//Landscape
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    Utagawa Kuniyoshi. Images of Sansen: Tate River / Fan print, 1856.

    Artist: Utagawa Kuniyoshi (歌川国芳) (1797–1861) Signed: Ichiyūsai Kuniyoshi ga (一勇齋國芳画) with kiri seal Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, fl. c. 1815 – 1869); seal san (三) in a circle Censor Seal: aratame (改) Date Seal: tatsu, ni (辰 弍) — 2nd month of the Year of the Dragon, Ansei 3 (2/1856) Block Carver: Yokokawa Takejirō (横川竹二郎) (fl. 1845–1863); seal: 彫竹 (hori Take) Media: Rigid fan print (Aiban Yoko-e Uchiwa-e, 合判横絵 団扇絵), 227 × 286 mm Series: Images of Sansen (三川圖會, Sansen zue), or The Three Rivers Illustrated The print depicts a summer scene along Tatekawa, or Takegawa (竪川), a canal running east-west along the east bank of the Sumida River (隅田川) in Edo (Tokyo). In the background, boats are seen floating on the Sumida River, likely engaged in yūsuzumi (夕涼み, evening cool-off), a popular summer pastime during the Edo period. In the foreground, a woman dressed in a deep blue kimono with red underlayers and a red obi sits inside a riverside establishment. A towel rests on her arms as she reaches for a sliced watermelon. Her hair is styled with decorative hairpins, a comb, and a red ribbon. She is positioned against a bamboo railing that opens onto the river, framing the distant bridge and water traffic. Inscription in the red cartouche to the left of the woman's head: Sansen zue, Tate kawa; 三川圖會 竪川 [reformed writing: 三川図会] [furigana: さんせん づゑ] The print belongs to the series Images of Sansen (三川圖會, Sansen zue), which depicts scenes along three Edo waterways: Fukagawa (深川), Tatekawa (竪川), and Miyatogawa (宮戸川) (see Kuniyoshi Project):
    "This series of uchiwa (non-folding fan prints) is listed in Kuniyoshi by Basil William Robinson (Victoria and Albert Museum, London, 1961) as number 99". On p. 45 it is listed as: Sansen dzuye (Tategawa). The Three Rivers Illustrated. Women's heads. Fan Prints. (3)

    Fukagawa (深川); 1st month of 1856

    Miyatogawa (宮戸川) ; 2nd month of 1856
    [Thanks to Horst Graebner of Kunisada Project]
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    Artist Unknown. Famous Places of Edo: Eitai Bridge / Fan print, 1st quarter of the 19th century

    Artist: Unknown No censor seal, no date seal. Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, fl. c. 1815 – 1869); seal: san (三) in a circle Media: Aiban yoko-e uchiwa-e (団扇絵), color woodblock print, 228 x 265 mm. The fan print (uchiwa-e, 団扇絵) depicts the Eitai Bridge (永代橋, Eitai-bashi), one of Edo’s famous landmarks, spanning the Sumida River (隅田川, Sumida-gawa). The wooden arched structure is crowded with pedestrians. Below, the river is bustling with boats, including pleasure barges (yakata-bune, 屋形船) and transport vessels. In the background, Mount Fuji (富士山, Fujisan) rises above the horizon, while the soft gradient of the sky suggests early morning or evening light.
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    Utagawa Hiroshige III. Famous Places of Tokyo: Horikiri Irises / Fan print, 1890s.

    Artist: Utagawa Hiroshige III [三代目 歌川 広重] (Japanese, 1842/3 – 1894); other names: Andō Tokubei [安藤徳兵]. Signed: Hiroshige hitsu. Publisher: Ebiya Rinnosuke [海老屋林之助] (Japanese, fl. c. 1832–1895); also known as Ueki Rinnosuke [植木林之助]; Seal name: 海老林 (Ebirin); Marks: 21-017 | 040b Date: No seal. Media: 団扇絵 (uchiwa-e, fan print), 233 × 290 mm Title: Famous Places of Tokyo: Horikiri Irises (Tōkyō Meisho Horikiri Shōbu) [東京名所 堀切菖蒲]

    Two elegantly dressed women stand on a veranda overlooking the Horikiri iris fields. The woman on the right, wearing a blue kimono decorated with ducks and waves, gestures with both hands in a manner suggesting she is describing something tall—perhaps emphasizing the impressive height of the irises below. The woman on the left, dressed in a kimono featuring a stream and blossoms at the bottom and bats at the upper part, is sitting on the veranda’s barrier, gazing at the bystanders in the field below.

    A teapot, two cups, and a red folding fan are arranged on the veranda, suggesting that the women have been enjoying a relaxing moment. Red-and-white lanterns hang from the structure while a pine tree extends nearby, framing the upper left of the scene.

    Below, the iris field is in full bloom, with enormous irises creating a vibrant display. A worker, distinguishable by his traditional blue attire and round straw hat (sugegasa, 菅笠), tends to the plants. Three men in European-style Meiji-era outfits stand on a path running along the iris field—one holds an umbrella, while all three carry swords, signalling their status. One of them gestures toward the women, possibly in admiration or conversation.

    In the background, distant hills, village rooftops, and haystacks stretch across the horizon. The sky transitions in a striking gradient from deep red to blue, a feature of Meiji-era prints. This red pigment, often called bengara (紅殻, iron oxide red) or aniline red, was commonly used in Meiji-era woodblock prints to enhance atmospheric effects and convey dusk or early evening settings.

    The house in this print could be a place of entertainment, catering to well-off visitors who enjoyed the irises, drinks, and possibly geisha company or courtesan services. While Horikiri was not as famous as Yoshiwara, its beautiful surroundings and teahouses made it an ideal place for refined leisure—sometimes with an implicit erotic element.

    Utagawa Hiroshige III. Thirty-six Views of Modern Tokyo: Irises at Horikiri.

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    Christie’s, New York: Japanese Prints, Paintings, and Screens, Monday, 24 November 1997 / Sales Catalogue.

