

SHODO KAWARAZAKI (1889-1973)

From a suite: Floral calendar of JapanCa. 1970Unsodo EditorNishiki-eShin hangaKachoeNice proof, beautiful colors...

SHODO KAWARAZAKI (1889-1973)  - CHRYSANTHEME

CHRYSANTHEME

SHODO KAWARAZAKI (1889-1973)

From a suite: Floral calendar of JapanCa. 1970Unsodo EditorNishiki-eShin hangaKachoeNice proof, beautiful colors...

AZECHI UMETARO ( 1902-1999 ) - YAMAOTOKO 4 ( L'HOMME DES MONTAGNES 4 )

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...

HOKKEI TOTOYA  (1780–1850) - RAMASSEURS DE COQUILLAGES, KAIZUKUSHI

RAMASSEURS DE COQUILLAGES, KAIZUKUSHI

HOKKEI TOTOYA (1780–1850)

Some scattered foxing.SurimonoNishiki-eShikishibanCa.1890..

HOKKEI TOTOYA  (1780–1850) - ENTREE DU TORII D'ENOSHIMA

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...

SADAHIDE UTAGAWA  (1807-1873) - LES SEPT DIVINITÉS DU BONHEUR

LES SEPT DIVINITÉS DU BONHEUR

SADAHIDE UTAGAWA (1807-1873)

A few small gaps in the outer edges, slight uniform yellowing.ObanNishiki-eTriptych representing the seven divinities (Ebisu, deity of fishermen, merchants and prosperity, often represented carrying a cod or bar, Daikokuten or Daikoku, divinity of wealth, commerce and trade, Bishamonten, deity of warriors and god protector of Buddhist law and prosperity, Benzaiten or Benten, divinity of knowledge, art and beauty, eloquence, music, literature, arts and sciences, virtue and wisdom, prosperity and longevity, Fukurokuju, divinity of happiness, wealth and longevity, virility and wisdom, Hotei, divinity of abundance and good health, contentment and of commerce, Jurōjin, deity of longevity and prosperity) arriving in town to distribute presents for the New Year...

HOKUSAI KATSUSHIKA (1760-1849) - IMITATION OU PARODIE DES DIEUX DAIKOKU ET EBIZU AVEC UNE BEAUTE

IMITATION OU PARODIE DES DIEUX DAIKOKU ET EBIZU AVEC UNE BEAUTE

HOKUSAI KATSUSHIKA (1760-1849)

Daikokuten or Daikoku, is the deity of wealth, commerce and trade. He is often represented as a round and smiling man, seated or standing with a bag of rice symbolizing wealth, holding on his shoulder a satchel containing wisdom and patience. He also holds in his right hand a kind of wooden mallet (uchide no kozuchi) representing the virtue of work. Ebisu or Yebisu is the deity of fishermen, merchants and prosperity. He is often represented with a fan and carrying a fish.They are part of the seven deities of good fortune in Japanese mythology Woodcut, nishikie, ca.1890 Nice colors, slight median print crease..

HOKUSAI KATSUSHIKA (1760-1849) - KINTARO ARBITRANT UN MATCH ENTRE UN COQ ET UN TENGU

KINTARO ARBITRANT UN MATCH ENTRE UN COQ ET UN TENGU

HOKUSAI KATSUSHIKA (1760-1849)

First surimono from the set : Mountain after Mountain (Yama mata yama)Kintarô would be the natural or adopted son of the witch Yama-Uba, ogress living in the mountain. He bonds with the animals among which he is raised and later, after capturing the terror of the region, Shuten Dōji, he becomes the disciple of Minamoto no Yorimitsu under the name of Sakata no Kintoki. Child with superhuman strength, he is a popular character of noh and kabuki. Kintarō dolls are exhibited on Boys' Day, Tango no Sekku in the hope that the boys will become as brave and strong as Kintarō. The tengu ("celestial dog") are a type of legendary creature having the form of raptors, they are traditionally depicted with both human and avian characteristics, wings, talons instead of hands and feet and for the most part. ancient representations of the beaks which over time transformed into an abnormally prominent nose.Beautiful print with fresh colors, tiny scattered foxing.Nishiki-eChubanCa.1890..

