![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTi0N5AwtJCysnwh4NiznNFgtBNCoavVaIA0zphggqnFHXQv54IUI-0ChMGObt9FRGHEA_ktbJ_nuOm3-xNFqls9Z3wA410jryFNrQBi0wyVpByFFOkyuaRAdz2MhRhH7rrw6tCzejLtJ9/s640-rw/001.jpg) |
ISHIKAWA TOYONOBU (1711−1785) Courtesan and Her Maid Play with Hagoita (Shuttlecocks) Color woodblock print, benizuri-e: dai-ōban tate-e, 17⅜ x 11 in. (44.1 x 27.9 cm); circa early 1750s Signed: Tanjōdō Ishikawa Shūha Toyonobu zu; sealed: Ishikawa uji and Toyonobu Publisher: Tori Abura-chō Hōsendō Maruya; sealed: [emblem] Yama, Maruko han (Maruya Kohei) |
Jusqu'au 29 mars 2018,
Sebastian Izzard Asian Art organise à New York une importante exposition d'estampes japonaises de la collection Henry Steiner (62 estampes et un album).
Steiner a commencé à collectionner en 1974, avec des œuvres de la collection légendaire de Henry Vever, et a été le plus actif dans les années 1970 et 1980. Il continue de collectionner jusqu'en 2012. Dans un essai inclus dans le catalogue de l'exposition, Brève histoire d'une dépendance, Steiner écrit que les estampes du Japon des 18ème et 19ème siècles avaient un "raffinement technique inconnu en Occident" et que "les ukiyo-e ont une verve, une humanité rauque, combinée à une sensibilité inégalée de la couleur. "
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeklUq2C1ZKbWVb_7jomI7KjzbZac-IBEMm3FqDKQss2Yk1Ycc5Zg04T9nAhP8lF74K7KNLVr4KRYnfvrPSZwI8zHeNTY9Ktl3Mb_7ltrTE6FeqCLwLH42iNX8lhAq5OM0EVRz7I8nn7vS/s640-rw/002.jpg) |
SUZUKI HARUNOBU (1724−1770) Beauty Leaping Off the Balcony of Kiyomizu Temple Color woodblock print: chūban tate-e, 10¼ x 7⅝ in. (26 x 19.4 cm); 1765 Conceiver’s seal: illegible [Kosen no shō] |
La superstition et la tradition étaient et restent importantes dans la culture japonaise. Cette beauté de 1765 de Suzuki Harunobu sautant du balcon du temple Kiyomizu, à Kyoto, montre une jeune femme flottant dans l'espace, ayant sauté du balcon du temple, une pratique qui prédisait les perspectives d'un mariage: si elle atterrit en toute sécurité, avec un parapluie en papier en tant que parachute, le mariage réussirait, et sinon, le mariage échouerait.
Dans son essai, Steiner écrit: «J'ai prudemment gardé mes estampes dans une grande boîte mise à l'abri dans un coffre-fort d'une banque. Beaucoup d'amis ont mis en doute cette pratique étrange ... Je préférais les garder à l'abri de la décoloration et de l'humidité de Hong Kong. »Décrivant ses visites dans la cave de la banque comme des« rituels », il se souvient:« Déverrouiller la porte de la voûte et inhaler le léger parfum organique du papier, ouvrir les dossiers et voir avec tendresse les images familières - ressentir l'équivalent imaginaire de la douce lumière du soleil sur mon visage - a toujours été un exemple de ce que, pour moi, le sens de la noblesse culturelle confère à ses aficionados. "
En conclusion de son essai, Steiner écrit: "Il y a quelques mois, j'ai décidé qu'il était temps de les laisser voyager dans de nouvelles maisons et d'avoir ce catalogue en souvenir. Je les confie (selon les termes de mon prédécesseur, Edmond de Goncourt) aux héritiers de mon goût."
