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NEWArtist: Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Signature: Kunisada ga [国貞画] in a red double-gourd cartouche. Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, fl. c. 1815 – 1869); seal: san (三) in a circle to verso. Date seal: Hebi (巳, Snake), Tenpō 4 , 1833, to verso. Censor seal: kiwame (極, approved), to verso. Media: Double-side fan print (uchiwa-e); 225 x 283 mm. Series: Tosei rok’kasen or Tosei rokkasen [當世六花撰] – two translations: (1) by Sebastian Izzard: Six choice modern flowers, (2) by Horst Graebner: Modern Six [Immortal] Poets. Character: Sawamura Tosshō I [沢村訥升] (Japanese, 1802 – 1853); other names: Sawamura Gennosuke II, Suketakaya Takasuke III, Sawamura Chōjūrō V, Sawamura Sōjūrō V, Sawamura Genpei I, Sawamura Tosshi V; Poetry names: Kōga, Tosshi V, Tosshō; Guild: Kinokuniya. Poet: Ariwara Narihira [在原業平] (Japanese, 825 – 9 July 880) – one of Six Immortal Poets (六歌仙, rokkasen) A double-sheet uncut fan print featuring a half-length, three-quarter view, turned to the right portrait of Kabuki actor Sawamura Tosshō I. He holds a bow (yumi, 弓) and an arrow (ya, 矢) in his left hand, while his right hand grasps the collar of his under-kimono, with his thumb tucked inside. He wears a blue outer kimono patterned with a woven lattice motif, lined with red and yellow on the sleeves. Beneath it, his red under-kimono with a black collar is visible. A white towel (tenugui, 手拭い) is draped around his neck and shoulder. A red scroll with an inscription hangs behind him, reading: Ariwara Narihira (在原業平); Sawamura Tosshō I (沢村訥升). His name is written with kanji, hentaigana, and hiragana: Kinokuniya Tosshō (きの國やとし志ょう)—his guild and poetry names. The series title Tōsei Rokkasen (当世六歌撰) appears in the red cartouche to the left, and the artist’s signature is in the double-gourd red cartouche to the right. The background features a blue and yellow gradient decorated with floral roundels. The reverse side features a decorative design with floral roundels in blue and green. A paper slip (tanzaku, 短冊) with a red cloud-like gradient at the edges is positioned diagonally across the composition. It contains a calligraphic inscription in cursive script. Three standard seals—publisher, approval, and date—are in the bottom right quadrant of the print. Ref: (1) [LIB-2967.2022] Utagawa Kunisada (1786 – 1865): His world revisited / Catalogue № 17, Exhibition March 17-21, 2021. — NY: Sebastian Izzard, LLC., 2021; p. 130-1. (2) [LIB-1212.2017] Robert Schaap. Kunisada: Imaging, drama and beauty. — Leiden: Hotei Publishing, 2016, p. 58. [With tremendous help from Horst Graebner of Kunisada Project]. -
NEWArtist: Utagawa Kunisada [歌川 国貞], a.k.a. Utagawa Toyokuni III [三代 歌川 豊国] (Japanese, 1786 – 1865). Signed: Kōchōrō Kunisada ga [香朝楼國貞画] in a red roundel with winged insects. Date: 1834 — Tenpō 5 (午, Year of the Horse), plus Approved (kiwame, 極) Publisher: Iseya Ichiemon [伊勢屋市右衛門] (Japanese, fl. c. 1820s – 1860s), seal tsuji (辻) Media: Aiban yoko-e uchiwa-e (団扇絵), color woodblock print, 225 x 280 mm. The Wikipedia article on Kyokusui no Utage states: "A winding stream party (Chinese: 流觴曲水/曲水流觴; pinyin: liúshāngqūshuǐ) is an old Chinese custom in which the participants wait by a winding stream and compose poems before their cups full of rice wine float down to reach them. [...] It was also adopted by the Japanese and was called Kyokusui-no-en." According to Horst Graebner: However, the Japanese article provides different transliterations:きょくすいのうたげ（えん) kyokusui no utage (en) or ごくすいのうたげ（えん） gokusui no utage (en). This indicates that both kyokusui and gokusui may be acceptable readings for the term 曲水 (winding water), though kyokusui appears to be the more commonly used form.A half-length portrait of a woman in a three-quarter view facing left. She holds a paper scroll with the saaya pattern along the edges in both hands. Her black hair is styled in an elaborate updo with a gilt hairpin and a comb. She wears a multi-layered kimono featuring blue clematis (鉄線, tessen) on a brown outer garment and white plum blossoms on a red collar. The green and brown checkered obi has gilt flowers and tendrils brocade. The background is deep blue with two red circular cartouches—the left containing a peony, the right featuring winged insects alongside the artist's signature. A third cartouche, shaped like a red lacquer sake cup, bears gold lettering reading Bijin kyokusui no utage (en) [美人曲水宴].