    Softcover auction catalogue, 267 x 209 mm, pictorial wrappers with white lettering to cover, black and white lettering to spine; pp. [2] 3-171 [1]; auction held at Christie’s New York on Monday, 24 November 1997, featuring lots 1-297, with properties from Sir Valentine Abdy and various owners; includes descriptions and images of Japanese prints, paintings, and screens. Sheet with realized prices laid in. Title-page: JAPANESE PRINTS, PAINTINGS AND SCREENS | Properties of | SIR VALENTINE ABDY | VARIOUS OWNERS | Auction | Monday, 24 November 1997 at 10.00 a.m. (Lots 1-297) | 502 Park Avenue at 59th Street | New York, New York 10022 | Sale Code | In sending written bids or making inquiries, this sale should be referred to as #8782 | Viewing | […] | Christie’s | 502 Park Avenue at 59th Street | New York, New York 10022 | Telephone: (212) 546 1000 | Internet: http://www.christies.com | (30) Registered at the above address No. 1128160 | {CHRISTIE’S device} || Sixty Fan Prints in this catalogue. 39. TOYOKUNI: aiban uchiwa-e (22.9 × 26.6 cm.); Nakanocho yozakura no zu "Picture of cherry blossoms by night in Nakanocho", a courtesan and two kamuro strolling under cherry trees, signed Toyokuni ga, the censor’s seal corresponding to 1817, published by Ibaya Senzaburo—good impression, very good color, slightly soiled, upper right corner torn and restored. — Estimate: $2,000-3,000. 40. TOYOKUNI: aiban uchiwa-e (22.8 × 29.8 cm.); a bust portrait of a beauty holding the edge of a hand-towel flung over her shoulders, signed Toyokuni ga, censor’s seal corresponding to 1822—very good impression, good color, slightly soiled and rubbed along edges, a minor stain by the edge. — Estimate: $3,000-4,000. 79. KUNISADA: aiban uchiwa-e (23.2 × 30.1 cm.); a bust portrait of a woman dyeing her teeth black against a light-blue background sprinkled with mica, the facial lines printed in deep red, signed Kunisada ga—fine impression and color, slightly soiled along edges, binding holes on right restored, a few minute holes on right. — Estimate: $3,000-4,000. 80. KUNISADA: aiban uchiwa-e (23.8 × 30.1 cm.); a bust portrait of a beauty in a flower-patterned purple robe exposing the left shoulder against a light-blue background sprinkled with mica, the facial lines printed in deep red, signed Kunisada ga, square kiwame censor’s seal and published by Ibaya Senzaburo—fine impression and color, slightly soiled and stained along edges, a few minor stains on right. — Estimate: $3,000-4,000. 82. KUNISADA: aiban uchiwa-e (22.8 × 26.3 cm.); a woman in a kimono patterned with blue seals against a background of purple and black checks and green stenciled “deerskin” patterned with horses and grasses, signed Kunisada ga, the censor’s seal corresponding to 1826, published by Ibaya Senzaburo—fine impression and color, slight stain along right edge, binding holes on right, a minute worm hole in the lower margin. — Estimate: $3,000-4,000. 83. KUNISADA: aiban uchiwa-e (22.9 × 27.1 cm.); a woman wiping her neck before an iris-patterned background, signed Kunisada ga, censor’s seal corresponding to 1826, published by Ibaya Senzaburo—very good impression and color, corners slightly soiled, minor damage and binding holes on right edge, a minute worm hole on the lower margin. — Estimate: $2,500-3,500. 84. KUNISADA: aiban uchiwa-e (22.7 × 29.9 cm.); a woman holding a bamboo basket against a background of tie-dyed fabric patterned with hagi (bush clover), from the series Mutamagao “Six jewel faces”, the pattern on the background alluding to the Jewel River in Noji (Hagi no Tamagawa) in Ōmi province, suggested by the title, signed Kunisada ga—fine impression and color, binding holes on right. — Estimate: $3,000-4,000. 85. KUNISADA: aiban uchiwa-e (22.7 × 29.8 cm.); Prince Mitsugi against a background of tie-dyed fabric patterns holding a spray of yamabuki, from the series Mutamagao “Six jewel faces”, the flower alluding to the Jewel River in Ide (Yamabuki no Tamagawa) in Yamashiro province, signed Kunisada ga—fine impression and color, slightly stained along side edges, binding holes on right. — Estimate: $3,000-4,000. 86. KUNISADA: aiban uchiwa-e (22.8 × 30 cm.); a woman against a background of tie-dyed fabric patterns holding a sake cup and a paper toy figure of a monk, from the series Mutamagao “Six jewel faces”, the monk alluding to the Jewel River in Kōya (Koya no Tamagawa) in Kii province, signed Kunisada ga—fine impression and color, binding holes on both sides, slightly soiled along the lower edge. — Estimate: $3,000-4,000. 87. KUNISADA: aiban uchiwa-e (22.7 × 30 cm.); a woman washing clothes in a basin against a background of tie-dyed fabric patterns, from the series Mutamagao “Six jewel faces”, alluding to the Jewel River in Chōfu (Chōfu no Tamagawa) in Musashi province, signed Kunisada ga—fine impression and color, binding holes on both sides, a few minute worm holes near edges. — Estimate: $2,000-3,000. 88. KUNISADA: aiban uchiwa-e (22.7 × 30.2 cm.); a courtesan against a background of tie-dyed fabric patterns looking at a book illustration of a woman pounding cloth, from the series Mutamagao “Six jewel faces”, the book illustration alluding to the Jewel River in Mishima (Toi no Tamagawa) in Settsu province, signed Kunisada ga—fine impression and color, slightly soiled along left edge, binding holes on right, a few minor worm holes on left. — Estimate: $2,500-3,500. 89. KUNISADA: aiban uchiwa-e (22.7 × 29.8 cm.); a beauty against a background of tie-dyed fabric patterns holding a pipe looking at toy birds hanging from bamboo, from the series Mutamagao “Six jewel faces”, the bird decorations alluding to the Jewel River in Noda (Chidori no Tamagawa) in Rikuzen province, signed Kunisada ga—fine impression and color, binding holes on both sides, slightly stained along lower edge, a few minute worm holes. — Estimate: $2,500-3,500. 97. KUNISADA: aiban uchiwa-e (21.9 × 29.2 cm.); Fune kara agari “Disembarking from the boat”, signed Toyokuni ga and published by Ibaya Senzaburo—fine impression and color, binding holes and minor damage on right. — Estimate: $2,500-3,500. 98. KUNISADA: aiban uchiwa-e (22.8 × 29.34 cm.); Shinkei atsurae zome “Modern form of custom-dyeing”, illustrating a beauty before a background of textile patterns fishing clams from a bowl with a stem of flower, signed Kocho Toyokuni ga and published by Ibaya Senzaburo—fine impression, color, and condition. — Estimate: $3,000-4,000. 103. KUNISADA AND HIROSHIGE: aiban uchiwa-e (22.1 × 29.5 cm. ea. approx.); a complete set of seven prints from the series Sohitsu nanato meguri “Twin-brush journey to the seven hot springs [of Hakone]”, comprising Kiga, Tonosawa, Yumoto, Miyanoshtia, Dogashima, Ashinoyu and Sokokura, each of a beauty or a male figure before a landscape of a separate hot spring, signed Toyokuni ga and Hiroshige hitsu and published by Ibaya Senzaburo, censor’s seal corresponding to 1854, second month—fine impressions and color, slightly soiled along bottom edges, some with fold line and minute worm hole along the left edge with restoration on reverse. This landscape series appears to be unrecorded. — Estimate: $15,000-20,000. 110. KUNIYOSHI: aiban uchiwa-e (22 × 29.9 cm.); Suika no suisho “Watermelon, water”, a beauty extracting seeds from a slice of watermelon, from the series Gogyo no uchi “The five natural elements”, signed Ichiyusai Kuniyoshi ga and published by Surugaya Sakujiro—very good impression and color, binding holes on right, slightly soiled and stained along edges, some minute worm holes, upper left corner torn. — Estimate: $1,500-2,000. 111. KUNIYOSHI: aiban uchiwa-e (22 × 29.9 cm.); Chochin no kasho “Lantern, fire”, a beauty lighting a lantern, from the series Gogyo no uchi “The five natural elements”, signed Chooro Kuniyoshi ga and published by Surugaya Sakujiro—very good impression and color, slightly soiled and stained along edges, binding holes on left, minor worm holes on upper corners, upper right corner torn. — Estimate: $1,000-1,500. 112. KUNIYOSHI: aiban uchiwa-e (21.9 × 29.1 cm.); Zato no seiran “Fine weather for a blind man” from the series Otsu hakkei “Eight views of Otsu-e”, illustrated by a beauty and a dog, the small cartouche depicting a blind man attacked by a dog, signed Ichiyusai Kuniyoshi ga, published by Tsujya Yasubei—fine impression and color, binding holes partly torn on right, a minute worm hole on upper right margin. Two other images from the same set are illustrated in Narazaki Muneshige, Victoria and Albert Museum II, Ukiyo-e masterpieces in European collections (Tokyo: Kodansha, 1989), pls. 34 and 35. — Estimate: $2,000-3,000. 113. KUNIYOSHI: aiban uchiwa-e (22.8 × 29.4 cm.); a woman standing by a lantern and holding an umbrella under cherry petals falling against the night sky, from the series Ukiyo hakkai “Eight nocturnal trysts”, signed Ichiyusai Kuniyoshi ga and published by Ibaya Senzaburo—fine impression and color, paper slightly toned and stained, minor damage on left edge, a pin hole on upper left margin. — Estimate: $2,500-3,500. 