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiE553kb7o393lqcUves4qTfMCqoWHrs3bc2jQpfNPF1FVAb0bJR57nXGZUa23_Cyb9wnkSCNPs9EwciW4WJZ-p8IuhL9IwwTbYMzi_1IdK0WkJdpdMyi_f-9zyhyNRl9oYXafUgD2o1Ddx/s640-rw/003.jpg) |
SUZUKI HARUNOBU (1724−1770) Woman Cooling Off on a Veranda Color woodblock print: chūban tate-e, 11 x 7⅞ in. (27.9 x 20 cm); circa 1766─67 Signed: Suzuki Harunobu ga |
Sujets
Parmi les intérêts de Steiner se trouvaient des reproductions de "billboard girls" - des femmes qui faisaient partie de l'image de marque des magasins au Japon et qui étaient à l'époque d'Edo au Japon ce que Twiggy était aux années 1960 ou les Kardashian à notre époque. Ohisa était la fille aînée de Takashima Chōbei, un fournisseur officiel de crackers de riz japonais (sembei) au shogunat. Dans Ohisa de la Takashimaya, par Utagawa Toyokuni, elle est représentée portant une ceinture de coton richement imprimée et tenant dans une main une tasse de thé en porcelaine sur une soucoupe en laque noire. Dans l'autre, elle tient un éventail de papier décoré d'un motif de vagues et de la crête de trois feuilles de chêne rouge de la boutique de sa famille.
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZdOLmZ3CQ5ojCR2GzixsqziE9mpqQ_wJ7uVgFvGOAM45NVHae6XlDYDpZ0YGrVimeenEvHsRaVaroHVnWMkuMrraM1cOgxm3EZFqeXvzy9BTZIo0OJFVnQCjA2n_QHS2quaY14VE0V7Rf/s640-rw/004.jpg) |
SUZUKI HARUNOBU (1724−1770) Prostitute of the Ibarakiya Waylaying a Customer Color woodblock print: chūban tate-e, 10⅝ x 8 in. (27 x 20.3 cm); circa 1767─68 Signed: Harunobu ga |
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhokRwh_jK3wwkV8l_jOS-j4swsghbWWpBbf7DqgYzmMRGMB4oBM8EZQ3O_-bH0zLXba7LIjzrldk6ACcQCm9xr5d7Mt-wfg3aqVivxKcv6MXqVjew0Hp6mgdFHhTl3dhOZ3wSLfDwIwjDc/s640-rw/005.jpg) |
SUZUKI HARUNOBU (1724−1770) Woman Admiring Plum Blossom at Night Color woodblock print: chūban tate-e, 13⅜ x 8⅜ in. (34 x 21.3 cm); 1766 Unsigned |
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCLZoIabc7JX2IVXjIEhOiuRoDeZFdtp6xE-q1gJUuex04meBXegRtx2novUQa0ITejtgOPj-3Brm_GfC2WZN3nxwxj_lI2V9nIOXyiNVE9BpMWTFPLqJP1fWrxJG3kshe2IgMVxMO_vvA/s640-rw/006.jpg) |
SUZUKI HARUNOBU (1724−1770) The Girl Who Resembles Rokō: Pink Carnation (Rokō musume: nadeshiko) Color woodblock print: chūban tate-e, 11 x 8⅜ in (27.9 x 21.3 cm.); circa 1770 Series: Flowers of Beauty from the Floating World (Ukiyo bijin hana ni yosu) Signed: Harunobu ga |
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6C0yNzDb1Fla9k2QSeM-XPgDJ_QS18Vgx76qeI1PQGHbXYUWBDSDp6QiS8MgrmAEUdAXUUfIeMhoNYD6RO-NTUUIxsAKHPevOl5AmlSwlTcDEOpT78-PKDYziWmDY6-YBhRotdkQvJFIK/s640-rw/007.jpg) |