Provenance: René Scholten (Dutch, 1943 – 2001)
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NEWArtist: Utagawa Kunisada [歌川 国貞], a.k.a. Utagawa Toyokuni III [三代 歌川 豊国] (Japanese, 1786 – 1865). Signed: Kōchōrō Kunisada ga [香朝楼國貞画]Date: 1832 — Tenpō 3 (辰, Year of the Dragon), plus Approved (kiwame, 極).
Publisher: Ebiya Rinnosuke [海老屋林之助] (Japanese, c. 1832–1895), seal 'to' (ト) Marks: 07-021 | 040a; a.k.a. Ueki Rinnosuke [植木林之助], seal name: 海老林 (Ebirin)
Media: Aiban yoko-e uchiwa-e (団扇絵), color woodblock print, 222 x 285 mm.
A half-length portrait of a woman in a three-quarter view facing slightly left. She is pruning a flowering plum branch (梅, ume) for an ikebana (生け花) arrangement, holding a branch in her left hand and scissors in her right. Her black hair is styled in an elaborate updo with a gilt hairpin (簪, kanzashi) and a red ribbon. She wears a multi-layered kimono: a striped outer garment with white igeta kamon (井桁, well crib pattern), a black kawari-eri (変り衿) collar decorated with flying birds and stylized golden waves, and a red and green under-kimono with a blue-and-white patterned collar. The background features a wooden house with blue-tiled roofs overlooking a landscape with a winding stream, pines, and distant hills. The artist's signature, censor seal, date seal, and publisher's seal are placed in the lower left.The seller, however, citing Ukiyoe Bijin to Tokaidō. Japan Ukiyo-e Association, 1987) no. 68, states that: The woman wearing a blue kosode, a black hood, and walking in the snow can be identified as Osono from the drama Chūshingura, a popular play recounting the story of the Forty-Seven Rōnin. Osono is the wife of the rōnin's arms supplier, who reluctantly expelled her from their home for fear that she might be drawn into the conspiracy. [La femme portant un kosode bleu, une capuche noire et marchant dans la neige est identifiable à Osono du drame Chushingura, pièce populaire reprenant l'histoire des quarante-sept ronin, Osono est l'épouse du fournisseur d'armes des ronin, qui l'a chassée à contrecœur de chez lui de crainte qu'elle ne soit entraînée dans le complot.]
Provenance: René Scholten (Dutch, 1943 – 2001)
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NEWArtist: Utagawa Kunisada [歌川 国貞], a.k.a. Utagawa Toyokuni III [三代 歌川 豊国] (Japanese, 1786 – 1865). Signed: ōju Kōchōrō Kunisada ga (應需香蝶楼國貞画)Date: no date seal, no censor seal.
Publisher: Jōshūya Jūzō [上州屋重蔵] (Japanese, 1812 – 1876); seal jū (重) under roof; Marks 01-065 | 191a; Seal name: Jōjū (上重)
Media: Aiban yoko-e uchiwa-e (団扇絵), color woodblock print, 227 x 297 mm.
A half-length portrait of a woman in a three-quarter view facing right. She holds a glass vessel with water and a goldfish in her left hand, while her right hand delicately grasps a small black folding fan with a red circle, possibly symbolizing the sun (日, hi). Her black hair is arranged in an elaborate updo, adorned with a red fabric bow and hairpins. She wears a layered kimono of blue gradient fabric with floral motifs, a red under-kimono (襦袢, juban) with white plum blossoms (梅, ume) on the collar and a hemp leaf motif (麻の葉, asanoha) on the sleeves, and a black obi with red lining, decorated with peonies (牡丹, botan). To the left, wisteria flowers (藤, fuji) and umbrellas (傘, kasa) hang above a ritual display stand (祭壇, saitan), which holds a miniature portable shrine (神輿, mikoshi) and a tengu Noh mask (天狗能面, tengu nōmen). The artist's signature is in the lower right, and the publisher's seal appears in the lower left quadrant. The title in the upper right corner reads: "Flower-Comparing Contest, Artificial Flower Making at the Festival" (Hanakura Sairei no Zōka - 花競 祭礼乃造花). -