115. KUNIYOSHI: aiban uchiwa-e (22.8 × 29.4 cm.); a woman putting her hand on a palanquin in the lantern-light, from the series Ukiyo hakkai “Eight nocturnal trysts”, signed Ichiyusai Kuniyoshi ga and published by Ibaya Senzaburo—fine impression and color, a minute hole in the upper right margin, otherwise very good condition. — Estimate: $3,000-4,000. 116. KUNIYOSHI: aiban uchiwa-e (22.8 × 29.6 cm.); a woman beside a bath tub, from the series Ukiyo hakkai “Eight nocturnal trysts”, signed Ichiyusai Kuniyoshi ga and published by Ibaya Senzaburo—very good impression and color, a minute hole in upper right margin, a minor tear in the lower margin on right edge, otherwise good condition. — Estimate: $2,000-3,000. 117. KUNIYOSHI: aiban uchiwa-e (22.8 × 29.5cm.); a woman in the evening on a boat enjoying green soybeans, from the series Ukiyo hakkei “Eight nocturnal trysts,” signed Ichiyusai Kuniyoshi ga and published by Ibaya Senzaburō—Fine impression and color, minute hole on upper right margin, a few minute ink smudges. Another image from the same set of the Niwaka festival in the Yoshiwara, is illustrated in Narazaki Muneshige, Ukiyo-e Masterpieces in European Collections (Tokyo: Kodansha, 1989), pl. 36, and in R. A. Crighton, The Floating World, Japanese Popular Prints 1700-1900 (London: Her Majesty’s Stationery Office, 1973), no. 11. — Estimate: $2,500–3,500. 118. KUNIYOSHI: aiban uchiwa-e (22.8 × 29.4cm.); an ochazuke (rice with tea) shop waitress carrying a tray and teapots, signed Chooro Kuniyoshi ga and published by Ibaya Senzaburō—very good impression and color, a worm hole on upper edge, otherwise very good condition. — Estimate: $3,000–4,000. 119. KUNIYOSHI: aiban uchiwa-e (22.8 × 29.6cm.); a beauty in a mirror with a sprinkled mica background arranging her hair, signed Chooro Kuniyoshi ga and published by Ibaya Senzaburō—fine impression and color, binding holes on left, two minute holes in the upper right margin. Other images from the same set, of a mother and baby, and a woman trimming her hairline, are illustrated in Suzuki Jūzō, Kuniyoshi (Tokyo: Heibonsha, 1992), pls. 280 and 281; and Suzuki Jūzō, Kunisada/Kuniyoshi/Eisen, Ukiyo-e Taikei, vol. 10, (Tokyo: Shueisha, 1974), pl. 44; A beauty applying powder is in Utagawa Kuniyoshi ten (Utagawa Kuniyoshi exhibition) (Tokyo: Riccar Art Museum, 1978), no. 172. — Estimate: $3,000–4,000. 120. KUNIYOSHI: aiban uchiwa-e (22.9 × 29.5cm.); a beauty smoking reflected in a mirror, signed Chooro Kuniyoshi ga and published by Ibaya Senzaburō—very good impression and color, a minor worm hole in the lower left margin. See lots 119 and 121 for other images in the set. — Estimate: $4,000–6,000. 121. KUNIYOSHI: aiban uchiwa-e (22.7 × 29.2cm.); a beauty reflected in a mirror with a sprinkled mica background frightening a cat with her reflection, signed Chooro Kuniyoshi ga and published by Ibaya Senzaburō—fine impression and color, very slight glue stain along top and left edge, minute pin holes on upper right margin. Another impression of this print was sold in these Rooms, June 27, 1985, lot 106. See lots 119 and 120 for other images in the set. — Estimate: $6,000–8,000. 122. KUNIYOSHI: aiban uchiwa-e (23.7 × 30.7cm. ea. approx.); two prints from the series Dogai kesho no tawamure “Brushes with make-up off the beaten path,” one titled Omori illustrating animated cosmetic utensils strolling on the seashore at Omori; and the other watching fireworks on a river bank, titled Hanabi “Fireworks”, signed Chooro Kuniyoshi giga and the other signed Ichiyusai Kuniyoshi giga, published by Kogaya Katsugorō—very good impression, slightly faded, trimmed and laid down, the first with a few minute worm holes on top. — Estimate: $2,000–3,000. 126. KUNIYOSHI: aiban uchiwa-e (22.4 × 28.5cm.); illustrating figures on a blue ground forming spinning tops, signed Ichiyusai Kuniyoshi giga and published by Ibaya Senzaburō—very good impression and color, extensive wood grain, trimmed into the shape of the fan. — Estimate: $2,000–3,000. 127. KUNIYOSHI: aiban uchiwa-e (22.7 × 30.5cm.); Tōsei musume katagi “The spirit of modern young women”, a beauty repapering shōji while a child peeks through the frame, signed Chooro Kunisada ga and published by Ebiyu Rinnosuke—very good impression and color, slightly soiled and rubbed along bottom and left edge, minute worm holes in upper left margin, a minute stain in the center. — Estimate: $1,500–2,000. 128. KUNIYOSHI: aiban uchiwa-e (21.9 × 29cm.); a beauty standing by a stone lantern in a moonlit garden, subtitled Tsuki “Moon”, from the series Setsugekka no uchi “Snow, moon and flowers”, signed Ichiyusai Kuniyoshi ga—fine impression, very good color, damaged binding holes on left edge, some minor worm holes on edges. — Estimate: $2,000–3,000 129. KUNIYOSHI: aiban uchiwa-e (21.9 × 30.1cm.); Kaze “Wind”, a beauty on a boat enjoying the evening cool on the river, from the series Kachōgetsu “Flowers, birds, wind and moon”, signed Ichiyusai Kuniyoshi ga and published by Sanoya Kihei—very good impression and color, some minor stains, binding holes on left, a minute worm hole on upper right margin. — Estimate: $2,000–3,000. 130. KUNIYOSHI: aiban uchiwa-e (23.3 × 29.6cm.); a beauty dedicating a hand towel at a washing trough in a shrine, signed Ichiyusai Kuniyoshi ga—fine impression and color, slightly soiled and rubbed along edges, vertical center fold. — Estimate: $2,000–3,000 131. KUNIYOSHI: aiban uchiwa-e (22.6 × 29.3cm.); Sumidagawa “Sumida River”, a beauty under a cherry tree by the river bank putting her hand on a figure of Daruma, representing cherry blossoms, from the series Rokkakusen “Six flower rivers”, signed Ichiyusai Kuniyoshi ga and published by Iseya Sōemon—very good impression and color, slightly stained along edges, slightly soiled, binding holes on right, corners trimmed, a minute worm hole in the upper right margin. Other images from the same set: Ayasegawa, with hydrangea, in Suzuki Jūzō, Kuniyoshi (Tokyo: Heibonsha, 1992), pl. 288; and Okawa, with morning glory, in Tokyo kokuritsu hakubutsukan zuhan mokuroku, Ukiyo-e hanga hen (Illustrated catalogue of the Tokyo National Museum, Ukiyo-e prints), vol. 3, (Tokyo: Tokyo bijutsu, 1974), no. 3063. — Estimate: $1,000–1,500. 132. KUNIYOSHI: aiban uchiwa-e (21.9 × 28.9cm.); a beauty with a partially unrolled letter before a portrait of Sōjōbō, king of the tengu, in a decorated frame, entitled Imayō gakumen awase “Collection of modern framed pictures”, signed Ichiyusai Kuniyoshi ga—very good impression and color, very slightly stained on the bottom, binding holes on right, a minor worm hole in upper right margin. — Estimate: $3,000–4,000. 133. KUNIYOSHI: aiban uchiwa-e (21.9 × 28.9cm.); a beauty holding a fan and burning a taper beside a portrait of Soga no Jūrō in a decorated frame, entitled Imayō gakumen awase “Collection of modern framed pictures”, signed Ichiyusai Kuniyoshi ga—very good impression and color, binding holes on both sides, a minor worm hole in the upper right margin. Estimate: $2,500–3,500. 134. KUNIYOSHI: aiban uchiwa-e (22.9 × 29.3cm.); a woman biting the edge of her kerchief before a backdrop of a cart and clematis vines, entitled Mitate Konkai “Parody of Konkai” (the alternate title for the kyōgen farce, Tsuri gitsune), signed Ichiyusai Kuniyoshi ga and published by Ibaya Senzaburō—fine impression and color, two minute worm holes on upper left margin, otherwise very good condition. Another impression of this print was sold in these Rooms, November 2, 1996, lot 612. Estimate: $3,000–4,000. 135. KUNIYOSHI: aiban uchiwa-e (23.7 × 30.1cm.); Aishō kagami “Mirror of compatibility”, a beauty against a stylized wave-and-fish-patterned background reading a letter, below a round mirror cartouche enclosing a bust portrait of Shirai Gonpachi, signed Ichiyusai Kuniyoshi ga and published by Ibaya Kyūbei—fine impression and color, minor glue stain along upper edge, few minute worm holes in margins. Estimate: $3,000–4,000. 136. KUNIYOSHI: aiban uchiwa-e (22.8 × 29.4cm.); a beauty with an umbrella beside a playbill, entitled Imayō sugata “Modern style”, signed Chooro Kuniyoshi ga and published by Iseya Sōemon—fine impression and color, a minute worm hole on left edge, a minute hole on left, binding holes on right. Estimate: $2,000–3,000. 137. KUNIYOSHI: aiban uchiwa-e (22.7 × 29.2cm.); a woman on a bridge under an umbrella throwing paper votive slips printed with Buddhist figures into the wind, signed Chooro Kuniyoshi ga—very good impression, color and condition. Estimate: $2,000–3,000. 138. KUNIYOSHI: aiban uchiwa-e (22.5 × 28.9cm.); Koshikibu, from the series Reppuden “Legends of heroic women”, signed Ichiyusai Kuniyoshi ga and published by Ibaya Senzaburō—very good impression and color, binding holes on left, minute worm holes on top in the center. Estimate: $2,500–3,500. 139. KUNIYOSHI: aiban uchiwa-e (22.7 × 29.6cm.); Kitsune “Fox”, from the series Mitsuboshi no uchi, a beauty wiping her hands with a towel at a washing trough at an Inari shrine, signed Ichiyusai Kuniyoshi ga, censor’s seal corresponding to 1852, second month, published by Kojimaya Jūbei—very good impression and color, binding holes on left, very slight stain along edges and in lower margin, otherwise good condition. Estimate: $3,000–4,000. 