KATSUKAWA SHUNSHŌ (1726−1792) Ichikawa Danjūrō V as Watanabe Kiō Takiguchi Color woodblock print: hosoban, 12¾ x 5⅞ in. (32.4 x 14.9 cm); 1770 Sealed: Hayashi within jar cartouche |
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghFLLL2bw5f69OYe3k6o71gpsVIm4PepbVZw4UXtwMkkiMT7G3unB3on6XSA853id4-ozhAS5FpJd5XOOrbqev7_d0Ft7yULSqYN296wyM4o8vJwEDG-dK0mUeg57YlfE1f0W_hYg0hA8O/s640-rw/008.jpg) |
KATSUKAWA SHUNSHŌ (1726−1792) Ichikawa Ebizō III in a Shibaraku role Color woodblock print: hosoban, 12¾ x 5⅞ in. (31.8 x 15 cm); 1772 Signed: Shunsho ga |
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6Qx1NkM8oj1awdpw_nOCAIAaAjhAWgF5voM3wayOhkUWRlOjKgi3glICUnLM60YlX9qjTqzbqEHDgI0T2z1-goADp_Vevr7YxAaDvOMbosYz3d-ECX0HbI62cGT_9Xg8DSAmxVvMeJ5T-/s640-rw/009.jpg) |
KITAGAWA UTAMARO (1754–1806) Shizuka of the Tamaya: Maidservants Ikuyo and Isono (Tamaya no uchi Shizuka, Ikuyo, Isono) Color woodblock print, yellow ground: ōban tate-e, 14⅞ x 9¾ in. (37.8 x 24.8 cm); circa 1794 Series: Array of Supreme Beauties of the Present Day (Tōji zensei bijin-zoroe) Signed: Utamaro hitsu Publisher: Wakasaya Yōichi |
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0_CRl1v7iewg_HGal2DJOMAXFDMzHVrPJH8g_eLy2TzYXsnMjhqfTrq5vIMI7lKmqQcx0xyFwxSOMAliGLI34VVxMUmORZZPWCsuKIYDBDUeYblZjZ4exr_1RCGXk2AeGlDn4r4wF8pWs/s640-rw/010.jpg) |
KITAGAWA UTAMARO (1754–1806) The Hour of the Horse [12 pm] (Uma no koku) Color woodblock print, yellow ground: ōban tate-e, 15 x 10⅛ in. (38.1 x 25.7 cm); circa 1794–95 Series: Sundial of Young Women (Musume hi-dokei) Signed: Utamaro hitsu Publisher: Murataya Jirobei |
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRxyMnk8nFhxcPPJFLpMCh9enwPe5ew3EQ7kjk3KTavHoE1b-Xfx1eKfhD_P4OfE6_tNquAzS21qidJAZ0VvwxOWyIlFVSlTqpCW6dBxFGz_GqUOvF5eQNBQEp5BAfC9gQgbk32GN6Sn6L/s640-rw/011.jpg) |
KITAGAWA UTAMARO (1754–1806) Women Sewing in an Interior Color woodblock print, yellow ground: ōban tate-e triptych, 14½ x 9½ in. (36.8 x 24.1 cm); 14½ x 9⅝ in. (36.8 x 24.4 cm); 14¾ x 10 in. (37.5 x 25.4 cm); circa 1795 Signed: Utamaro hitsu Publisher: Uemura Yohei |
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirWsD87ge9V0dDCaBitjEPxuyNGwMKDT_wYRBtyT8Ysdz7iVKTI2SErgOv-sWdk50Td4PzQT-g34WzelUJSgWclX9zro4YXSRrHp1o32MVYije4KUWJmDFaIpQQczLuxydOWQ_9GyBueqi/s640-rw/012.jpg) |
KITAGAWA UTAMARO (1754–1806) Women Sewing in an Interior Color woodblock print, yellow ground: ōban tate-e triptych, 14½ x 9½ in. (36.8 x 24.1 cm); 14½ x 9⅝ in. (36.8 x 24.4 cm); 14¾ x 10 in. (37.5 x 25.4 cm); circa 1795 Signed: Utamaro hitsu Publisher: Uemura Yohei |
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhkDqoBPVK1SLS712nErLrjbMtprahBKB1GopnHyd8Kqb0JiCKQYWgw0m2Cug81vpMgusVqR_xuo7_u2g2pkYoFWyLVJRIamFsG-VlDpyRjpIDb36s8QoPbL0w7Z-zxFCbWT_V9VVmH5uN/s640-rw/013.jpg) |