HOKUSAI KATSUSHIKA (1760-1849) - IKEBANA OU LA PREPARATION DU BOUQUET

IKEBANA OU LA PREPARATION DU BOUQUET

HOKUSAI KATSUSHIKA (1760-1849)

ShikishibanSurmonoNishiki-eCa.1890.Printing  fold..

HOKUSAI KATSUSHIKA (1760-1849) - IKEBANA OU LA PREPARATION DU BOUQUET

IKEBANA OU LA PREPARATION DU BOUQUET

HOKUSAI KATSUSHIKA (1760-1849)

ShikishibanSurmonoNishiki-eCa.1890.Tiny scattered foxing...

HOKUSAI KATSUSHIKA (1760-1849) - SUTRA ET ARMURE D'AVALOKITESVARA A MOTIF DE CHRYSANTHEME

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..

KUNISADA ( TOYOKUNI III DIT ) UTAGAWA (1786 - 1864) - DEUX ACTEURS DU KABUKI

DEUX ACTEURS DU KABUKI

KUNISADA ( TOYOKUNI III DIT ) UTAGAWA (1786 - 1864)

Kiwame Seal (1790-1845) Publisher: Kawa-Sho (Eisendo) Nishiki-e, oban..

KUNISADA ( TOYOKUNI III DIT ) UTAGAWA (1786 - 1864) - ONOE KIKUGORO III DANS LE ROLE DE TOKUZO

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..

KUNISADA ( TOYOKUNI III DIT ) UTAGAWA (1786 - 1864) - ONOE KIKUJIRO II DANS LE RÔLE D'HITOMARU

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...

KUNISADA ( TOYOKUNI III DIT ) UTAGAWA (1786 - 1864) - ICHIKAWA KHIZO III, ONOE EIZABURO ET NAKAMURA SHIKAN IV

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...

KUNISADA ( TOYOKUNI III DIT ) UTAGAWA (1786 - 1864) - BANDO SHOKA I ET ICHIKAWA DANJURO VIII

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..

KUNISADA ( TOYOKUNI III DIT ) UTAGAWA (1786 - 1864) - HISTOIRES ANCIENNES : TROIS HOMMES NOMMES CHOBEI

HISTOIRES ANCIENNES : TROIS HOMMES NOMMES CHOBEI

KUNISADA ( TOYOKUNI III DIT ) UTAGAWA (1786 - 1864)

Beautiful printing in very fresh colors Edo period 1859Nishiki-e, oban..

KUNISADA ( TOYOKUNI III DIT ) UTAGAWA (1786 - 1864) - ONOE KIKUGORO III INTERPRETANT LE RÔLE DE SEIGEN

ONOE KIKUGORO III INTERPRETANT LE RÔLE DE SEIGEN

KUNISADA ( TOYOKUNI III DIT ) UTAGAWA (1786 - 1864)

Actor Onoe Kikugoro III playing the ghost of the monk Seigen poem by Ariwara no Narihira Ason (Mitate sanjūrokkasen no uchi: Ariwara no Narihira Ason) From the set : Comparison of the thirty six poems (Mitate sanjûrokkasen no uchi) Oban Nishiki-e 1852..

KUNISADA ( TOYOKUNI III DIT ) UTAGAWA (1786 - 1864) - L'ACTEUR BANDO MITSUTARO IV DANS LE ROLE DE NABOYA SANZA MOTO HARU

L'ACTEUR BANDO MITSUTARO IV DANS LE ROLE DE NABOYA SANZA MOTO HARU

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...

