ANONYME - PAPIER A LETTRE

PAPIER A LETTRE

ANONYME

Letter paper decorated with children from the Meiji period with a stamp. Nishiki-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 - IMAGERIE POPULAIRE CHINOISE DU NOUVEL AN : ENFANT ET COQ

IMAGERIE POPULAIRE CHINOISE DU NOUVEL AN : ENFANT ET COQ

ANONYME

Good proof, several median folds, yellowing on the right side, mainly visible in the borders.The rooster: "ji"homophone of fortunate and happy, is a symbol of good omen.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 children from the Meiji period with a stamp. Nishiki-e...

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)..

AOYAMA SEIZAN ( ACTIF VERS 1930 ) - CHAT TENANT UNE GRENOUILLE

CHAT TENANT UNE GRENOUILLE

AOYAMA SEIZAN ( ACTIF VERS 1930 )

Sosaku-Hanga print. Nishiki-e, oban. Slight handling folds at the outside right angles...

YOSHITOSHI TSUKIOKA (1839 - 1892) - SARUGAKU

SARUGAKU

YOSHITOSHI TSUKIOKA (1839 - 1892)

Plate 92 from: A hundred aspects of the moon (Tsuki hyaku sugata), edited by Akiyama Buemon.Dated Meiji 24, 1891Nishiki-e505 x 420 mm with the frame..

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 fold...

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..

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)Nice print, usual median crease, slight discoloration of the foliage at the bottom...

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..

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..

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..

GIRIN ( Actif vers 1930 ) - COQ ET POULE

COQ ET POULE

GIRIN ( Actif vers 1930 )

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

UTAMARO KITAGAWA (1753-1806) - RENARD ATTRAPANT UNE DAME

RENARD ATTRAPANT UNE DAME

UTAMARO KITAGAWA (1753-1806)

Nice surimono A 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..

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..

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.Akashi edition ca.1890.Some places on the diver printed in gold...

BANDO TOSHIO ( 1895-1973 ) - OISEAUX ET NID
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 ) - 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..

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 ) - 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..

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..

SORI HISHIKAWA ( 1789-1818 ) - SUTRA ET ARMURE D'AVALOKITESVARA A MOTIF DE CHRYSANTHEME

SUTRA ET ARMURE D'AVALOKITESVARA A MOTIF DE CHRYSANTHEME

SORI HISHIKAWA ( 1789-1818 )

Falsely attributed to Hokusai Surimono Nishiki-e Shikishiban Ca.1890 Poem by Chikujin (or Takehito)..

MATORA OISHI ( 1792-1833 ) - COURTISANE LISANT

COURTISANE LISANT

MATORA OISHI ( 1792-1833 )

Surimono, Shikishiban, Nishiki-eca.1880. Some foxing in the print. Proof with gold highlightsEdmond de Goncourt defined them as follows: “The sourimonos […], these images which, through the silkiness of the paper, the quality of the colors, the care of the printing, and the gold and silver, and again by this complement of the embossing […] - these images having nothing similar in the engraving of any people of the earth" Unlike prints produced by publishers for the general public, surimono prints are private, non-commercial commissions, published in very small numbers. His prints are often commissioned by literary circles and others on special occasions: invitations, New Years, commemoration, new theatrical performances, etc. Surimonos are created and addressed to a bourgeois city elite, keen on literature, navigating between classical culture and contemporary entertainment. Freed from commercial constraints, these surimonos are characterized by luxurious prints, using rare metallic pigments and sophisticated printing techniques: embossing, paper polishing, lacquering. The artist enjoys great freedom of expression and artistic interpretation. The value of the surimono is due to the double semantic complexity of the poems and the image. (cf: SURIMONO, Treasures of Japanese prints, Co-edition Fondation Jerzy Leskowicz / In Fine éditions d'art - with the support of the Fondation Franco-Japonaise Sasakawa, 2019)..

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..

IWAJIRO TANAKA ( 1888-1947 ) - CHEVAL ( UMA )

CHEVAL ( UMA )

IWAJIRO TANAKA ( 1888-1947 )

Publisher: Kyoto Hanga' in Nishiki-e Shin Hanga Ca 1930 Most of the artist's antlers were destroyed in an air raid circa 1945..