140. KUNIYOSHI: aiban uchiwa-e (22.8 × 29.6cm.); Karudo “Hunter”, from the series Mitsuboshi no uchi, illustrating a beauty in a thick overcoat holding a piece of wood, signed Ichiyusai Kuniyoshi ga, censor’s seal corresponding to 1852, second month—very good impression and color, binding holes on right, otherwise good condition. Estimate: $3,000–4,000. 141. KUNIYOSHI: aiban uchiwa-e (22.8 × 29.5cm.); Atsurae zome konomi no irodori “Favorite colors for custom-dying” and subtitled Fuji nezumi “Mount Fuji gray”, signed Ichiyusai Kuniyoshi ga, censor’s seal corresponding to 1853, second month, published by Iseya Sōemon—fine impression and color, binding holes on left edge, otherwise good condition. Two other images from the same set, entitled Edo murasaki “Edo purple” and Ai miru cha “Tea-hut brown”, are illustrated in Uragami Toshirō, Ukiyo-e Utagawa-ha san kyōsho ten - Kunisada Kuniyoshi Hiroshige no sekai (Exhibition of three masters of the Utagawa school - the world of Kunisada, Kuniyoshi and Hiroshige -) (Hagi: TYS, 1991), pls. 74, 75, 109; and Tokyo kokuritsu hakubutsukan zuhan mokuroku, Ukiyo-e hanga hen (Illustrated catalogue of Tokyo National Museum, Ukiyo-e prints), vol. 3, (Tokyo: Tokyo bijutsu, 1974), no. 3053. Estimate: $2,500–3,500. 142. KUNIYOSHI: aiban uchiwa-e (22.8 × 29cm.); Natsu no yugure “A summer evening”, a beauty on a veranda with overhanging branches of a flowering tree, signed Ichiyusai Kuniyoshi ga, censor’s seal corresponding to 1853, second month, published by Enshūya Matabei—very good impression and color, slightly soiled along bottom edge, minor stains on the bottom. Two other images from the same set, featuring hydrangea and peony, were sold in these Rooms, April 26, 1995, lots 247A and 248. Estimate: $2,500–3,500. 143. KUNIYOSHI: aiban uchiwa-e (20.8 × 29.9cm.); a woman on a terrace reading a libretto, from the series Enkyoku zōui “Collection of charming music”, signed Ichiyusai Kuniyoshi ga, censor’s seal corresponding to 1853, second month—very good impression and color, binding holes on left, paper thinned in upper left margin, otherwise good condition. Estimate: $3,000–4,000. 144. KUNIYOSHI: aiban uchiwa-e (20.7 × 29.3cm.); a woman by a koto reading a libretto, from the series Enkyoku zoroi “Collection of charming music”, signed Ichiyusai Kuniyoshi ga, censor’s seal corresponding to 1853, second month—very good impression and color, very slight stain along side edges, otherwise good condition. Estimate: $2,500–3,500. 145. KUNIYOSHI: aiban uchiwa-e (22.8 × 29.4cm.); a woman on a terrace dancing with a fan, from the series Enkyoku zoroi “Collection of charming music”, signed Ichiyusai Kuniyoshi ga, censor’s seal corresponding to 1853, second month—very good impression, color and condition. Estimate: $2,500–3,500. 146. KUNIYOSHI: aiban uchiwa-e (22.8 × 29.4cm.); a woman reading a libretto and a cat dozing on her back, from the series Enkyoku zoroi “Collection of charming music”, signed Ichiyusai Kuniyoshi ga, censor’s seal corresponding to 1853, second month—very good impression and color, slightly stained along side edges, binding holes on left edge. Estimate: $3,000–4,000. 147. KUNIYOSHI: aiban uchiwa-e (22.7 × 29.5cm.); a beauty on a terrace overlooking the flowering plum and bushes of a garden in snow carrying snow on a tray, the snow image from the series Bijin gekka setsu “Beauties, moon, flower and snow”, signed Ichiyusai Kuniyoshi ga, censor’s seal corresponding to 1853, second month, published by Kojimaya Jūbei—very good impression and color, slightly stained along edges, minute tear on upper left margin, otherwise good condition. Estimate: $3,000–4,000. 148. KUNIYOSHI: aiban uchiwa-e (23.2 × 30cm.); Ryo “Cool”, a woman dipping her wrists in the river over the edge of a boat, from the series Imayō rokkasen “Six modern choices for summer”, signed Ichiyusai Kuniyoshi ga, the censor’s seal corresponding to 1853, second month, published by Izumiya—fine impression and color, left edge very slightly soiled, minute worm holes on lower margins, otherwise good condition. Estimate: $2,500–3,500. 149. KUNIYOSHI: aiban uchiwa-e (22.8 × 29.5cm.); Mizuhan “Water guard”, a woman standing by a tank of goldfish, from the series Imayō rokkasen “Six modern choices for summer”, signed Ichiyusai Kuniyoshi ga, the censor’s seal corresponding to 1853, second month, published by Izumiya—very good impression and color, very slight stain along side edges, otherwise good condition. Another image from the same set, titled Hirune “Afternoon nap”, is illustrated in Suzuki Jūzō, Kuniyoshi (Tokyo: Heibonsha, 1992), p. 289, and in Nakau Ei, Edo onna ukiyo-e meisaku ten (Exhibition of masterpieces of ukiyo-e of Edo women), (Osaka: D square, 1993), no. 66. Estimate: $2,000–3,000. 150. KUNIYOSHI: aiban uchiwa-e (22.8 × 29.7cm.); Doyo mairi “Midsummer visit”, a woman carrying a tea cask beside a patterned screen, from the series Imayō rokkasen “Six modern choices for summer”, signed Ichiyusai Kuniyoshi ga, the censor’s seal corresponding to 1853, second month, published by Izumiya—fine impression and color, binding holes on left edge, a minute worm hole in right margin, otherwise very good condition. Estimate: $3,000–4,000. 151. KUNIYOSHI: aiban uchiwa-e (22.7 × 29.5cm.); Sensōji no yuki “Snow at Sensōji temple”, from the series Mutsu geshiki “Six views”, signed Ichiyusai Kuniyoshi ga, censor’s seal corresponding to 1854, second month, published by Iseya Sōemon—fine impression and color, slight stain along both side edges, otherwise good condition. Estimate: $3,000–4,000. 152. KUNIYOSHI: aiban uchiwa-e (22.7 × 30.1cm.); two geisha in identical costume on a terrace dancing with folding fans, signed Kuniyoshi ga, censor’s seal corresponding to 1854, fourth month, published by Ibaya Senzaburō—fine impression and color, slightly stained along side edges, binding holes on right. Estimate: $1,500–2,000. 153. KUNIYOSHI: aiban uchiwa-e (17.3 × 27.6cm. ea. approx.); a group of four prints comprising: a woman at a goldfish seller’s booth, signed Chooro Kuniyoshi ga; Sakura no seirei ryakuden “Abbreviated biographies of charming women”, signed Chooro Kuniyoshi ga and published by Tsujiyama Yasubei; and Hajimetsuki and Shunju from the series Gosekku no uchi “The five seasonal festivals”, signed Ichiyusai Kuniyoshi ga and Chooro Kuniyoshi ga, published by Kojimaya Jūbei—very good impressions and color, binding holes, the third and fourth with minor worm holes on top, the third with some minor stains. Estimate: $1,500–2,000. 167. HIROSHIGE: aiban uchiwa-e (22.5 × 29cm. ea. approx.); three figures with their facial features composed by the Chinese characters for zen (good) and aku (evil), entitled Zen aku hana no ayatsuri “Puppets manipulated by good and evil”, signed Hiroshige gihitsu and published by Ibaya Senzaburō; and Kyo Arashiyama, Togetsukyō “Togetsu bridge, Arashiyama, Kyoto” from the series Santo fūkei “Views of three cities”, signed Hiroshige ga, censor’s seal corresponding to 1854, fifth month—good impressions, the first slightly faded and toned, the second slightly soiled, rib marks with slight glue stains, some minute worm holes restored, pasted on paper on edges, both trimmed into the shapes of the fans. Estimate: $4,000–6,000. 168. HIROSHIGE: aiban uchiwa-e (21.8 × 29.5cm.); illustrating a riverbank and boats, signed Oju (by order) Hiroshige sha—good impression and color, slightly soiled, vertical centerfold line restored, restoration on corners and at the bottom near the center. Estimate: $3,000–4,000. 182. KUNIMARU: aiban uchiwa-e (22.5 × 29.3cm.); a bust portrait of a beauty with a pipe looking at a mirror stand against a purple and black-check background holding a pipe, signed Kunimaru ga and published by Ibaya Senzaburō—good impression, very good color, slightly soiled, rubbed and stained along edges, binding holes on right, a few minor worm holes. Estimate: $2,000–3,000. 183. KUNIHIDE: aiban uchiwa-e (22.7 × 29.5cm.); a beauty with a shamisen before a background of iris, entitled Meisho Kihōji Horikiri hanashobu “Famous place, Iris at Kihō Temple in Horikiri”, signed Kunihide ga, censor’s seal corresponding to 1853, second month, published by Masugin—very good impression and color, very slight stain along edges, binding holes on left edge. Estimate: $2,000–3,000. 184. KUNIYOSHI, KUNICHIKA AND YOSHITSUYA; three uchiwa-e of umbrellas, one of blue ground with Yoshikuni seal of Kuniyoshi, another with inscription Tokiwazu uta and crest, and another of the reverse of the second, the second and third published by Ibaya Kyūbei; a diptych of a theatrical scene, actor Ichikawa Danjūrō IX in the Shibaraku role within a mimasu crest border, signed (by order) Toyohara Kunichika hitsu, dated Meiji 11 (1878) and published by Tanaka Shōzō; and a sumizuri-e of a theatrical scene, including the name of the stage-carpenter and property man, signed Ichieisai Yoshitsuya ga—very good impressions and color, slightly soiled, slight stain along upper edges and minor worm holes near edges, the second, very good color, slightly creased on upper left corner on the left panel, the third, slightly toned, soiled, creased and rubbed, some restorations. Estimate: $2,000–3,000.
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  • NEW