KUNISADA ( TOYOKUNI III DIT ) UTAGAWA (1786 - 1864) - KOBAI

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..

KUNISADA ( TOYOKUNI III DIT ) UTAGAWA (1786 - 1864) - L'ACTEUR SEGAWA KIKUNOJO V DANS LE ROLE DE MANJIYA YATSUHASHI

L'ACTEUR SEGAWA KIKUNOJO V DANS LE ROLE DE MANJIYA YATSUHASHI

KUNISADA ( TOYOKUNI III DIT ) UTAGAWA (1786 - 1864)

Play: Iro No Ayatsuri Kuruwa Bunsho Given at Kawarachi Theater Edo Period Ca.1831 Publisher: Omiya Heihachi Oban Nishiki-e Some small holes in the left border, and in the upper right corner, beautiful colors...

KUNISADA ( TOYOKUNI III DIT ) UTAGAWA (1786 - 1864) - IWAI KAMESABURO III DANS LE ROLE DE KOJORO

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..

KUNISADA ( TOYOKUNI III DIT ) UTAGAWA (1786 - 1864) - DEUX ACTEURS DU KABUKI

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..

KUNISADA ( TOYOKUNI III DIT ) UTAGAWA (1786 - 1864) - ICHIKAWA DANJÛRÔ VIII INTERPRETANT ENDO MUSHA

ICHIKAWA DANJÛRÔ VIII INTERPRETANT ENDO MUSHA

KUNISADA ( TOYOKUNI III DIT ) UTAGAWA (1786 - 1864)

Actor Ichikawa Danjûrô VIII performing The role of Endô Musha Poem by Fujiwara no Nakafumi From the set : Comparison of the thirty six poems (Mitate sanjûrokkasen no uchi) Editor: Iseya Kanekichi Oban Nishiki-e1852..

KUNISADA ( TOYOKUNI III DIT ) UTAGAWA (1786 - 1864) - L'ACTEUR ICHIKAWA DANZO V DANS LE ROLE DE SATO HIDA NO KAMI MASAKIYO

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...

KUNISADA ( TOYOKUNI III DIT ) UTAGAWA (1786 - 1864) - IWAI KAMESABURO III DANS LE ROLE DE TSUKISAYO

IWAI KAMESABURO III DANS LE ROLE DE TSUKISAYO

KUNISADA ( TOYOKUNI III DIT ) UTAGAWA (1786 - 1864)

The Fifty-three Tokaido Stations (Tokaido Gojusan Tsugi no Uchi) Station 10-11 : Nishino KawaraCensor : Hama MagomeEditor : Tamaya Sosuke Oban, Nishiki-e 1852 Very nice and fresh Proof..

KUNISADA ( TOYOKUNI III DIT ) UTAGAWA (1786 - 1864) - L'ACTEUR OSAGAWA TSUNEYO II DANS LE ROLE DE CHURO ONOE

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...

KUNISADA ( TOYOKUNI III DIT ) UTAGAWA (1786 - 1864) - NAKAMURA FUKUSUKE I

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..

KUNISADA ( TOYOKUNI III DIT ) UTAGAWA (1786 - 1864) - DEUX ACTEURS DU KABUKI : SAWAMURA GENNOSUKE II ET ICHIKAWA DANZO V ( A GAUCHE )

DEUX ACTEURS DU KABUKI : SAWAMURA GENNOSUKE II ET ICHIKAWA DANZO V ( A GAUCHE )

KUNISADA ( TOYOKUNI III DIT ) UTAGAWA (1786 - 1864)

Small holes on the left and right edges including two on the Danzo V arms, light dirt on the lower corners.1831Kiwame Seal (1790-1845) Publisher: Kawa-Sho (Eisendo) Nishiki-e, oban..

KUNISADA ( TOYOKUNI III DIT ) UTAGAWA (1786 - 1864) - L'ACTEUR IWAI SHIMA DANS LE ROLE D'OSHIZU

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...

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