KITAGAWA UTAMARO (1754–1806) Women Sewing in an Interior Color woodblock print, yellow ground: ōban tate-e triptych, 14½ x 9½ in. (36.8 x 24.1 cm); 14½ x 9⅝ in. (36.8 x 24.4 cm); 14¾ x 10 in. (37.5 x 25.4 cm); circa 1795 Signed: Utamaro hitsu Publisher: Uemura Yohei |
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnFu7KVxuwTEm7oxUMuFQ3z1ccze2OJQBnoVKqPoGt52X9xaedAVkSuiydIxgdxBFFc4gsqzvkXp-sSUSPwEMe0Q0jTxVsGtsvMM8KfrLGlZdpg7aVB0Go8NF2XCGEVoeeeLIWEPEwLXz6/s640-rw/014.jpg) |
KITAGAWA UTAMARO (1754–1806) Women Sewing in an Interior Color woodblock print, yellow ground: ōban tate-e triptych, 14½ x 9½ in. (36.8 x 24.1 cm); 14½ x 9⅝ in. (36.8 x 24.4 cm); 14¾ x 10 in. (37.5 x 25.4 cm); circa 1795 Signed: Utamaro hitsu Publisher: Uemura Yohei |
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrb7wvNLa6faiqolirVsUcNd4Rn86VCC9yqi-thOtj02W33fdrklHRzL85R6f80ys9SGf1WtI9u-F1x27cQ3CyDcWKofkDCV-VmphvfMXDiq5C8WLINy_3Ekh8KPVVaNlX0hgSr7Dj_zVm/s640-rw/015.jpg) |
KITAGAWA UTAMARO (1754–1806) The Waitress of the Teahouse at Shiba (Shiba Suminoe [rebus]) Color woodblock print, gray ground: ōban tate-e, 15⅛ x 9⅞ in. (38.4 x 25.1 cm); circa 1795–96 Series: Comparing the Charms of Five Beauties (Gonin bijin aikyō kurabe) Signed: Shōmei Utamaro hitsu (Genuine, painted by Utamaro) Sealed: Honke (true line) Publisher: Ōmiya Gonkurō |
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG71AlJH9ifP4JUUFmlBD_fxj7KfCGhZmhbAZNi4-EntU1jhLrBAmFjMSg_wbbSqaQICn5bva4KX97UGpD7sC0AEF_wCJVjf1uz8yyDWDihMWiFLzpkVXWro8IfHHF1bWqK4l8dO_krH7b/s640-rw/016.jpg) |
KITAGAWA UTAMARO (1754–1806) Waitress of the Fukuju Teahouse Color woodblock print: ōban tate-e, 15 x 10 in. (38.1 x 25.4 cm); circa 1793–94 Series: untitled series of teahouse beauties Signed: Utamaro hitsu Publisher: Yamaguchiya Chūsuke |
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPZykIhNVCJdRtiKM119-PoVCTB6iURTwmINA5gqCcF_ahdqCJyN-d7Kg3pmSBNifWhBuWUj7VgRqF7zdNFdbj6vSAMbK5eddCzOTZk3LCxwDQ1PWuTlA-4fgY5Dazn8aMIw2txbnsybfu/s640-rw/017.jpg) |
KITAGAWA UTAMARO (1754–1806) Sheltering from the Rain Color woodblock print: ōban tate-e triptych, 15⅛ x 9¾ in. (38.4 x 24.8 cm); 15 x 9⅞ in. (38.1 x 25.1 cm); 15⅛ x 9⅞ in. (38.4 x 25.1 cm); circa 1799 Signed: Utamaro hitsu Publisher: Tsuruya Kinsuke |
A l'abri de la pluie de Kitagawa Utamaro, vers 1799, est un triptyque qui commente la nature et l'insignifiance des distinctions de classe: les paysans et les riches marchands cherchent l'abri des arbres pendant une soudaine averse. (Une gravure sur le même thème, Les animaux anthropomorphes à l'abri de la pluie, vers 1844, par Utagawa Kuniyoshi, montre au milieu de sa ménagerie colorée de figures à tête d'animal un chat empoisonnant un rat.)
