Seaside Cottage, Himi, Etchu 越中氷見光照寺
Series: Souvenirs of Travels, Second Series (Tabi miyage dai nishû) 旅みやげ第二集
6 September 1921 大正十年九月六日
A yellow-roofed wooden structure sits right on the shore of Toyama Bay on a warm day that seems to bring sun and rain at the same time. Puffy clouds rise up on the horizon, their dimensionality indicated by blue marks of the baren. The clouds probably mask a view of the distant Tateyama Mountain Range, whose peaks are visible as floating on the bay for only about 50 days per year. A man with a yellow parasol speaks with a worker insider the structure, which seems to store lengths of cordage of some kind. This area is still known for its abundant fishing, as Toyama Bay supports hundreds of species of fish, in a food chain fed by nutrient flow from the Northern Alps snowmelt. Toyama Bay is designated as on one of the Most Beautiful Bays in the world. A scarce, pre-earthquake design.
Condition: Excellent impression, color and condition.
Dimensions: ôban (26.3 x 38.5 cm)
Publisher: Watanabe Shôzaburô
Literature: See the Art Institute of Chicago, Virginia Museum of Fine Arts museum collections. Narazaki Muneshige, Kawase Hasui mokuhanga shu, 1979, no. 75. Kendall Brown, Kawase Hasui: The complete woodblock prints, 2003, p. 317, no. 75. Kendall Brown, Water and Shadow: Kawase Hasui and Japanese Landscape Prints, 2014, p. 138, no. IV.74.
Seal: Kawase Signature: Hasui
Enveloped by nature, two kimono-clad beauties admire the profusion of lotus blossoms from a stone bridge on Benten Pond in Ueno. This is from the limited edition published by Kawaguchi ca. 1930, and numbered 197/350 within the sealed stamp, verso. Note that due to the popularity of this iconic design, there exist many posthumous versions of this work that were printed in the 1980s or even more recently. The first limited edition of this work was published jointly by Kawaguchi and Sakai during their brief publishing partnership between 1929 and 1930/31. Due to the generosity and friendship of the late scholar Hisao Shimizu, this dealer has had the opportunity to examine S &K published works in all three editions–S&K, Kawaguchi alone and then the postwar editions. When compared side-by-side, the Kawaguchi editions can even be superior in printing quality–but they are certainly equal–to the S&K printed works. The postwar printings are an entirely different story, and are lacking in the depth and finesse of the early editions, and the Heisei (or later) editions are not at all comparable to the original limited editions. We may note that the pink in the lotus flowers seems to be more prominent here than in the S&K edition. An example of the S&K edition of this work was sold at Sothebys in 2021 for more than $23,000. A stunning, scarce and highly sought-after design in perfect color.
Condition: Excellent impression, color and condition. Outstanding, vibrant colors.
Publisher: Kawaguchi
Literature: N#KS-6; H#186. See Minneapolis Institute of Art, MFA Boston, VMFA, Art Institute of Chicago. Dimensions: 27.3 x 40 cm
Seal: Kawase Signature: Hasui
Night Rain, Teradomari 寺泊の夜雨
Series: Souvenirs of Travels, Second Series (Tabi miyage dai nishû) 旅みやげ第二集
27 August, 1921 大正十年
A man in a straw raincoat echoes Hiroshige as he tilts his hat against the direction of the deluge and navigates his way across the puddles filling a deserted street during a downpour. Hasui was a master of depicting with specificity every type of weather, especially snow and the even trickier rain. Here it falls in long, straight lines, very reminiscent of the famous Hiroshige design of Ohashi Bridge from 100 Famous Views of Edo. We see a soft horizon line floating in the distance, and the grey-blue color of the sky is very subtly different than the color of the water, which is more blue. The rain comes down in arrow-straight diagonal lines, clusters of parallel lines in hues of grey and black. As in most Hasui evening scenes, lights beckon a welcoming yellow from several windows, indicating the cozy atmosphere that awaits the traveler once out of the storm. The traditional yellow straw raincoat and hat are a lovely touch, also echoing Hiroshige and the garb of earlier centuries. Hasui was also extremely good at depicting a specific time and place; here we see no sign of modern intrusions, even 20th century ones, so we could be looking at a scene from any number of centuries in the past. This small town of Teradomari does not really even exist anymore, at least in name: it was merged recently into the expanded city of Nagaoka, in Niigata Prefecture. A scarce, pre-earthquake design.