NEWArtist: Utagawa Kunisada [歌川 国貞], a.k.a. Utagawa Toyokuni III [三代 歌川 豊国] (Japanese, 1786 – 1865) Signed: Kōchō Toyokuni ga (香蝶豊國画) in a red toshidama cartouche Censor seal: Kinugasa (衣笠) & Yoshimura (吉村) Date: 1849 (Kaei 2) – according to Marks, the only year Kinigasa and Yoshimura sealed jointly Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, fl. c. 1815 – 1869), san (三) in a circle, in a 'boar eye' shape. Block carver: Matsushima Fusajirō [松島房次郎], seal: hori kō Fusajirō (彫工房次郎) Media: Aiban yoko-e uchiwa-e (団扇絵), color woodblock print, 228 x 293 mm. A half-length portrait of a woman in a three-quarter view facing left. She delicately holds a blue-blossomed flower, possibly sumire (菫, violet), in her right hand, using its stem to fish clams from a pot of water. In her left hand, she holds a small, dark object—likely a freshly retrieved clam. Rather than referencing textile dyeing, this action appears to illustrate a playful or symbolic act, possibly related to traditional customs or metaphors in Japanese culture. Her black hair is styled in an elaborate updo, adorned with gilt hairpins (簪, kanzashi) and a brown ribbon with a tie-dye pattern (絞り, shibori). She wears a multi-layered kimono featuring a blue floral-patterned outer robe (花模様, hanamoyō) with a red and white kawari-eri (変り衿) and a blue and black inner collar. The obi (帯) is purple and black, with subtle decorative elements. The background is divided into three decorative panels: — Left: Orange with a swastika-based geometric pattern (紗綾形, sayagata). — Middle: Deep purple. — Right: Dark grey with a yellow interlocking circles pattern (七宝, shippō). The title, in a red cartouche with gilt framing in the upper right, reads “New Types of Dyeing” (Shingata Atsurae Zome, 新形誂染). While the title suggests a reference to textile techniques, the imagery instead depicts a whimsical or metaphorical scene of clam-fishing using a flower stem. The artist’s signature appears in the lower right within a toshidama cartouche (年玉枠), with the publisher’s seal below and the censor seals above. The block carver’s yellow seal is placed near the flowers in the lower left.Provenance: Ruth Sylvia Nelkin (American,1927 – 2022); Christie's NY: Nov 24, 1997, lot 98; Heritage Auctions Jun. 27, 2024 (Ruth Nelkin Collection)
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NEWArtist: Utagawa Kunisada [歌川 国貞], a.k.a. Utagawa Toyokuni III [三代 歌川 豊国] (Japanese, 1786 – 1865) Signed: Toyokuni ga (豊國画) in a yellow toshidama cartouche Censor seal: Fuku (福) & Muramatsu (村松) Date seal: 1853 — Kaei 6 (丑, Year of the Ox), 2nd month Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, fl. c. 1815 – 1869), san (三) in a circle Block carver: Yokokawa Takejirō [横川竹二郎] (Japanese, fl. 1845 – 1863); Seal: hori Take (彫竹) Media: Aiban yoko-e uchiwa-e (団扇絵), color woodblock print, 214 x 295 mm A half-length portrait of a woman in a three-quarter view facing left. She holds an almost full sake cup—with three blue toshidamas—in her left hand and a shamisen plectrum (bachi, 撥) in her right. Resting on her lap, partially visible in the lower part of the print, is a shamisen (三味線). Her black hair is styled in an elaborate updo, adorned with gilt hairpins (簪, kanzashi), a comb, and a blue ribbon. She wears a blue outer kimono featuring a chrysanthemum diaper pattern (青海波, seigaiha) with black shippō (七宝) roundels, a red under-kimono, and a blue latticed collar. The obi (帯) is purple, decorated with green-and-blue dragons and waves over a sayagata (紗綾形) lattice pattern. The background features a hemp-leaf geometric pattern (麻の葉, asanoha) transitioning from black to crimson in a gradient, with a mist-like effect at face level. A round red cartouche in the upper right contains the title "The six days [of the week], the 5th day" (Roku hisei — butsumetsu, 六陽盛 物(ぶつ)愛(めつ)). The artist’s signature (豊國画, Toyokuni ga) appears in a yellow toshidama cartouche in the lower left, accompanied by the publisher’s and censor seals, as well as the block carver’s seal (彫竹, hori Take). There has been extensive discussion regarding the meaning of the title in the red round cartouche, which reads 六曜盛物愛. Breaking Down the Inscription: The first two characters, 六曜 (Rokuyō), refer to the six-day Buddhist calendar cycle, which determines lucky and unlucky days. This system became widely used in the late Edo and Meiji periods. The six days are:- 先勝 (Senshō) – Lucky in the morning
- 友引 (Tomobiki) – "Pulling a friend" (good for social matters)
- 先負 (Sakimake) – Lucky in the afternoon
- 仏滅 (Butsumetsu) – The most unlucky day
- 大安 (Taian) – The most lucky day
- 赤口 (Shakkō) – Bad luck
Taian (大安) – The most lucky day Senshō (先勝) – Lucky in the morning -