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKvppg49rOFeTtS4PdDofSGgyFfeYm-q0lasDtfjgneO2jPL_4cJc7wu208zcplwrY35DpCuPPGgIqdwmLT0d0wICmoDdstwLIKCGp7X9agfcxvh4i8U1kGf5nH4ylrKo7pVoi48mdIBQ-/s640-rw/018.jpg) |
KITAGAWA UTAMARO (1754–1806) Sheltering from the Rain Color woodblock print: ōban tate-e triptych, 15⅛ x 9¾ in. (38.4 x 24.8 cm); 15 x 9⅞ in. (38.1 x 25.1 cm); 15⅛ x 9⅞ in. (38.4 x 25.1 cm); circa 1799 Signed: Utamaro hitsu Publisher: Tsuruya Kinsuke |
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizwmKIeNp4hCaIaYo6VRfLnsm92IFkMC08KOzRxVOivTccwXLtyNhsunARdTgQu4KBBm5IRcpPCuQV9_LRAS3YLxWfFdYGs24tocBk5XpaASxmtfHs8EN8AvNWS3PyvbDZbonHJxP0qME7/s640-rw/019.jpg) |
KITAGAWA UTAMARO (1754–1806) Sheltering from the Rain Color woodblock print: ōban tate-e triptych, 15⅛ x 9¾ in. (38.4 x 24.8 cm); 15 x 9⅞ in. (38.1 x 25.1 cm); 15⅛ x 9⅞ in. (38.4 x 25.1 cm); circa 1799 Signed: Utamaro hitsu Publisher: Tsuruya Kinsuke |
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixYcpyviYzpxGwmFiH1EIh-kOzJPHxTHznlFLCbLffIupWP9Srq2s-jW9THm9dPzbTnrVhjhOaedbUtWw3geVvNwp02gRjM99G88BteV7EUOTTxMawKZMDeyubjUOWFwEllrb7Jhk4iVWW/s640-rw/020.jpg) |
KITAGAWA UTAMARO (1754–1806) Sheltering from the Rain Color woodblock print: ōban tate-e triptych, 15⅛ x 9¾ in. (38.4 x 24.8 cm); 15 x 9⅞ in. (38.1 x 25.1 cm); 15⅛ x 9⅞ in. (38.4 x 25.1 cm); circa 1799 Signed: Utamaro hitsu Publisher: Tsuruya Kinsuke |
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd0zlTBMxgcT3vTnelBPpDw4vRNqpbuT2cOCjmT4K11bLOT3ANQMo4s8F0BO3WYYanHqzk2g5cRBqOy2mSgMtspJTDakOmQiWFsPmAVau1aX4Ys-cEIkrOfhrbmzbIPUPoQu4-hLvkmhyB/s640-rw/021.jpg) |
TŌSHŪSAI SHARAKU (Active 1794─95) Ichikawa Ebizō IV as Takemura Sadanoshin Color woodblock print: ōban tate-e, 14½ x 10 in. (36.8 x 25.4 cm); 1794 Signed: Tōshūsai Sharaku ga Sealed: kiwame (approved) Publisher: Tsutaya Jūzaburō |
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTM-nyapdKLzjdi7FxCbZhHXoWt-Pm9iFiyZrCR_uws-_VnNMjftsrsDwMMeo2ZAGFJgD7uNzn1IwsGRc9S7fpbrNW7QAtKtv4h18ShHimaQF1wCB9xtu0mOKsKynSbY6TckBlH2syG35J/s640-rw/022.jpg) |