    Christie’s, New York: Japanese Art, Thursday 24 April 1997 / Sales Catalogue.

    Softcover auction catalogue, 267 x 209 mm, pictorial wrappers with red lettering to cover, black and white lettering to spine; pp. [2] 3-179 [1]; auction held at Christie’s New York on Thursday, 24 April 1997, featuring lots 60-340, with properties from Japan Society, Inc., N.Y., Mary Griggs Burke, a lady, a European private collection, and various sources; includes descriptions and images of Japanese paintings, prints, ceramics, lacquer, and other works of art.

    Title-page: JAPANESE ART | Properties from | JAPAN SOCIETY, INC., N.Y. | MARY GRIGGS BURKE | A LADY | A EUROPEAN PRIVATE COLLECTION | AND FROM VARIOUS SOURCES | Auction | Thursday, 24 April 1997 at 11.00 a.m. approx. (Lots 60-194) | and at 2.00 p.m. (Lots 195-340) | 502 Park Avenue at 59th Street | New York, New York 10022 | Sale Code | In sending written bids or making inquiries, this sale should be referred to as #8670 | Viewing | […] |Christie's | 502 Park Avenue at 59th Street | New York, New York 10022 | Telephone: (212) 546 1000 | Internet: | http://www.christies.com | (40) Registered at the above address No. 1128160 | {CHRISTIE'S device} ||

    Sixteen Fan Prints in this catalogue. 248. KUNIYOSHI: aiban uchiwa-e (22.5 × 29.4 cm.); entitled Hana no nishiki "Flower brocade", a half-length portrait of a beauty on a peony-decorated ground", signed Kuniyoshi ga and dated 4/1855—very good impression and color, some minute worm holes, binding holes on right. — Estimate: $2,500–3,500. 280. HIROSHIGE: aiban yoko-e, uchiwa-e (21.8 x 28.4 cm.); Tokaido, zuso Hakone sanchō kosui no zu “View of the lake in mountains at Hakone on the Tokaido between Izu and Sagami province”, and subtitled Bōsetsu “Evening snow”, from the series Omote ura chiji hakkei “Eight views of stations of the Tokaido and Kiso-kaidō”, signed Hiroshige ga—very good impression and color, faint vertical center fold restored on reverse, slightly soiled near corners. PROVENANCE: Theodor Scheiwe, sold in these Rooms, March 21, 1989, lot 264. PUBLISHED: Rose Hempel, Ausstellung Japanische Holzschnitte (Munster, 1959), no. 244, p. 145; Rose Hempel, Kunst Aus Japan (Essen: Villa Hügel, 1972), no. 496, p. 273; For another impression see Suzuki Juzo, Hiroshige (Tokyo: Nihon keizai shimbun, 1970), pl. 46. — Estimate: $10,000-15,000. 281. HIROSHIGE: aiban uchiwa-e (22.2 x 28.1 cm.); Yotsuya Shinjuku tsutsumi no hana “Cherry blossoms on the bank at Shinjuku, Yotsuya”, three women on a terrace overlooking cherry blossoms on the opposite bank in the night, signed Hiroshige ga, dated 1856, second month, and published by Ibaya Senzaburo—very good impression, color and condition. —Estimate: $8,000-10,000. 282. HIROSHIGE: aiban uchiwa-e (21.9 × 29.2 cm.); Sugita no baien "Plum garden at Sugita", signed Hiroshige ga and published by Sanoya Kihei—very good impression and color, binding holes on right restored, a minute repair on lower left. — Estimate: $8,000-10,000. 283. HIROSHIGE: aiban uchiwa-e (22.2 × 29.7 cm.); Buya Tsukuda no isaribune "Fishing boats at Tsukudajima in Musashi province", from the series Shokoku meisho "Famous places in the various provinces", signed Hiroshige ga over the publisher’s seal, published by Dansendō [Ibaya Senzaburō]—very good impression and color, faint center fold reinforced on the reverse, margins slightly soiled. PROVENANCE: Alexis Rouart, sold American Art Association, New York, February 6, 1922, lot 210; This impression was sold in these Rooms, December 4, 1984, lot 212. — Estimate: $10,000-15,000. 284. HIROSHIGE: aiban uchiwa-e (22.6 × 29 cm.); a tree and branches of yaezakura (double cherry blossoms) on a yellow background, signed Hiroshige hitsu and published by Dansendō [Ibaya Senzaburō]—very good impression and color, slightly stained, restoration on right. EXHIBITED: Pratt Graphics Center, New York, "Hiroshige: An exhibition of selected prints and illustrated books" (February 26—March 19, 1983); PUBLISHED: Sebastian Izzard, Hiroshige: An exhibition of selected prints and illustrated books (New York: The Ukiyo-e Society of America, 1983), no. 77. — Estimate: $6,000-8,000 285. HIROSHIGE: aiban uchiwa-e (23.2 × 29.4 cm.); Rokugo no watashi "The ferry at Rokugō", from the series Meisho fūkei "Famous landscapes", signed Hiroshige ga—very good impression and color, a worm hole in lower left margin, pasted on paper on upper corners; EXHIBITED: Pratt Graphics Center, New York, "Hiroshige: An exhibition of selected prints and illustrated books" (February 29—March 19, 1983); PUBLISHED: Sebastian Izzard, Hiroshige: An exhibition of selected prints and illustrated books (New York: The Ukiyo-e Society of America, 1983), no. 60. — Estimate: $6,000-8,000. 286. HIROSHIGE: aiban uchiwa-e (21.9 × 29 cm.); Shinshu, Suwako yukihare "Clear weather after snow at Lake Suwa in Shinano province", from the series Fuji sanjūrokkei no uchi "The thirty-six views of Mount Fuji", signed Hiroshige ga, dated 1842, and published by Ibaya Kyubei—very good impression and color, margins slightly soiled, vertical center fold restored.. EXHIBITED: Pratt Graphics Center, New York, "Hiroshige: An exhibition of selected prints and illustrated books" (February 29—March 19, 1983). PUBLISHED: Sebastian Izzard, Hiroshige: An exhibition of selected prints and illustrated books (New York: The Ukiyo-e Society of America, 1983), no. 51. — Estimate: $5,000-7,000. 287. HIROSHIGE: aiban uchiwa-e (22.4 × 28.7 cm.); Kodai buto "Classical dance", signed Ryūsai and published by Maruya Seijiro—good impression and color, slightly foxed, some minor worm holes, slightly creased, mat stain along edges, pasted on paper on upper corners, minor tear on upper edge. — Estimate: $3,000-4,000. 288. HIROSHIGE: chūban uchiwa-e (24.6 × 18.6 cm.); Kai Kawaguchi kosui no zu "View of the lake at Kawaguchi in Kai province", signed Hiroshige hitsu—good impression and color, slightly soiled, faint vertical center fold, binding holes on right restored. — Estimate: $3,000-4,000. 289. HIROSHIGE: aiban uchiwa-e (22.8 × 28.2 cm.); Karasaki no hitotsu matsu "Single pine tree at Karasaki", from the series Omi hakkei "Eight views of Lake Biwa", signed Hiroshige ga, dated 1852, seventh month, and published by Enshuya Matabei—very good impression and color, minute stains in lower right, pin holes on upper corners, vertical center fold. — Estimate: $5,000-7,000. 290. HIROSHIGE: aiban uchiwa-e (23.4 × 30 cm.); three stems of peonies on a blue background, signed Hiroshige ga, dated 1857, second month, and published by Marukyudo—very good impression and color, holes on right restored, some minor worming restored, otherwise good condition. EXHIBITED: Pratt Graphics Center, New York, "Hiroshige: An exhibition of selected prints and illustrated books" (February 26—March 19, 1983). PUBLISHED: Sebastian Izzard, Hiroshige: An exhibition of selected prints and illustrated books (New York: The Ukiyo-e Society of America, 1983), no. 76. — Estimate: $10,000-15,000. 291. HIROSHIGE: aiban uchiwa-e (22 × 29.8 cm.); Kodai meiyo shiki no hana "Flowers of the four seasons with historical associations", subtitled Natsu, Mikawa Yatsuhashi no tojaku "Summer, Iris at Yatsuhashi in Mikawa province" and a rectangular cartouche with a portrait of the poet Ariwara no Narihira, signed Hiroshige ga and published by Surugaya—very good impression and color, margins slightly soiled, binding holes on left restored. EXHIBITED: Pratt Graphics Center, New York, "Hiroshige: An exhibition of selected prints and illustrated books" (February 26—March 19, 1983). PUBLISHED: Sebastian Izzard, Hiroshige: An exhibition of selected prints and illustrated books (New York: The Ukiyo-e Society of America, 1983), no. 52. — Estimate: $10,000-15,000. 292. HIROSHIGE: aiban uchiwa-e (22.1 × 26 cm.); a seated woman taking a sake cup from a boat-shaped porcelain bowl under a night river landscape with full-moon, signed Hiroshige ga, dated 1852, fourth month, and published by Ibaya Senzaburo—very good impression and color, slightly stained, a minute worm hole restored. EXHIBITED: Pratt Graphics Center, New York, "Hiroshige: An exhibition of selected prints and illustrated books" (February 29—March 19, 1983). PUBLISHED: Sebastian Izzard, Hiroshige: An exhibition of selected prints and illustrated books (New York: The Ukiyo-e Society of America, 1983), no. 69. — Estimate: $4,000-6,000. 312. HIROSHIGE II: aiban uchiwa-e (22.7 × 29.1 cm.); an aizuri-e “blue print”, Tsunohazu juniso otaki “Great waterfall of the twelve shrines at Tsunohazu”, signed Hiroshige ga, dated 1861—very good impression and color, corners slightly soiled, binding holes and minor worming on left restored. PROVENANCE: A. Maroni. — Estimate: $4,000-6,000. 313. HIROSHIGE II: aiban uchiwa-e (22.7 × 29.7 cm.); Owari, Atsuta kaigan “Atsuta Beach in Owari province”, from the series Shokoku meisho zue “Illustrations of famous places in the various provinces”, signed Hiroshige ga, seal dated [1862], and published by Iseya Soemon—very good impression and color, slightly browned along lower edge. — Estimate: $8,000-10,000.
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  • NEW

    Howard A. Link, Kobayashi Tadashi. Hiroshige: The James A. Michener Collection. — Honolulu: Honolulu Academy of Arts, 1991.