Condition: Excellent impression, color and condition. Mint.
Dimensions: ôban (38.5 x 26 cm)
Publisher: Watanabe Shôzaburô
Literature: See the Art Institute of Chicago, Los Angeles County Museum of Art, Virginia Museum of Fine Arts museum collections. Narazaki Muneshige, Kawase Hasui mokuhanga shu, 1979, p. 36, no. 72. Kendall Brown, Kawase Hasui: The complete woodblock prints, 2003, p. 315, no. 72. Hasui Kawase, Kawase Hasui Woodblock Prints, Abe Shuppan, Tokyo, 2009, p. 23, no. 21. Kendall Brown, Water and Shadow: Kawase Hasui and Japanese Landscape Prints, 2014, p. 128, no. IV.71.
Seal: Kawase Signature: Hasui
A little egret (Egretta garzetta) wades in the shallows, undisturbed by the downpour. Its white feathers have been printed with gofun, a matte white colorant derived from powdered shells that have been mixed with nikawa. The fine tail feather strands stand out impressively in a delicate array. The overprinted rain falls in fine, irregular sheets of grey. A floating water plant features some white flowers. With the “Made in Japan” seal, verso, indicating that this work was intended for export in the late 1920s, early 1930s.
Condition: Very good impression, color and condition.
Dimensions: 36.7 x 19 cm
Publisher: Daikokuya (original publisher; most likely here as well)
Seal: Koson Signature: Koson
Literature: Newland, Perée, & Schaap, Crows, Cranes & Camellias (2001), checklist no. K14.14, page 177 and, cat. no. 61, page 177.
Otowa-no-taki 音羽の滝
Series: Grateful Thanks for Answered Prayers: Waterfall-striped Kimono Fabrics (Taigan jôju arigataki no shima 大願成就有ヶ瀧縞 )
Ca. 1845
We see a thoughtful young woman during a moment of relaxation and introspection. She leans on a decorated armrest that has small rolled scroll of Buddhist sutras and herr hair is fashioned in a relaxed style. She has reached beneath her red under-kimono to touch her cheek with her right hand. Peeking out beneath the left sleeve of her striped kimono is a Buddhist crystal rosary, which means the scroll must be a Buddhist text. She wears a red under-kimono and a blue kimono with a pattern of cherry blossoms on bamboo. Atop her kimono she wears a cloak with waterfall stripes of purple, blue and white; this garment includes a large crest on her shoulders comprised of a chain with tassel. Her shoulder is covered by a purple cape. In her left hand she holds a chain of juzu, of which part only shows under her left kimono sleeve. Her obi has the design combination of stylized waves and hitodama, spirits of the departed.
The poem above her head is by Hôju-tei Funauta, and refers to murasaki, the color purple, in connection with ao-bôzu, a monk; and yamakaze, spring wind.
In the inset a monk (perhaps Seigen), holding a water bucket, climbs up the stairs, looking down on to many colorful umbrellas. Behind him is a blossoming cherry tree in spring. On the right the two sacred waterfalls: Otowa-no-taki,at the Kiyomizu-dera in Kyoto. The two streams, Konjiki-no-mizu/golden water, symbolizing fulfillment of a wish and Enmei-no-mizu, symbolizing longevity are directed by waterspout from the streams of Mt. Otowa.