TŌSHŪSAI SHARAKU (Active 1794−95) Arashi Ryūzō as Ishibe Kinkichi, a Moneylender Color woodblock print: ōban tate-e, 15 x 9⅞ in. (38.1 x 25.1 cm); 1794 Signed: Tōshūsai Sharaku ga Sealed: kiwame (approved) Publisher: Tsutaya Jūzaburō |
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKjFjbm0gDWLY9Q-h0Ainpk-P2Sz6N9SA7SRCYRkjVQTfAIp_5r7dtU9NpABwlNSPH02yih8yniY3lkhu1QTP4p8-0IhqzAaGsEvjrByHW_s91W4mHylk5lGNsQ4osu06vIeQ0Uk51pJiW/s640-rw/023.jpg) |
TŌSHŪSAI SHARAKU (Active 1794−95) Matsumoto Koshirō IV as Gorobei, a Sanya Fish-Monger Color woodblock print: ōban tate-e, 14⅞ x 9⅞ in. (37.8 x 25.1 cm); 1794 Signed: Tōshūsai Sharaku ga Sealed: kiwame (approved) Publisher: Tsutaya Jūzaburō |
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixHShyAAq92jwbx5zLtyXqd0rQKLskvCQIqeCRtTrLFRNbnnnQ7K5Q1FfXRWxHIQdmX6uq3A90ldjEhOdBlJcEsYum37QlUJo65hHSDYaqSehhYJ4A4cyE26iTeVshVxhSJ3LwSqZLfRgd/s640-rw/024.jpg) |
TŌSHŪSAI SHARAKU (Active 1794─95) Sakata Hangorō III as Kosodate Kannonbō Color woodblock print: hosoban, 12½ x 5⅞ in. (38.1 x 5⅞ cm.); 1794 Signed: Tōshūsai Sharaku ga Sealed: kiwame (approved) Publisher: Tsutaya Jūzaburō |
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivS428QlkW497H1X1Kly3kxHMkApuBSs_zvSsw3Ssj-9zUWc-xtHjKB0u2KtG4T8YBzk24X7yWzxIUQze-kasxTIa7RUX7ENPTTfiHD83TcH4EvjwpV7qZKiuXZV10bsIMb3zL8YOrvfeI/s640-rw/025.jpg) |
CHOKYŌSAI EIRI (Active 1790s) Okane of Dōtombori in Osaka, the Bathhouse Girl Oman of Sanjō-Sunaba in Kyoto, Otatsu of Ryōgoku in Edo (Osaka Dōtombori no Okane, Kyō Sanjō sunaba Oman, Edo Ryōgoku no Otatsu) Color woodblock print, gray ground: ōban tate-e triptych; ); circa 1794-96 Series: A Collection of Beautiful Streetwalkers from the Three Capitals (Sanka no tsu sōka bijin awase) Signed: Eiri giga Publisher: Yamaguchiya Chūsuke |
Chōkyōsai Eiri (actif 1789-1801) est représenté par deux tirages rares, dont un triptyque, Belles passantes des Trois Capitales, qui n'est connu que dans une autre impression. Sans aucun soupçon de sarcasme ou de moquerie, Eiri a magiquement transformé les prostituées en des silhouettes exquises, élégamment vêtues.
