toyokuni iii kunisada 1786 1864 (10 resultados)

[Edo ca. 1850-56]. Large Oban color woodblock print, 25.6 x 36.8 cm., excellent image, registry & color, mended corners, & couple of pin holes, usual minor surface soiling, scuffing & a touch of typical toning, else a very strong image. RARE . *** **** *** . . A STUNNING BIJIN [JAPANESE BEAUTY] IN ELABORATE KIMONO . . . WITH A YOUNG BOY CARRYING ZOORI [SANDALS] . . . THEY PREPARE FOR KAWA-WATASHI [CROSS THE RIVER] . . * Typical to Toyokuni III style, this print depicts a stunning Japanese beauty wearing an elaborate silk Kimono. She is accompanied by a young boy, who carries three pairs of Zoori [sandals]. They are both bare-footed. This work is an excellent depiction of typical Edo period people and costume. . *** THE ARTIST: . UTAGAWA TOYOKUNI III was actually KUNISADA Tsuroda I [1786- -1864], who used some sixteen various "Go" [studio names] in his career. He was an Ukiyo-e painter, printmaker, who lived & worked in Edo. At age 15, he was a pupil of Toyokuni, eventually taking his master's name, then Kunisada. In 1807 he produced his first book illustrations, in 1808 he began to make actor prints. In 1833 he studied under Hanabusa Ikkei taking the Kohchoroh. In 1844 he took Toyokuni name, in 1854 he retired and called himself Shohzoh. Per Roberts: ".his landscape prints quite fine." See more biography in Roberts & Lane below. . *** CENSOR. PUBLISHER & CARVER SEALS: At the left lower corner is the Toyokuni III signature in a red cartouche, with the 5 gold balls at the right corner, adjacent to which is the carver's seal. Above this are two Kiwame [censor's] date and permission seals. At the far right is the publisher's seal. . *** Color photos are posted to our website. . *** CONDITION: This print has a very strong image, with excellent impression, registry & color. With verso mends to the corners & a couple of tiny mended pin holes. With some of the usual & typical minor surface soiling, scuffing & toning. Else a very fine example of Kunisada's block-signed work. . Ready for matting, framing & display. . *** BIBLIOGRAPHY: . ROBERTS, Laurance P.: A DICTIONARY OF JAPANESE ARTISTS: PAINTING, SCULPTURE, CERAMICS, PRINTS, LACQUER, pp.96-97 * LANE, Richard.: IMAGES FROM THE FLOATING WORLD: THE JAPANESE PRINT INCLUDING AN ILLUSTRATED DICTIONARY OF UKIYO-E, pp.295-296, plates 516-522; pp. 186-187 & plate 189 . *.

[Edo n.d. ca 1847-1853]. Color Oban woodblock print, sheet: 24.8 x 36.8 cm., bit of rubbing & wear to lower left corner 3 small verso mends, now stable, solid andfirm, back clean, colorful comic scene. * * AN OBSCURE EXAMPLE * * . *** **** *** . . A COMICAL SCENE AT THE BEACH . . . A YOUNG JAPANESE LADY TRIES TO GRAB AN OCTOPUS . . * This is a comical scene, it shows a Japanese woman chasing after an octopus along the sea shore. It has blue eyes and stands on all eight legs with a piercing stare at her ! She tries to reach for it while the waves roll on to the beach. . This print is unusual as usually Kunisada was straight forward and did landscapes and portraits without comic humor. . *** THE ARTIST: UTAGAWA TOYOKUNI III was actually KUNISADA Tsuroda I [1786--1864]: . He who used some sixteen various "Go" [studio names] in his career. He was an Ukiyo-e painter, printmaker, who lived & worked in Edo. At age 15, he was a pupil of Toyokuni, eventually taking his master's name, then Kunisada. In 1807 he produced his first book illustrations, in 1808 he began to make actor prints. In 1833 he studied under Hanabusa Ikkei taking the Kohchoroh. In 1844 he took Toyokuni name, in 1854 he retired and called himself Shohzoh. Per Roberts: ".his landscape prints quite fine." See more biography in Roberts & Lane below. . *** Color photos are posted to our website. . *** CONDITION: . This print has excellent impression and registry, with nice aniline-blue indigo in varying shades of ocean and sky. . The print is a bit dusty, with some rubbing to the left corners, with minor loss. There were a couple of old mended worm holes, barely visible now. There is a bit of the usual edge & corner wear, minor at best. . The print is firm, solid and stable. Ready for framing and display. . *** REFERENCE: . ROBERTS, Laurance P.: A DICTIONARY OF JAPANESE ARTISTS: PAINTING, SCULPTURE, CERAMICS, PRINTS, LACQUER, see pages 186, 187, 96, 92. for artist's information. * LANE, Richard.: IMAGES FROM THE FLOATING WORLD: THE JAPANESE PRINT INCLUDING AN ILLUSTRATED DICTIONARY OF UKIYO-E, pp.295-296, plates 516-522; pp. 186-187 & plate 189 . *.