The text reads: 宝珠亭船唄 葉さくらに花の梢も青坊主 ちらすはをしき春の山風
Regarding this interesting series, the series title contains multiple layers of wordplay. The major theme is waterfalls, both in the larger design as well as for figures in the inset cartouches. In the Japanese Buddhist tradition it was not uncommon to purify the mind and body by standing beneath a waterfall—the most famous example of this in ukiyo-e would be Mongaku. However, it seems that this series also an advertisement to promote kimono, namelydesigns of takishima,瀧縞, stylized waterfalls as stripes. Kuniyoshi therefore depicts female figures who seem more like ordinary women than the perfected images of idealized courtesans.The ten women in this series all wear kimono with designs of takishima, stylized waterfalls as stripes, accompanied by a kyoka poem. The insets introduce related persons in history, mostly with waterfalls behind them. This is the first design in the series.
The ten waterfallsin this series are: 1.Otowa-no-taki 音羽の滝with kyooka poem Yamakaze2. Nunobiki-no-taki 布引の滝with Taira-no-Kiyomori3.Hakonesan Tamadare-no-taki箱根山玉簾の滝 4. Kikujidoo菊慈童5. Hako-oo-maru箱王丸6. Kyoyu許由 . 7. Kinkaku-ji金閣寺8. Nachi-no-taki那智の滝9. Narukami鳴神, 10. Kintaroo Koi-tsukami金太郎鯉つかみ. This is the fourth in the series.
Condition: Excellent impression, color and condition. Fold near left margin and tiny binding holes near right margin. Dimensions: ôban (36.5 x 24.8 cm) Publisher: Iba-ya Sensaburô Literature: Robinson 1961, no. 111.4. The Tokyo Metropolitan Central Library has en example with a severe center fold; Seal: kiri Signature: Chô-ô-rô Kuniyoshi ga
Hakamadare and Giant Snake
Series: An Assortment of Magic in Great Japan (Dai Nihon jutsu zukushi)
1861
An actor in the role of the outlaw Yasusuke Hakamadare unfolls a scroll, perhaps thus summoning the giant snake that coils all about him. Adding to the drama are many falling leaves.
Condition: Excellent impression. Very good color and condition. Some trimming and crease near right margin.
Publisher: Tsujiokaya Bunsuke
Signature: Ichieisai Yoshitsuya ga
Rice Inflation Satire: Picture of Tug of War with a Personified Bale of Rice (Kome-dawara tsuna-hiki no zu米俵綱引の図)
Delivered on 10th May 1880 (明治13年5月10日お届け)
Interesting satirical triptych that somehow feels relevant 150 years later in regards to inflation and export politics. We see a scene of a struggle over a man with the head of a straw rice bale between merchants and working class Japanese citizens. On the top of the hill, we see the messengers of the founding Goddess of Japan, Amaterasu-Ômikami, and on the right corner is a group of important looking officials, a Chinese man standing in the back. The straw-rice-bale-man says “Some want me to go down, and others want me to go up. I don’t care much which way. It’s a bit confusing!”
The people pulling down are handworkers, rickshaw men, merchants, geisha, and steeplejacks as well as women homemakers. To the right is a fireman tying on a head wrap, his tool resting on his shoulder. According to the text, they are all complaining of the rising price of rice due to buy-ups by merchants, whose goal is to sell/export with a higher price.
Next to the pine tree of “Tôhoku Shimo-ga-matsu 東北の下が松”＊ a man with a top hat waves a flag with stylized character “Rice 米”. He says “35,000,000 people (Japanese population at the time) earned it! Pull down!”
On the other side, indicated by a sign in yellow upper left, “Cunning Merchants (San-shô-kan 山商奸)”**on the hillside, well-dressed merchants/export business men are cheering themselves to “pull up”, hinting also to pull up the price.
Above them are four heavenly messengers flying on clouds with bachi, the plectrum of shamisen, in their hands. “Bachi” also means “punishment”. Here the messengers are saying “You will be punished if you pull up (the price) so much”. They seem to be beating down the merchants with their giant plectrum as weapons. This is a charming visualization of the issues surrounding export policies and inflation and public opinion.