    Two softcover volumes, 295 × 210 mm each, uniformly bound in wrappers with black and grey lettering and a vignette to the front, lettering to the spine, and vignette to the back; both housed in a black cloth slipcase with gilt lettering in a gilt octagonal frame. Vol. 1: Pale yellow wrappers, vignette in colour, lettering, two green flyleaves in the front and back, pp.: [1] 2–167 [1]; contains a detailed study of Hiroshige’s travel prints, including the Tōkaidō and Kisokaidō series. Title-page: PRINTS | BY UTAGAWA HIROSHIGE | IN THE JAMES A. MICHENER | COLLECTION | VOLUME 1 | Essay by Kobayashi Tadashi | Catalogue by Howard A. Link | {publisher’s device} Honolulu Academy of Arts 1991 || Vol. 2: Cream wrappers, vignette in black and white, lettering, pp.: [1] 2–64; provides additional analysis, notes, and a selected bibliography. Title-page: PRINTS | BY UTAGAWA HIROSHIGE | IN THE JAMES A. MICHENER | COLLECTION | VOLUME 2 | Essays and Catalogue Commentaries | by Howard A. Link | {vignette portrait} | {publisher’s device} Honolulu Academy of Arts 1991 || Contributors: Utagawa Hiroshige (Japanese, 1797–1858) – artist. James A. Michener (American, 1907–1997) – collector. Kobayashi Tadashi (Japanese, born 1941) – essayist. Howard A. Link (American, dates unknown) – catalogue compiler. Honolulu Academy of Arts (now Honolulu Museum of Art) – publisher.

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  • NEW

    Hiroshige: Nature and the City: Prints from the Alan Medaugh Collection / by Jim Dwinger, John T. Carpenter, et. al. — Ghent: Ludion, 2023.

    Hardcover volume 295 x 240 mm, blue cloth spine over paper boards; front pictorial with lettering, back blue with white lettering, red lettering to spine; pp. [1–6] 7–527 [528]; catalogue of the Alan Medaugh collection of Utagawa Hiroshige prints, featuring an annotated catalogue of 500 works, divided into nine thematic sections, with essays by leading scholars.

    Title-page: HIROSHIGE | NATURE AND THE CITY | PRINTS FROM THE ALAN MEDAUGH COLLECTION | — | CATALOGUE BY JIM DWINGER | ESSAYS BY JOHN T. CARPENTER | ANDREAS MARKS | RHIANNON PAGET | SHIHO SASAKI | COLLECTION PHOTOGRAPHY BY RYOKO MATSUBA | — | PUBLISHED BY LUDION ||

    Contributors:

    • Utagawa Hiroshige [歌川 広重] a.k.a. Andō Hiroshige [安藤 広重] (Japanese, 1797–1858) – artist.
    • Medaugh, Alan (American, 1963 – 2024) – collector.
    • Dwinger, Jim – catalogue compiler.
    • Carpenter, John T. – essayist.
    • Marks, Andreas – essayist.
    • Paget, Rhiannon – essayist.
    • Sasaki, Shiho – essayist.
    • Matsuba, Ryoko – collection photographer.
    • Ludion – publisher.

    ISBN: 978-9493039988.

    For more information, you can refer to the publisher's page: accartbooks.com

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    Utagawa Hiroshige II. The Great Waterfall at the Twelve Shrines of Tsunohazu / Fan print, 1861.

    Title: The Great Waterfall at the Twelve Shrines of Tsunohazu (Tsunohazu juniso otaki) [角筈十二社大滝] from an untitled set of views of famous places in Edo. Artist: Utagawa Hiroshige II [二代目 歌川広重] (Japanese, 1826 – 1869) – a son-in-law of Andō Hiroshige. Signature: Hiroshige ga [廣重画] Dimensions: Aiban yoko-e uchiwa-e, 226 x 291 mm. Combined date/censor seal: tori, 酉 / kiwame 極 – 1861 (Man'en 2 / Bunkyū 1 from 19/II). Publisher: Yama-Ta; seal: [板元, 太] – Hanmoto, Ta; Marks 19-044 | U421b: An unknown publisher in Edo, fl. c. 1815-61. Provenance: Collection of Maroni, Albert (French, 1852 – 1923), red stamp in the bottom-left corner. Reference: [LIB-3429.2025] Christie’s, New York: Japanese Art, Thursday 24 April 1997 / Sales Catalogue; lot № 312.
    An aizuri-e (blue print) on a popular topic, many times depicted by Andō Hiroshige and Hiroshige II, including the below print by the latter No. 45, the Twelve Kumano Shrines at Tsunohazu (Tsunohazu Kumano jûnisha), from the series Forty-Eight Famous Views of Edo (Edo meisho yonjûhakkei)「江戸名所四十八景　四十五　角筈熊野十二社」
     
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  • Inside-painted glass snuff bottle with design of a mountain landscape, signed and sealed

    Large inside-painted glass snuff bottle with a mountain landscape design, signed and sealed Wu Chen Zuo, with a serpentine stopper. Mid-20th century. Dimensions: H105 x W61 x D27 mm.
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  • Emilie Mediz-Pelikan. Roman Pines Grove / Chromolithography, c. 1905.

    Colour (tone) lithography, image 396 x 508 mm, sheet 532 x 654 mm; before signature, undated; pencil ms inscription: Föhrenhain — E. Pelikan / 200M to the lower-right corner of the sheet. Contributor: Emilie Mediz-Pelikan (Austrian, 1861 – 1908) – artist. Seller's description: Austrian-German painter and graphic artist. Emilie Mediz-Pelikan was born in Vöcklabruck in 1861. She studied at the Vienna Academy and followed her teacher Albert Zimmermann to Salzburg and in 1885 to Munich. In 1891 she married the painter and graphic artist Karl Mediz (1868 - 1945), with whom she lived in Vienna and from 1894 in Dresden. She was in contact with the Dachau Artists' Colony and went on study trips to Paris, Belgium, Hungary and Italy. In the Dachau artists' colony she was friends with Adolf Hölzel and Fritz von Uhde. In 1889 and 1890 she spent time in Paris and in the Belgian artists' colony Knokke. In 1898 she was represented at the first art exhibition of the Vienna Secession, and in 1901 at the International Art Exhibition in Dresden. In 1903 she and her husband had a group exhibition, at the Hagenbund in Vienna. In 1904, she showed graphic works at the Dresden royal court art dealer Richter, and in 1905 and 1906 she exhibited at the Berlin Künstlerhaus. It was not until around 1900 that she achieved her artistic breakthrough with her landscape paintings. Since the estate of the artist, who died prematurely in Dresden in 1908, was lost in the former GDR until the 1980s, it was quite late that the artist was rediscovered and revalued both in Austrian art history and on the art market. In 1986, the first major exhibitions took place at the Upper Austrian State Museum and the University of Applied Arts in Vienna, followed by numerous smaller exhibitions in private galleries in Vienna, Linz and Munich. The artist received recognition during her lifetime from numerous prominent fellow painters as well as from the art critic Ludwig Hevesi. Together with Tina Blau, Herbert Boeckl, Marie Egner, Theodor von Hörmann, Franz Jaschke, Eugen Jettel, Ludwig Heinrich Jungnickel, Rudolf Junk, Gustav Klimt, Oskar Kokoschka, Johann Victor Krämer, Heinrich Kühn, Carl Moll, Rudolf Quittner, Rudolf Ribarz, Emil Jakob Schindler, Max Suppantschitsch, Max Weiler, Olga Wisinger-Florian and Alfred Zoff, she was a protagonist of the reception of Impressionism in Austria. This style went down in Austrian art history under the term "Stimmungsimpressionismus".
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  • Emilie Mediz-Pelikan. Pine Grove / Chromolithography, 1905.