35,3x24,7 cm. Montiert auf weissem Trägerpapier (45x31,7 cm), gestempelt By Sakai Ltd. Tokyo. Sakai reproduziert seit 1874 einige der berühmtesten Holzschnitte Japans. - Mit einem kleinen Wurmgang (ca. 2 cm) im Carrée der Kleidung direkt über der Ablage und einem winzigen Eckausriss unten links. Im Ganzen gute Erhaltung.

[Tokyo ca.1848 Kato?]. Color Oban woodblock print, vertical format, sheet size: 24.5 x 36 cm.,verso blank, usual surface wear & a bit dusty, excellent registry & impression, edges & corners a bit worn, mild folds, now flat as usual. OBSCURE ! . *** **** *** . . SUPERB SAMURAI IMAGERY OF MINAMOTO NO YORIMITSU . . . ALONG WITH HAKAMADARE YASUKE & A MOTHER . . * MINAMOTO NO YORIMITSU [948-1021]: . An historical figure, also known as Minamoto no Raiko, served the regents of the Fujiwara clan along with his brother Yorinobu, taking the violent measures the Fujiwara were themselves unable to take. He is one of the earliest Minamoto of historical note for his military exploits, and is known for quelling the bandits of Oeyama. . Yorimitsu featured in a number of legends and tales, including the legend of Kintaro (Golden Boy a.k.a. Sakata no Kintoki), the legend of Shuten Doji, and the legend of Tsuchigumo. . He was nicknamed: "Raiko" which is used in this print, he is shown threatening Yasuke with a long Wakazashi [sword]. . The Scene: Minamoto sports a Katana [long sword], while Yasuke looks on, the woman holds a long bow. This is most likely a scene from a Kabuki play . Yasuke's nickname is also shown as the "Dorobo" ["thief"] in this print. . The woman below holds a long bow, but it s not clear who's mother she is. . *** THE ARTIST: . UTAGAWA TOYOKUNI III was actually KUNISADA Tsuroda I [1786- -1864], who used some sixteen various "Go" [studio names] in his career. He was an Ukiyo-e painter, printmaker, who lived & worked in Edo. At age 15, he was a pupil of Toyokuni, eventually taking his master's name, then Kunisada. In 1807 he produced his first book illustrations, in 1808 he began to make actor prints. In 1833 he studied under Hanabusa Ikkei taking the Kohchoroh. In 1844 he took Toyokuni name, in 1854 he retired and called himself Shohzoh. Per Roberts: ".his landscape prints quite fine." See more biography in Roberts & Lane below. . *** CENSOR. PUBLISHER & CARVER SEALS: At the left lower corner is the Toyokuni III signature in a red cartouche, with the 5 gold balls at the right corner, adjacent to which is the carver's seal. Above this are two Kiwame [censor's] date and permission seals. At the far right is the publisher's seal. . *** Color photos are posted to our website. . *** CONDITION: . The print has very good impression & registry. Being old, the & bottom edges show their age, they are worn, as is are the two left corners. The verso [back] side shows several tiny old worm holds mended in the distant past. The print is firm and now stable. There are a couple of old but minor folds. The faces are a bit dusty & rubbed as usual for white areas of old prints. Please review photos posted to our website. . *** REFERENCE: . ROBERTS, Laurance P.: A DICTIONARY OF JAPANESE ARTISTS: PAINTING, SCULPTURE, CERAMICS, PRINTS, LACQUER, see pages 186, 187, 96, 92. for artist's information. * LANE, Richard.: IMAGES FROM THE FLOATING WORLD: THE JAPANESE PRINT INCLUDING AN ILLUSTRATED DICTIONARY OF UKIYO-E, pp.295-296, plates 516-522; pp. 186-187 & plate 189 . *.