On the opposite side of the lake there is a sign in yellow reading ”Mountain Pass of Slyness’ (kôkatsu-tôge狡猾峠).
*“Tôhoku Shimo-ga-matsu 東北の下が松”: Tohoku, Northeast Japan is considered as a granary of Japan, especially with the rice-producing region consisting of six prefecutures: Akita, Aomori, Miyagi, Yamagata, Fukushima, and Iwate. In Yamagata Pref. there is a pine tree called Shimo-ga-matsu, where a writer Takayama Chogyû of Yamagata Pref. lamented his unrequited love under a pine tree. As a result this expression is used for a wish which cannot be realized. However, the translator is unsure if this was the connection in this print.
**“Cunning Merchants (San-shô-kan 山商奸)” refers to, perhaps, Chinese merchants of Shanxi 山西 Region, who had a reputation for being cunning and rather merciless but successful merchants.The writing is very similar. It is also interesting to note that the price of this print is given in the left bottom, in yellow: Price 6 sen (atai 6 sen 價六銭). (With thanks to Michiko Sato-Grube for her above research.)
Dimensions: 35.4 x 72 cm
Condition: Excellent color; very good impression and condition. Lightly backed, with a fold near the edge of two of the sheets. Signature: Hiroshige ga廣重画 and Andô Tokubei at Minami Konya-cho 27.画工 南紺屋町廿七 安藤德兵衛
Series: Souvenirs of Travels, First Series 旅みやげ第一集 (Tabi miyage dai isshû) Date: 1920 大正九夏
Hasui’s own notes describe the scene perfectly: “A narrow river flows into the sea. Golden clouds reflect the morning sun and a small painted mountain is visible in the background. A boy herds a reddish-brown calf along Iwai Beach during the morning lull of the sea breeze. I attempted to convey the bracing atmosphere of a summer’s morning along this coast.”
Iwai Beach faces Tokyo Bay in Chiba, on the western coast of Boso Peninsula. It is now part of Minamiboso city. This view from the light brown sands of the beach is largely the same today, perhaps minus the calf. Scarce, pre-earthquake design in excellent condition.
Condition: Excellent impression, color and condition.
Dimensions: ôban (38.8 x 26.6 cm)
Publisher: Watanabe Shôzaburô
Literature: Kendall H. Brown, Kawase Hasui: The Complete Woodblock Prints, 2008, no. 16; Carolyn M. Putney, et. al., Fresh Impressions: Early Modern Japanese Prints, Toledo Museum of Art, 2013, p. 110, cat. 42; Kendall Brown, Water and Shadow: Kawase Hasui and Japanese Landscape Prints, Virginia Museum of Fine Arts, 2014, p. 73, cat. IV.16. See the Art Insititute of Chicago, The Toledo Museum of Art.
Yamamoto Kansuke Wrestling a Boar 忠孝名誉奇人伝 山本勘助
Series: Stories of Remarkable Persons of Loyalty and High Reputation 忠考名誉奇人傳 (Chuko meijo kijin den)
1845
Yamamoto Kansuke wrestles an enormous boar to the ground with his bare hands. He was a 16th century samurai who was known as one of the Twenty-four Generals of Takeda Shingen. He was known as a brilliant strategist, and was famed for his exceptional bravery and fierceness. Grabbing a single tusk of the boar with both hands, Kansuke has forced the giant beast to the ground with his raw strength. We sense the immediacy of the drama, with part of his woven traveling outfit flying up in the air and his pole having just been loosed from his hand. His fierce expression is a terrific focal point, and the red eye of the helpless boar is also a dramatic touch. Grey lead pigment overlays the snow that lies thick on the ground.
According to Schaap in “Heroes & Ghosts”, Yamamoto Kansuke was one of Kuniyoshi’s favorite heroes, and the artist depicted him at least fifteen times in his woodblock prints.
A scarce and exceptional design.