    Colour (tone) lithography, image 268 x 410 mm, sheet 317 x 470 mm; signed on bottom-left of the image “Pelikan 1905”, and pencil ms inscription: E. Pelikan to the lower-right corner of the sheet. Contributor: Emilie Mediz-Pelikan (Austrian, 1861 – 1908) – artist. Seller's description: Austrian-German painter and graphic artist. Emilie Mediz-Pelikan was born in Vöcklabruck in 1861. She studied at the Vienna Academy and followed her teacher Albert Zimmermann to Salzburg and in 1885 to Munich. In 1891 she married the painter and graphic artist Karl Mediz (1868 - 1945), with whom she lived in Vienna and from 1894 in Dresden. She was in contact with the Dachau Artists' Colony and went on study trips to Paris, Belgium, Hungary and Italy. In the Dachau artists' colony she was friends with Adolf Hölzel and Fritz von Uhde. In 1889 and 1890 she spent time in Paris and in the Belgian artists' colony Knokke. In 1898 she was represented at the first art exhibition of the Vienna Secession, and in 1901 at the International Art Exhibition in Dresden. In 1903 she and her husband had a group exhibition, at the Hagenbund in Vienna. In 1904, she showed graphic works at the Dresden royal court art dealer Richter, and in 1905 and 1906 she exhibited at the Berlin Künstlerhaus. It was not until around 1900 that she achieved her artistic breakthrough with her landscape paintings. Since the estate of the artist, who died prematurely in Dresden in 1908, was lost in the former GDR until the 1980s, it was quite late that the artist was rediscovered and revalued both in Austrian art history and on the art market. In 1986, the first major exhibitions took place at the Upper Austrian State Museum and the University of Applied Arts in Vienna, followed by numerous smaller exhibitions in private galleries in Vienna, Linz and Munich. The artist received recognition during her lifetime from numerous prominent fellow painters as well as from the art critic Ludwig Hevesi. Together with Tina Blau, Herbert Boeckl, Marie Egner, Theodor von Hörmann, Franz Jaschke, Eugen Jettel, Ludwig Heinrich Jungnickel, Rudolf Junk, Gustav Klimt, Oskar Kokoschka, Johann Victor Krämer, Heinrich Kühn, Carl Moll, Rudolf Quittner, Rudolf Ribarz, Emil Jakob Schindler, Max Suppantschitsch, Max Weiler, Olga Wisinger-Florian and Alfred Zoff, she was a protagonist of the reception of Impressionism in Austria. This style went down in Austrian art history under the term "Stimmungsimpressionismus".
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  • Utagawa Sadahide. Maiko Beach in Harima / Preparatory drawing for a fan print, c. 1840s.

    Artist: Veronica Miller attributes the drawing to Utagawa Sadahide [歌川 貞秀] (Japanese, 1807 – 1879), also known as Gountei Sadahide [五雲亭 貞秀]. A preparatory drawing for a fan print depicts two women raking pine needles along the scenic beach at Harima. Inscription at top right "Maiko Beach in Harima" (Harima Maiko no Hama) [播磨 舞子濱], which is now located in Hyōgo Prefecture. The view must be of the Akashi Strait, looking towards Awaji Island. Drawn on thin hanshita paper, mounted lightly at the top to a backing paper, but unbacked. Size: 240 x 319 mm. Attribution to Sadahide based on his design titled "Suma Bay: Matsukaze and Murasame" (see below): See also Maiko Beach, Harima Province, from the series Views of Famous Places in the Sixty-Odd Provinces,     
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  • Utagawa Hiroshige II. Ferry Boats on the Miyagawa, from the series Three Famous Views in Ise / Fan print, 1862.

    Artist: Utagawa Hiroshige II (二代目 歌川広重] (Japanese, 1826 – 1869). Signed: Hiroshige ga. Publisher: Enshūya Matabei [遠州屋又兵衛] (Japanese, fl. c. 1768 – 1881); (Enmata [遠又]), seal 22-009 (Marks). Block carver: Matsushima Masakichi (Japanese, fl. c. 1847-65); seal: [松嶋彫政] – Hori Masa (Frieze, 2009: 142). Combined date seal and kiwame censor seal: Bunkyū 2 (1862). Media: Fan print (uchiwa-e, 団扇絵), 230 x 298 mm Series: Three Famous Views in Ise [伊勢名所三景] (Ise meisho sankei).
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  • Utagawa Hiroshige II. The Province of Kai, from the series ‘Famous Views of Various Provinces’ / Fan print, 1862.

    Artist: Utagawa Hiroshige II (二代目 歌川広重] (Japanese, 1826 – 1869). Signed: Hiroshige ga. Publisher: Iseya Sōemon [伊勢屋惣右衛門] (Japanese, c. 1776 – 1862); seal: Hanmoto, Ue [板元 上] (Marks 19-047 | 156d). Combined date seal and kiwame censor seal: Bunkyū 2 (1862) Media: Fan print (uchiwa-e, 団扇絵), 230 x 296 mm.
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  • Tsukioka Tanka. Picture of Fuji, Tsukuba and Sumida River / Fan print, 1833

    Artist: Tsukioka Tanka [旦霞] (Japanese, fl. c. 1830s – 1840s). Publisher: Enshūya Matabei [遠州屋又兵衛] (Japanese, fl. c. 1768 – 1881); seal: Enmata. Title: Picture of Fuji, Tsukuba and Sumida River [富士筑波隅田川の圖] (フジ ツクバ スミダガワ ノ ズ | Fuji Tsukuba Sumidagawa no zu). Date seal 巳 + kiwame: Tenpō 4 (1833). Media: Fan print (uchiwa-e, 団扇絵), 235 x 302 mm, aizuri-e. Only four prints are known from this artist, all fans: (1) National Diet Library 2542868:
    (2) Ritsumeikan University mai30_07: (3) RISD Museum 34.334:
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  • Utagawa Kunisada, a.k.a. Toyokuni III .

    Utagawa Kunisada (Toyokuni III). Cool Breeze on Tenpōzan Hill in Naniwa / Fan print, 1847-50.

    Artist: Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Signed: Toyokuni ga [豊国 画] in a red toshidama cartouche. Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, c. 1815 – 1869). Block carver: Yokokawa Takejirō [横川竹二郎] (Japanese, fl. 1845 – 1863); seal Hori Take [彫竹]. Double nanushi censor seals: Mera & Murata (1847-50). Title: Cool Breeze on Tenpōzan Hill in Naniwa [浪花天保山の涼] (Naniwa Tenpōzan no ryō). An uncut fan print (uchiwa-e), depicting a gentleman (most probably kabuki actor Nakamura Utaemon IV) holding a pipe with the view of Tenpōzan Hill [天保山] in Naniwa (Osaka) in the background. A distinctive structure on the left is the Sumiyoshi Lantern [住吉高灯篭] (Sumiyoshi takadōrō), which was destroyed by a typhoon in 1950. The character 翫 – moteasobu – on the gentleman’s robe means "take pleasure, play an instrument". Nakamura Utaemon IV [中村歌右衛門] (Japanese, 1796 – 1852); other names: Nakamura Shikan II, Nakamura Tsurusuke I, Nakamura Tōtarō. The character is visually similar to a gentleman drinking tea on a veranda under the shining moon from the series ‘Moon, Sun, Stars’ [月日星] (Getsu hi hoshi), see SVJP-0211-1.2016: The Moon. Utagawa Kunisada. Fan print triptych. Jitsu getsu sei no uchi. Moon. Circa 1850. As noted by Horst Graebner, the gentleman also resembles the character on another Kunisada's actor print, published in 1852 (Waseda University Cultural Resources Database № 114-0232):    
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  • Utagawa Hiroshige. The Bay of Kuroto in Kazusa province, from the series ‘Views of famous places in the provinces’ / Fan print, 1855.

    The Bay of Kuroto in Kazusa province [Kazusa Kuroto no ura]  – an uncut fan print showing "Three women, wearing stylish cotton summer robes are shown in a skiff, admiring the view of Mount Fuji while looking back at the other passengers being helped into small boats". From the series: Views of famous places in the provinces [Shokoku meisho zue]. Ref: Sebastian Izzard. Important Japanese Prints 1830–1860 March 14–20, 2020 exhibition [LIB-2398.2020], №. 53. Not in Faulkner's Hiroshige Fan Prints, however, there are three other prints from the series, under № 95, 96 and 97 on p. 95. Artist: Utagawa Hiroshige [歌川 広重] a.k.a. Andō Hiroshige [安藤 広重] (Japanese, 1797 – 1858). Publisher: Iseya Sōemon [伊勢屋惣右衛門] (Japanese, c. 1776 – 1862). Date seal: 2/1855 Signed: Hiroshige ga. Censor's seal: aratame (certified) and date. Publisher's seal: Iseya Sōemon. Size: Aiban yoko-e uchiwa-e; 22.9 x 29.8 cm
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  • Utagawa Hiroshige. Kominato in Awa province, from the series ‘Famous places in the Bōsō peninsula’ / Fan print, 1852.