[Tokyo ca. 1848], Tsujioka. Oban vertical color woodblock print, sheet:24.7 x 35.5 cm., excellent impression very good registry, edges & corners a bit worn, verso a few tiny old mended worm holes, now firm & solid.*NICE EXAMPLE OF ARMOUR* . *** **** *** . . THE TRUE STORY AND HISTORICAL FACT . . . THIS SCENE SHOWS THE BATTLE TO DEATH OF . . . KUMAGAI AND ATSUMORI AT THE BATTLE OF ICHI-NO-TANI . . . THE TWO SAMURAI WEAR ELABORATELY DECORATED ARMOR . . . DURING THE GEMPEI WAR. 1184 . * This battle scene shows the fight to the death between the two antagonists: KUMAGAYA Jiro Naozane and the 'Musician' ATSUMORI Tayu, both wearing superb & colorful armor. . Kumagai Naozane [1207-1208]: He was a famous old soldier who served the Genji (Minamoto) clan during the Heian period. He was a member of the nobility. Kumagai was particularly known for his exploits during the Genpei War, specifically for killing the young warrior [Tayu] or Taira no Atsumori at the battle of Ichi-no-tani in 1184. . Later in life he became a Jodo-shu Buddhist priest, as a disciple of Honen. . TAIRA NO ATSUMORI [1169-1184]: He was a young Samurai of the late Heian period of Japan. He was a member of the Taira clan, who fought in the Genpei War against the Minamoto. He was an accomplished flute player, thus his nick name was "The Musician." .: Atsumori's death and the circumstances surrounding it went on to be fictionalized and retold in numerous forms, including the Heike Monogatari epic. . *** CONDITION: . The print has excellent impression, with a tiny bit of usual minor shrinkage to the registry. Regardless this is a bold and fascinating image. . This print is old, and shows signs of minor scuffing near the lower & right edges. There is a minor bit of old mended worm holes from the verso [back side]. The print is now firm and solid. . *** Color photos are posted to our website. . *** REFERENCE: . LANE, Richard.: IMAGES FROM THE FLOATING WORLD: THE JAPANESE PRINT INCLUDING AN ILLUSTRATED DICTIONARY OF UKIYO-E, see page 316 for this publisher listed; p.338-339 Toyokuni; p.294-295 for Kunisada. * See Wikipedia for both antagonists . *.

[Edo ca 1830's, n.p.].Color Oban woodblock print, sheet:25.2 x 37.6 cm.,printed in 8 vegetal colors, paper a bit toned as usual, a few old verso mends, now stable & solid, no artist signature, publisher or censor seals, excellent registry. . *** **** *** . . OIRAN: PROSTITUTE VIEW AT NEW YOSHIWARA, EDO . . * This is a typical early Edo period [1603-1868] portrait of an Edo [old Tokyo], Yujo or Oiran, [a prostitute] in elaborate Kimono, with the Obi sash at the front, long hair pins, wearing tall black-lacquered Pokkuri [tall lacquered wood Geta shoes] commonly worn by this social class of women. . *** The text reads from right to left: "YOSHIWARA EDO MACHI- ICHOME [the most famous address in the Yoshiwara]: Yoshiwara Edo street first block. Followed at the left by IRAIZUMI SENSHU UCHI, the name of the prostitute [or rest house maid]. . *** THE ARTIST: The work is unsigned but exhibits characteristics of Toyokuni. [UTAGAWA Kunisada I: 1786-1864] . *** Color photos are posted to our website. . *** CONDITION: The print is printed on laid Washi [handmade] mulberry paper. There is some of the usual and typical for this age piece some paper 'toning.' The image has excellent impression and registry, clearly an early pull off the blocks. . There are some old mends to the back side, along the right margin, and at the corners, where it was 'pinned' up in ancient times. Nevertheless the image is strong and pleasing, ready for matting, framing and display. . *.