Condition: Excellent impression, color and condition. Untrimmed and unbacked. Soft stain on recto that shows through a bit on the boar’s fur. Otherwise an exceptional example of this famous design.
Reference: See British Museum Collection. Robinson (1982) S35 no. 16. See “Heroes & Ghosts” (1998), number 55, page 78.
Dimensions: ôban (37.5 x 25.5 cm)
Publisher: Iseya Ichiemon.
Seal: kiri
Signature: Ichiyusai Kuniyoshi ga
Atagoshita and Yabu Lane 愛宕下藪小路
Series: One Hundred Famous Views of Edo 名所江戸百景 Meisho Edo Hyakkei
Date: 12/1857
Atagoshita and Yabu Lane, from the series “One Hundred Famous Views of Edo”. Perhaps the most lively and celebrated snow scene in this iconic series, the deep blue water of the canal and the colorful dress of the pedestrians provides cheerful contrast to the blanketing white snow. Sparrows frolic next to snow-laden bamboo branches that bend down in the foreground, filling much of the sky space. The curves of the bamboo branches contrast nicely with the strong perspective and straight lines of the daimyo mansion at left, as well as with the overall diagonal compositional elements that are Hiroshige’s hallmark. The bokashi in the channel at right contrasts so beautifully with the white snow at left, and the eye is led along a diagonal curve that begins lower right and travels clockwise until being led to the bright red gate in the distance that leads up to Atago Shrine. Compares favorably to the British Museum example.
Condition: Very good impression, color and condition. Large margins.
Dimensions: ôban
Publisher: Uoya Eikichi
Literature: Henry Smith II: “Hiroshige’s One Hundred Famous Views of Edo”, plate 112. See Brooklyn Museum, RISD Museum, MFA Boston, Honolulu Academy of Art, British Museum.
Signature: Hiroshige ga
Ito Yosota and the Cat Demon of Saga 伊東 與惣太
Series: Tales of the Floating World on Eastern Brocade 東錦浮世稿談 (Azuma no nishiki ukiyo kodan)
1867
From the tale of the Cat Demon of Saga, written by Segawa Joko III in 1853 and staged at the Nakamura theater the following year. The plot concerns the Nabeshima family and the Saga domain in the 16th c., and involves a bakeneko (demon cat) that assumes the appearance of the lord of Saga’s consort. This bakeneko torments the lord night after night, so he orders a night watch to protect him from the demon. His guards repeatedly succumb to sleep, until the stalwart Ito Sota volunteers. While on guard in the house of his lord during the night, the samurai Itō Yosōta (Sôta) stabs himself in his right thigh to keep himself awake. Yoshitoshi has chosen the moment of truth, when the spectral demon cat shows its true form, appearing in the darkness on the threshold of the room. One of the best designs in the series, and one seldom seen.
Condition: Excellent impression and color. Very good condition. Trimmed just a tiny bit at top. Dimensions: ôban (35.5 x 24 cm)
Publisher: Masuda-ya
Literature: See “Beauty & Violence”; listed on page 105 as 20.14. Keyes 202.14.
Seal: censor’s seal “aratame” with date seal of Rabbit Year (1867)
Signature: Ikkaisai Yoshitoshi
Vertical Diptych of Courtesan Reading a Love Letter
Ca 1830
Kakemono-e (37.5 x 25.6 cm each sheet)
An impeccably dressed courtesan has stolen a moment to herself, leaning against a door frame to read a letter from her lover. She has drawn her arms into the inner layer of her kimono, perhaps revealing that she cares from the inner layers of her heart for the letter writer. Her toes curl as she leans forward, completely engrossed.
She wears the most opulent and fashionable outfit of the time, and her large and expensive hair ornaments also indicate her high rank. The fabrics include a design of cursive white writing against a purple background and autumn grape leaves and gourds, as well as an inner red kimono with a translucent blue lining. These women were paragons of fashion and glamour, their whole mien projecting inaccessibility–to see one having an intimate moment that is full of emotion is a rarity and would be much desired by Edoites of the period.