NEWArtist: Utagawa Kunisada [歌川 国貞], a.k.a. Utagawa Toyokuni III [三代 歌川 豊国] (Japanese, 1786 – 1865) Signature: Toyokuni ga (豊國画) in a red toshidama cartouche Artist: Utagawa Hiroshige [歌川 広重] a.k.a. Andō Hiroshige [安藤 広重] (Japanese, 1797 – 1858). Signature: Hiroshige ga (廣重画) in a red rectangular cartouche Date and Censor Seal: 1858 — Ansei 5 (午, Year of the Horse) plus Approved (kiwame, 極) Publisher: Iseya Sōemon [伊勢屋惣右衛門] (Japanese, 1776 – 1862); seal: hanmoto Ue (板元上) Media: Aiban yoko-e uchiwa-e (団扇絵), color woodblock print, 232 x 298 mm Title: Muronotsu in Harima Province (Harima Muronotsu, 播磨室ノ津) Series: A Set of Ports in the Provinces (Shokoku minato tsukushi, 諸国湊尽) A half-length portrait of a woman in a three-quarter view facing right, seated in a boat, gazing toward the Muronotsu harbour. She extends her right hand as if pointing toward the merchant ships anchored near the shore. Her black hair is arranged in an elaborate updo, adorned with gilt hairpins (簪 kanzashi) and a decorative comb. She wears a multi-layered kimono featuring a purple outer robe with delicate butterfly and floral embroidery, a blue-patterned collar, and a red underlayer with a geometric motif. The background landscape, designed by Hiroshige, depicts Muronotsu in Harima Province, an important Edo-period port along the Inland Sea. Several merchant ships with masts loaded with goods are docked near the tree-covered coastline while a smaller sailing vessel moves across the bay. The sky transitions into a soft pink and purple gradient, suggesting sunrise or sunset.In Kunisada: Imaging, Drama and Beauty by Robert Schaap [LIB-1212.2017], we see the following description: In this composition, Kunisada was responsible for the female figure seated in a boat and Utagawa Hiroshige for the background landscape. The setting is Muronotsu in Harima province, which was known at the time as an important harbour catering to traffic along the Inland Sea to Kyoto. It also had the reputation for its female entertainers and prostitutes. They feature in the no play Courtesans of Muro (Murogimi) in which the deity at Muro performs a dance, lured in by the singing of these women.
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NEWArtist: Utagawa Kunisada [歌川 国貞], a.k.a. Utagawa Toyokuni III [三代 歌川 豊国] (Japanese, 1786 – 1865) Signed: Toyokuni ga (豊國画) in a red toshidama cartouche Censor seal: Fuku (福) & Muramatsu (村松), sealed together from 3/1849 to 11/1851 Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, fl. c. 1815 – 1869), san (三) in a circle, in a 'boar eye' shape Media: Aiban yoko-e uchiwa-e (団扇絵), color woodblock print, 222 x 285 mm Series: Benkei-chequered fabrics woven to order (Atsuraeori Benkei Konomi, 誂織弁慶好) or Fabric woven in Benkei taste (atsurae ori benkei gonomi, 誂織弁慶好) A bijin (美人, beautiful woman) is depicted in a refined setting, holding an unadorned uchiwa (団扇, flat fan) in her left hand while delicately raising a writing brush (筆, fude) in her right, "poised as if she is about to write something, perhaps on the fan" (LIB-1212.2017. Robert Schaap, Kunisada: Imaging Drama and Beauty). Her attire is elaborate, featuring a kimono (着物) with bold purple curves complemented by an underlayer with red geometric motifs. The background is dominated by a chequered fabric pattern, referencing the Benkei-checkered cloth (弁慶縞, Benkei-jima), traditionally associated with the twelfth-century warrior monk Musashibō Benkei (武蔵坊弁慶). This pattern holds historical and cultural significance, often symbolizing strength and resilience. The woman's elaborate hairstyle (日本髪, nihongami) is adorned with large decorative hairpins (簪, kanzashi), further emphasizing her status and elegance. The print belongs to a series that incorporates this distinctive checkered motif, connecting it to the visual traditions established by Kunisada (国貞) and his contemporary Utagawa Kuniyoshi (歌川国芳), who also produced a series of beauties wearing Benkei-checkered kimono, such as Women in Benkei-Checkered Cloth (島揃女弁慶, Shimazōroi onna Benkei, c. 1844). Reference: Robert Schaap. Kunisada: Imaging Drama and Beauty / Introduction by Sebastian Izzard, contributions by Paul Griffith and Henk. J. Herwig. — Leiden: Hotei Publishing, ©2016, p. 68, pl. 42.