Condición: Bien. Materia: Xilografía en color japonesa, original del siglo XIX. Publicación:cerca1850. Descripción visual:Preciosa estampa de Kunisada con dos hombres y una bella mujer a la izquierda. Gran ventana en la que se ve un precioso atardecer con la puesta de sol, pájaros volando y el mar. Sombreado Bokashi en agua y cielo. Dimensiones:Tríptico, cada plancha 36 x 25 cm. Las tres planchas, 36 x 75 cm. Técnica:Xilografía en color (el dibujo se crea con planchas de madera) Ukiyo-e. Conservación:Buen estado. EES1.

Condición: Bien. Materia: Xilografía en color japonesa, original del siglo XIX. Lugar, Editor y año: 1840 Dimensiones: 3 planchas Oban 35,5 x 24 cm. (las 3 hojas 35,5 x 72 cm.) Técnica:Xilografía en color (el dibujo se crea con planchas de madera) Ukiyo-e. Firma: Kochoro Toyokuni ga Conservación: Buen estado, doblez en plancha central y pequeños agujeros de xilófago. Utagawa Kunisada, también conocido como Utagawa Toyokuni III (1786-1864) Fue un pintor japonés de la escuela Utagawa, discípulo de Utagawa Toyokuni. Su nombre de nacimiento era Sumida Shogoro IX, aunque también se le conocía como Sumida Shozo . Adoptó como nombre artístico Kunisada y, tras la muerte de su maestro, Toyokuni III. EAS1.

Edo (Tôkyô), portant les sceaux des éditeurs Izumiya Ichibei, Sano-Ki, Iseya Rihei, non daté (vers 1830-1860). 24 x 36,5 cm. Recueil composé de 19 estampes consacrées aux beautés féminines de l'époque d'Edo. La plupart des ces estampes sont des oeuvres non datées de Kunisada, remontant aux années 1830-1860. Les estampes ont été contrecollées sur du papier fort et reliées sous forme de livre au début du XXème siècle. Les plats sont en carton recouverts de toiles à motifs géométriques japonais. Une estampe d'Hokusai abîmée (la cascade d'Amida) (non comptabilisée dans le total des estampes) a été utilisée comme page de garde. Traces d'usage sur la couverture. Papier quelque-peu jauni et marges très réduites, cependant ensemble agréable et intéressant. Envoi de photographies sur demande.

Edo (Tôkyô), portant les sceaux des éditeurs Yamamotoya Heikichi, Izumiya Ichibei, Tsutaya Kichizô, Fujiokaya Keijirô, Ezakiya Tatsukura, Jôshûya Jûzô, Yamaguchiya Tôbei, et Kawaguchiya Uhei, non daté (vers 1850-1860). 25,5 x 37 cm. Recueil composé de 77 estampes consacrées aux acteurs célèbres de Kabuki. La plupart des ces estampes sont des oeuvres non datées de Kunisada, remontant aux années 1850-1860. Les 77 estampes se composent de 12 scènes sur triple feuilles, de 10 scènes sur double feuilles, et de 21 scènes sur feuilles simples. Le tout a été assemblé en accordéon à la fin du XIXème siècle. Les plats sont en carton recouverts de papier gaufré japonais (différents entre le plat supérieur et le plat inférieur). Les estampes sont propres et les couleurs bien préservées, cependant les marges ont été réduites pour permettre le montage en accordéon. Le dos de l'accordéon est constitué de papier washi très fin, laissant apparaître l'encre des estampe en transparence. Traces d'usage sur la couverture, cependant ensemble en excellent état et constituant un ensemble homogène et très intéressant pour l'histoire du théâtre Kabuki à la fin de l'époque d'Edo. Envoi de photographies sur demande.