GAKUTEI YASHIMA ( 1786 ?- 1868 ) - JURO

JURO

GAKUTEI YASHIMA ( 1786 ?- 1868 )

From the suite: Allusion to the seven deities of happiness ( Mitate Shichifukujin )Among the seven deities of happiness, Jurojin embodies longevity and is often represented walking with a stick, accompanied by a deer, elements that can be found in this surimono.SurimonoNishiki-eshikishibanCa.1890Edmond de Goncourt defined them as follows: “The sourimonos […], these images which, through the silkiness of the paper, the quality of the colors, the care of the printing, and the gold and silver, and again by this complement of the embossing […] - these images having nothing similar in the engraving of any people of the earth" Unlike prints produced by publishers for the general public, surimono prints are private, non-commercial commissions, published in very small numbers. His prints are often commissioned by literary circles and others on special occasions: invitations, New Years, commemoration, new theatrical performances, etc. Surimonos are created and addressed to a bourgeois city elite, keen on literature, navigating between classical culture and contemporary entertainment. Freed from commercial constraints, these surimonos are characterized by luxurious prints, using rare metallic pigments and sophisticated printing techniques: embossing, paper polishing, lacquering. The artist enjoys great freedom of expression and artistic interpretation. The value of the surimono is due to the double semantic complexity of the poems and the image. (cf: SURIMONO, Treasures of Japanese prints, Co-edition Fondation Jerzy Leskowicz / In Fine éditions d'art - with the support of the Fondation Franco-Japonaise Sasakawa, 2019)..

GAKUTEI YASHIMA ( 1786 ?- 1868 ) - FEMME JOUANT DU BIWA OU LA DEESSE BENZAITEN

FEMME JOUANT DU BIWA OU LA DEESSE BENZAITEN

GAKUTEI YASHIMA ( 1786 ?- 1868 )

From the suite: Allusion to the seven deities of happiness  ( Mitate Shichifukujin )Among the seven deities of happiness, Benzaiten, the only woman, is associated with art, eloquence, the feminine world and love. Naturally she is the patroness of dancers, geishas and musicians, her favorite instrument being the biwa (element found in this surimono).Small ink stains.SurimonoNishiki-eshikishibanCa.1890Edmond de Goncourt defined them as follows: “The sourimonos […], these images which, through the silkiness of the paper, the quality of the colors, the care of the printing, and the gold and silver, and again by this complement of the embossing […] - these images having nothing similar in the engraving of any people of the earth" Unlike prints produced by publishers for the general public, surimono prints are private, non-commercial commissions, published in very small numbers. His prints are often commissioned by literary circles and others on special occasions: invitations, New Years, commemoration, new theatrical performances, etc. Surimonos are created and addressed to a bourgeois city elite, keen on literature, navigating between classical culture and contemporary entertainment. Freed from commercial constraints, these surimonos are characterized by luxurious prints, using rare metallic pigments and sophisticated printing techniques: embossing, paper polishing, lacquering. The artist enjoys great freedom of expression and artistic interpretation. The value of the surimono is due to the double semantic complexity of the poems and the image. (cf: SURIMONO, Treasures of Japanese prints, Co-edition Fondation Jerzy Leskowicz / In Fine éditions d'art - with the support of the Fondation Franco-Japonaise Sasakawa, 2019)..

MAMORU HIYOSHI ( 1887- ACTIF DANS LES ANNEES 50 ) - LE BONHOMME DE NEIGE

LE BONHOMME DE NEIGE

MAMORU HIYOSHI ( 1887- ACTIF DANS LES ANNEES 50 )

From the set: Korean Customs and PeoplesPrinting with embossingPublisher: Kyoto Hanga-inSubject of Japanese life in Korea in the 1950s.Shin HangaCa.1950Nishiki-e..

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) - ROCHISHIN

ROCHISHIN

HOKKEI TOTOYA (1780–1850)

Lu Zhishen ( Ki, Rochishin ) From the Set : Suikoden and the Five Elements ( Juiko Gogyō )ShikishibanNishiki-eSurimonoca.1890Lu Zhishen is a fictional character from one of the four great classic novels of Chinese literature. He is the main character of the first volume of the novel, which spans about six chapters. Nicknamed "The Flowering Monk", because of his tattoos, he is the thirteenth of the thirty-six celestial spirits. First a garrison captain, he became a monk under the name of Rochishin or Ro-Chi-Shin (meaning sagacity). He embodies in the collective imagination, loyalty, justice and strength...

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

LES SEPT DIVINITÉS DU BONHEUR

SADAHIDE UTAGAWA (1807-1873)

Triptych 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) - 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) - 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..

HOKUSAI KATSUSHIKA (1760-1849) - FEMME D'OHARA COIFFEE D'UN FAGOT ET D'UN CERF-VOLANT

FEMME D'OHARA COIFFEE D'UN FAGOT ET D'UN CERF-VOLANT

HOKUSAI KATSUSHIKA (1760-1849)

Slight fold of  print, Shikishiban, nishikie, Ca.1890..