    Kominato in Awa province (Bōshū Kominato) [房州小淡] – one of five fan prints in the series Famous places in the Bōsō peninsula (Bōsō meisho) [房粉名所], devoted to the trip undertaken by Hiroshige in 1852 to Bōsō peninsula (present-day Chiba prefecture). “Two fashionably dressed women beside the veranda of a wayside inn gaze out over Uchiura Bay toward the Tanjō Temple on the far shore as a boat sets out to the sea from the fishing hamlet of Kominato. …Hiroshige’s viewpoint is from the lower slopes of Mount Kiyosumi” (Izzard, 2020). Reference: (1) [LIB-2398.2020] Sebastian Izzard. Important Japanese Prints 1830–1860 March 14–20, 2020 exhibition, №. 52. (2) Christophe Marquet. Hiroshige: Les éventails d'Edo / Estampes de la collection Georges Leskowicz. — Paris: In fine, 2022, № 30, p. 94. Artist: Utagawa Hiroshige [歌川 広重] a.k.a. Andō Hiroshige [安藤 広重] (Japanese, 1797 – 1858). Signed: Hiroshige ga [広重 画] in a red cartouche. Publisher: Iseya Ichiemon 伊勢屋市右衛門] (Japanese, c. 1823 – 1864); seal Kaku-Tsuji 角辻 / Marks 16-023|143a. Date seal and double nanushi censor seal: Mera & Watanabe [米良 & 波邊]; Kaei 5, 12th month of the year of the Rat (1852). Dimensions: Fan print (Aiban yoko-e uchiwa-e); 225 x 292 mm.
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  • Nevers faience plate, France, late 17th century.

    Nevers faience footed plate with a hunter and his dog on a mound, in blue over white. Dimensions: Diameter 22.3 cm; H: 3.5 cm. Seller's description: Plat rond en faïence à décor en camaïeu bleu d'un personnage et son chien sur un tertre feuillagé dans un médaillon, frise d'entrelacs. Fin XVIIème.
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  • Montelupo maiolica charger with a gentleman in landscape holding a halberd (Italy, 17th century).

    Footed round dish depicting a gentleman in an urban landscape holding a halberd in a style of "Arlecchino di Montelupo". Unsigned. Chips to the bottom. Diameter: 32.5 cm; Height: 4.5 cm. Produced in Italy, in Montelupo, about 20 kilometres (12 miles) southwest of Florence. 17th century, probably the first half. "After 1630, the year of the great plague, the number of potters reduced considerably and in the second half of the 1600s production suffered a drastic slump, potteries that specialized in a more prestigious production disappeared completely leaving only the potteries that produced kitchenware and terracotta objects" [www.tuscany-charming.it].
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  • Maiolica dish, Venice, Italy, 17th century

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  • Imari incense burner or brush pot decorated in underglaze blue.

    Cylindrical incense burner or brush pot decorated in underglaze blue with landscape and text.

    According to Markus Sesko: a poem by Li Bai admiring the beautiful scenery at Mt. Emei. Dimensions: Diameter: 11.5 cm; Height: 10 cm.
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  • М. Беломлинский. Поселок, Чукотка. 1975.

    Mikhail Belomlinsky. Born 1934, Russia. Village, dogs. Watercolor painting on paper from Chukotka expedition, 1975. Size: 36 x 48 cm.
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  • М. Беломлинский. Вертолет, Чукотка. 1975.

    Mikhail Belomlinsky. Born 1934, Russia. Helicopter. Watercolor painting on paper from Chukotka expedition, 1975. Size: 36 x 48 cm.
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  • Iron tsuba with design of scholar and attendant in landscape. Edo period, 19th century.

    $700.00

    Large oval form tsuba decorated with two human figures (scholar and attendant) under the pine tree admiring a view of a waterfall on the face of the plate, and with stylized dragons carved on the reverse among the symbols of thunder inlaid in gold. The plate is carved in low relief with details inlaid with gold and silver.

    Signed: Yamashiro no kuni Fushimi no ju Kaneie [Kaneie of Fushimi in Yamashiro Province] [山城國伏見住金家], with Kaō. It is a fake signature (gimei).

    Size: Height: 91.9 mm; Width: 85.6 mm; Thickness: 3.4 mm; Weight: 169 g.

    This is a late Edo period, 19th-century export work to cater to the tastes of the European tsuba collectors. It does not have anything in common with the work of great Kaneie masters.

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  • Six-lobed kamakura-bori tsuba with landscape motif. Late Muromachi period (1514-1573).

    Iron tsuba of six-lobed (mutsu-mokkō-gata) form, with six wild boar's eye shape (inome) openings (sukashi). Hitsu-ana and the entire perimeter of tsuba have typical for this school raised rim. Lobes are decorated with landscape motifs in low relief carving (sukidashi-bori). On the obverse: A hut under a full moon, Shinto shrine gates (torii) with pines and a full moon, rocks, a large pine tree, and a temple (pagoda) surrounded by rocks and waves. On the reverse: waves, fishing boat, wild gees in flight under full moon, maple, hexagon (tortoiseshell, kikko) with a dot inside and a dot outside (inclusion/exclusion symbol), and chrysanthemum (the last two may be family crests, mon). Kamakura-bori school. Late Muromachi period (1514-1573). Height: 64.2 mm, width: 74.3 mm, Thickness at seppa-dai: 3.2 mm, at rim 2.6 mm. Weight: 62.8 g (light). NBTHK old green certificate №561: Tokubetsu Kicho  - "Extraordinary Work". A look-a-like tsuba can be found at the Compton Collection, part II, pp. 14-15, №17, though his tsuba is more massive (80 x 84 x 4 mm).

    Compton Collection, part II, pp. 14-15, №17: Kamakura-bori tsuba, ca. 1450.

    NBTHK paper says that the motif is Hakkei (八景), i.e. "Eight Views," so several interpretations are possible (the original Chinese ones, Omi Hakkei, etc.).  However, most likely it is the 'Eight views of Omi' (近江八景  - 'Omi Hakkei'). Why the artist selected a 6-lobed form for depicting 8 views remains unclear, and thus we are in our right to raise the question whether the motif is indeed Hakkei. The term Omi hakkei (eight views of Omi) refers to painting or print sets which illustrate life on the shores of Lake Biwa in Omi (now Shiga Prefecture). The model for such paintings came from China, where, from the eleventh century onward, painters had produced eight views of the Hsiao and Hsiang lake areas of Hunan Province. The themes, which follow the original Chinese models, are: geese descending to land, returning fishing boats, clearing rain, a snow-covered evening landscape, the autumn moon, night rain, a temple bell at evening, and the glow of sunset. Japanese artists have also used the eight-theme approach for other parts of country - including cities - and applied it to subject matter other than landscapes. [Merrily Baird. Symbols of Japan. Thematic motifs in art and design. Rizzoli international publications, Inc., 2001, page 308-9]. Japan Encyclopedia by Louis Frédéric also mentions Omi Hakkei as "Eight landscapes of Omi", and states that this theme was often cited in poetry after 1500. It is likely that the tsuba in focus is designed under the influence of the theme popularity in the 16th century. The theme was effectively exploited by prominent ukiyo-e artists Suzuki Harunobu and Utagawa Hiroshige in the 18th and 19th century, respectively. These are the eight scenes of the theme (see Wikipedia):
    • Returning sails at Yabase (矢橋の帰帆) - Yabase. Yabase is an old harbour on the east side of the lake. Near the Tokaido, it was used for a shortcut to Otsu by boat.
    • Evening glow at Seta (勢多（瀬田）の夕照) - The Chinese Bridge at Seta. The long bridge across the Seta was used by the Tokaido. In the background the "Fuji of Omi", the Mikamiyama. It is just above 400 m, but indeed well visible.
    • Autumn moon at Ishiyama (石山の秋月) - Ishiyama Temple. The Ishiyamadera was located on a hillside next to the Seta River. It got his name form the strange rocks on which it is built, partly on supporting beams. A hut at the upper end of the site allows a view of the lake, and the moon.
    • Clear breeze at Awazu (粟津の晴嵐) - Awazuhara. Awazu is well known for its pine wood, Awazu-ga-hara.
    • Evening bell at Miidera (三井晩鐘) - Mii-dera. Miidera temple was built in the 8th century. Its famous bell is one of the "Three bells of Japan", the other two being those at Byoodo-in, Uji and at Jingoji, Kyoto.
    • Evening rain at Karasaki (唐崎の夜雨) - Karasaki Shrine. Karasaki is a small cape with a single large pine tree, a hitsu-matsu.
    • Wild geese returning home at Katata (堅田の落雁) - Ukimido. Alighting geese cannot be seen always, however the little temple near Katata in the square hōkyō-style, detached from the lakeside, connected by a bridge. The first part of the name uki is the same as in Ukiyo-e, meaning floating. Midō means temple.
    • Evening snow at Hira (比良の暮雪) - Hira Mountains. The Hira mountains on the west side of the lake experience the hard winter, when the winter monsoon brings much snow from the continent.
    In any case, as a conservative, I say that it is a landscape motif and a late Muromachi period work, rather than Omi hakkei motif and a mid-Muromachi work.
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  • Fuchi-kashira with boar and rock motif. Edo period.

    Fuchi-kashira with rock and boar (iwa ni inoshishi zu) motif. Inlay of precious stones or colour glass. Shakudō, gold, gemstones. Technique: Sukibori zogan kiniroe.

    Fuchi: 36 x 21 x 14 mm; Weight: 22 g; Kashira: 32 x 17 x 5 mm; Weight: 8 g; Material : Shakudō; Gold; Gemstones (Chalcedony and Rose Quartz). Possibly, Owari school.
    Signature: Unsigned  
     
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