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9M2tIcIyXMuKd2veyj2Ys6b_l-zgJRHP_H8dNUk9ijgSKJwp8ui-XMEQYE6St8n_fQADt27S5SErLwwclV40VrwKFWzxQ3r-iLWwqiRMAUVYvRZNSPfPnKrVZZZZp20regeHC4PgxsMiS/s640-rw/026.jpg) |
CHOKYŌSAI EIRI (Active 1790s) Okane of Dōtombori in Osaka (Osaka Dōtombori no Okane) Color woodblock print, gray ground: ōban tate-e triptych, 15⅜ x 10⅜ in. (39.1 x 26.4 cm); circa 1794-96 Series: A Collection of Beautiful Streetwalkers from the Three Capitals (Sanka no tsu sōka bijin awase) Signed: Eiri giga Publisher: Yamaguchiya Chūsuke |
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvMHBRai5nT2mx17W5fPt794BUkneW6AWQ1cAbz7dreeMdtSzRWuvaPlM3TZ-aNIvALTJMy-yoV8t_TYBggr2YrhbtCN8gunHL509scMGSnOmNhb8sTC57gUhqaKWYSGSUq1Dvr6Pvea8P/s640-rw/027.jpg) |
CHOKYŌSAI EIRI (Active 1790s) The Bathhouse Girl Oman of Sanjō-Sunaba in Kyoto (Kyō Sanjō sunaba Oman) Color woodblock print, gray ground: ōban tate-e triptych, 15⅜ x 10¼ in. (39.1 x 26 cm); circa 1794-96 Series: A Collection of Beautiful Streetwalkers from the Three Capitals (Sanka no tsu sōka bijin awase) Signed: Eiri giga Publisher: Yamaguchiya Chūsuke |
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6k3ic4HmEr5o4eEcd8ZzteyKI5mcqBNfCQWhMB-gJW-Yo0yiJXfWgME71Iv96KkgYj9AcDx-TtmTm3cmVCxZafy5sMMagm11fAREXzSLGu-Frtbw0GSZ6T4yk4cJxU6Mw4uIX73BcTynS/s640-rw/028.jpg) |
CHOKYŌSAI EIRI (Active 1790s) Otatsu of Ryōgoku in Edo (Edo Ryōgoku no Otatsu) Color woodblock print, gray ground: ōban tate-e triptych, 15⅛ x 10¼ in. (38.4 x 26 cm); circa 1794-96 Series: A Collection of Beautiful Streetwalkers from the Three Capitals (Sanka no tsu sōka bijin awase) Signed: Eiri giga Publisher: Yamaguchiya Chūsuke |
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCOHvr-4J5vxFyBnJUrwydi5O5dxNi4FTrIW9YhIchvj6TtzGbrLJHKTtNGwesB1TYBGZkro_6hxzP2kVi2rbttC0e8O6Rb8i9lU1nWKMHegVriFqeJyNULgDG7OfryYxF0xZXED_ieFuS/s640-rw/029.jpg) |
CHOKYŌSAI EIRI (Active 1790s) A Portrait of the Hostess of the Itsumiya Teahouse (Chaya Itsunomiya no uchi) Color woodblock print, dark mica ground: ōban tate-e, 14¾ x 10 in. (37.5 x 25.4 cm); circa 1794–96 Series: A Collection of Beauties of the Greenhouses (Seirō bijin awase) Signed: Eiri giga Publisher: Yamaguchiya Chūsuke |
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuEJYNVARAMKD3atdyljL96-GeW6TkYMZlvORgSwkTOLZ3E2S7BdvmYoDU0exoV9oG28SoJiQKPzRWru_xkVqAljSn95gPDyE73EdnMJXd6g1VCpk4FW43LzweidvGPJJkLTGWPg5NYwNT/s640-rw/030.jpg) |
KATSUSHIKA HOKUSAI (1760−1849) In the Hollow of the Wave off Kanagawa (Kanagawa oki name-ura) Color woodblock print: ōban yoko-e, 10⅛ x 15 in. (25.7 x 38.1 cm); circa 1830−31 Series: Thirty-six Views of Mount Fuji (Fugaku sanjūrokkei) Signed: Hokusai aratame Iitsu hitsu Publisher: [Eijudō (Nishimuraya Yohachi)] |
Les prix de cette estampe vont de quelques dizaines de milliers de dollars à près de 950 000 $ en vente aux enchères pour une raison simple: du vivant de Hokusai, plus de 8 000 tirages ont pu être tirés à partir des bois originaux, ce qui provoqua, à la longue, la détérioration des plaques.