These vertical diptychs were sold to be hung on the wall, many of them already mounted as hanging scrolls for decoration; as such, few were mounted into protective albums and the vast majority are in terrible condition due to the decades exposed to light, or worse. To be able to enjoy the fresh colors and condition, as here, is indeed a rarity and this dealer cannot remember ever handling a finer example.
In terms of dating this work, according to the Marks book on woodblock print publishers, this publisher worked from 1820 until the early 1830s.
Vincent van Gogh famously created a painting in 1887 that was based on a similar Eisen courtesan design (titled “Courtesan (after Eisen)”; you can find it on the Van Gogh Museum website.
In the September 2024 Nelkin Collection sale, a similar design by Eisen (in lesser condition) sold for $45,000.
Literature: Publishers of Japanese Woodblock Prints: A Compendium by Andreas Marks (Hotei, 2011). Signature: Keisai Eisen
Condition: Excellent impression and color; very good condtion. Some surface soil and paper reinforcement near edges. One repaired area of wormage in the background area above the signature. Untrimmed and unbacked.
Love of Place: The Landscapes of Kawase Hasui (1883-1957)
March 15 – 16, 2025
Exhibiting at: The Luxury Collection Midtown (formerly the Conrad), 151 W 54th Street, Sky Suite (inquire at front desk for Suite #) Asia Week Hours: 11am-6pm (otherwise by appointment)
Kawase Hasui (1883-1957) was the undisputed master of 20th century Japanese woodblock print landscapes. Over a career lasting forty years (1918-1957) the artist traveled throughout Japan, sketching and painting hundreds of scenes in every season. These were translated into woodblock prints by artisans whose now-lost expertise has never been equaled.
Hasui’s deeply rooted connection to the timeless beauty of Japan brings the viewer a distinct sense of place, whether the views are of a famous temple or an everyday village scene. His details capture a specific time of day or night as well as the exact weather and season, which combines with Hasui’s stellar design viewpoint that is unique to the artist. These images effortlessly create a nostalgic feeling for beautiful places that have been lost to development, but this nostalgia also lacks sentimentality. Similar to Hiroshige in the 19th century, his works have an effortlessly peaceful effect.
This exhibition draws from several private collections that Egenolf Gallery has helped to assemble through our decades of specializing in this artist, and we are pleased to feature early edition works in pristine condition, including a number of pre-earthquake (pre-1923) works. Landscapes by Hasui are becoming more scarce and at the same time more sought-after by collectors in both Japan and the west, leading to scarcity and still-climbing prices.
To learn more and preview the exhibition, click here.
New Acquisitions
During this Winter season, take a look at our newest acquisitions online. They are updated daily, so be sure to check back often.
Established in 1975, Egenolf Gallery specializes in fine Japanese woodblock prints and drawings, including works by the earliest 17th century pioneers of ukiyo-e to the shin hanga masters of the 20th century. We are pleased to offer a highly curated selection of designs in exceptional condition over a broad range of prices. Our focus is providing value to our clients. Clients include museums, private collectors and dealers in the US, Europe, and Japan. First-time buyers as well as established collectors are able to buy from us with confidence, knowing that all prints and drawings are guaranteed authentic and as described.
Herbert Egenolf began dealing in Japanese prints in 1975 in Duesseldorf, Germany, following an eleven-year residency in Japan. In 1992 he invited Veronica Miller to join him in the business. After working together with Mr. Egenolf for ten years, she became the director of Egenolf Gallery following the untimely passing of Mr. Egenolf in 2002, and now is based near Los Angeles, California. In addition to our schedule of Print Fairs, viewings of prints can be arranged by appointment – contact us by phone or email.
We belong to both the International Fine Print Dealers Association (IFPDA) and the Ukiyo-e Dealers Association of Japan. Every March we participate in Asia Week, New York as well as regional Print Fairs on the West Coast.