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) - ACTEUR DU KABUKI

ACTEUR DU KABUKI

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

Nishiki-e, oban.ca.1830Some holes mainly on the edges..

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) - LES ACTEURS DE KABUKI MINOYA KUNIZO ET SHIKAN NAKAMURA

LES ACTEURS DE KABUKI MINOYA KUNIZO ET SHIKAN NAKAMURA

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

ObanNishiki-e1861Very fresh color proof, tiny freckle on the temple of the top actor..

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) - 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...

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)

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

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) - L HISTOIRE DE GOEMON ISHIKAWA

L HISTOIRE DE GOEMON ISHIKAWA

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

The story of Goemon Ishikawa, famous semi-legendary Japanese bandit comparable to the figure of Robin Hood..

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) - ICHIKAWA DANJÛRÔ VIII OU LE RESTAURANT NAKAKATSU

ICHIKAWA DANJÛRÔ VIII OU LE RESTAURANT NAKAKATSU

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

Print made with two hands, Hiroshige for the scenes above and Kunisada for the figure of the actor.Nakakatsu Restaurantand actor Ichikawa Danjuûrô VIII as Yoshitaka.From : Famous restaurants in the eastern capital (Tôto Kômei Kaiseki Zukushi).Play : KagamitamaMoto-No-NishikiePublisher : Fujiokaya Keijirō (Shorindō)1852ObanNishiki-e..

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) - 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) - ACTEURS DU KABUKI

ACTEURS DU KABUKI

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

Diptych, double oban, nishiki-e.Edo period.Publisher: Yamamotoya Heikichi..

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) - SAWAMURA CHÔJÛRÔ V DANS LE RÔLE DE GOFUKUYA JÛBEI

SAWAMURA CHÔJÛRÔ V DANS LE RÔLE DE GOFUKUYA JÛBEI

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

The Fifty-three Tokaido Stations (Tokaido Gojusan Tsugi no Uchi) Station 14 : HaraCensor : Hama MagomeEditor : Tsojukaya Bunsuke (Kinshôdô ) Oban, Nishiki-e 1852 Very nice and fresh Proof..

KUNISADA ( TOYOKUNI III DIT ) UTAGAWA (1786 - 1864) - ICHIKAWA DANJÛRÔ VIII OU LE RESTAURANT NAKAKATSU

ICHIKAWA DANJÛRÔ VIII OU LE RESTAURANT NAKAKATSU

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

Print made with two hands, Hiroshige for the scenes above and Kunisada for the figure of the actor.Koshoya Restaurant at Owari Michi and actor Ichikawa Danjuûrô VIII as Takeda Katsuyori .From : Famous restaurants in the eastern capital (Tôto Kômei Kaiseki Zukushi).Play : Monoro NisushikoPublisher : Fujiokaya Keijirō (Shorindō)1852ObanNishiki-eVery fresh proof, beautiful colors, slightly trimmed by a few millimeters on the sides...

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 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) - 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) - 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) - ACTEUR DU KABUKI

ACTEUR DU KABUKI

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

Censor: Kiwame (1790-1845)Nishiki-e, oban.ca.1832Some holes mainly on the edges..

KUNISADA ( TOYOKUNI III DIT ) UTAGAWA (1786 - 1864) - PORTEUR D'EAU A LA LUMIERE DU SOLEIL COUCHANT ( MIZOURI NO SEKISHO )

PORTEUR D'EAU A LA LUMIERE DU SOLEIL COUCHANT ( MIZOURI NO SEKISHO )

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

Kabuki actors Ichikawa Danjuro VIII in the role of Ogata Jiraya and Kawarazaki Gonjuro I in that of the water carrier. From the suite of : Eight Views (Hakkei no Uchi) Publisher: Tsujiya Yasubei 1855 Oban Nishiki-eVery fresh print with a light embossing on the middle fan...

KUNISADA ( TOYOKUNI III DIT ) UTAGAWA (1786 - 1864) - KAWARASAKI GONJURO ET BANDO HIKOSABURO

KAWARASAKI GONJURO ET BANDO HIKOSABURO

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

In the play: Ameno Hachino Ki (The great successes of the Kabuki repertoire).1863.Oban, Nishiki-e.Very nice and fresh proof with a micaceous background...

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) - 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) - 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) - ACTEUR DU KABUKI

ACTEUR DU KABUKI

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

Censor: Kiwame (1790-1845)Nishiki-e, oban.ca.1832Editor : Joshuya KinzoSome holes mainly on the edges..

1 to 75 of 75 (1 Pages)