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKVx5hC1uFQXLHsURfD-U0soZxCRqADGSWa3vfg-5qanSeBvri_f1UdCztAZdED_qJ67GiD3tCZlN4ZpFKXGNq1axjKAF8E6xoCkD7OwU0gkZ6bu3VyZhzE3iVSspG7U8cgS4IJOA5jsEe/s640-rw/031.jpg) |
UTAGAWA KUNIYOSHI (1797─1861) Moonlight Outside the Yoshiwara (Shin Yoshiwara) Color woodblock print: ōban yoko-e, 9⅞ x 14⅜ in. (25.1 x 36.5 cm); Tempō era, circa 1835 Series: Famous Views of the Eastern Capital (Tōto meisho) Signed: Ichiyūsai Kuniyoshi ga Sealed: kiwame (approved) Publisher: Kagaya Kichiemon |
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6qSyGRMAFXLl7wgNITD-ShkTiCvNUhFxIKSYgvf4XN49E2jL0D-uheUjdtzlaq4TpHlVK5aizwwoqOTrS376wZSaFEfB_7pCyB5B6A4lzRVMKEeoK0AjN1KT185OW3V3rEKTKFtyGCiVb/s640-rw/032.jpg) |
UTAGAWA HIROSHIGE (1797−1858) White Rain, Shōno (Shōno haku-u) Color woodblock print: ōban yoko-e, 9⅝ x 14¾ in. (24.4 x 37.5 cm); circa 1832–34 Series: The Fifty-Three Stations of the Tōkaidō (Tōkaidō gojūsan tsugi no uchi) Signed: Hiroshige ga Sealed: kiwame (approved) Publisher: Hōeidō (Takenouchi Magohachi) |
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAhEXA_g2lNkhS0P5va5DHL0wuY5wpq0o_ey5vq2VNVj07gHerCj2Vxla7PV8ACKfbKY14tefP_kYfeUYsfuamTo1vc_2Vnb29kEgJAbgCOa9XMFfo9Pi3za5AZOam56v-WCaXqqPdewyV/s640-rw/033.jpg) |
UTAGAWA HIROSHIGE (1797−1858) Sudden Shower Over Shin-Ōhashi Bridge and Atake (Ōhashi Atake no yūdachi) Color woodblock print: ōban tate-e, 14⅛ x 9⅝ in. (35.9 x 24.4 cm); 9/1857 Series: One Hundred Views of Famous Places in Edo (Meisho Edo hyakkei) Signed: Hiroshige ga Censor’s seal: aratame (certified) and date seal Publisher: Uoya Eikichi |
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgn6zeXI3unCeVd_LKdXZ6Avdt75xC74y3Ca7kYxygsDR_xc6WhwL-b9F_UMa0Lc8J05GprXSNp9EaWNrqbAoHcI8iDMqo3BXvW_g2Qn6jC8ywHKfmYkjk-KauZ3nxZlmD1XgcXLoneAXns/s640-rw/034.jpg) |
IKE TAIGA (1723–1776) Scholar’s Pavilion in an Autumnal Mountain Landscape Hanging scroll: ink and light color on paper Edo period, 1760s 52⅜ x 15 in. (133.0 x 38.1 cm) Signed: Shūzan kei-i no zu keii, Tō taishi Dong ichi zetsu, Mumei (A painting of “Dwelling by a Stream in the Autumn Mountains” with a single quatrain [jueju] by the scholar-official Dong [Dong Qichang (1555–1636)], by Mumei) Sealed: Kashō, Zenshin Sōma Hō Kyūkō Box attestation (hakogaki) by Murata Kōkoku (1831–1912) |
Source des textes et des illustrations : Sebastian Izzard Asia Art
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