4506 - 4625 FINE ARTS - JAPANESE PRINTS, DRAWINGS AND ILLUSTRATED BOOKS, ORIENTAL ARTS
- Doubled; horizontal middle fold.
- Trifle fingersoiled. = From the same, unidentified series.
= From the same, unidentified series.
- Left blank margin cut sl. short affecting publisher and censor's seal; trifle rubbed in left margin.
= Temple no. 20 of the Chichibu junrei niban Daiôzan Shinpuku-ji (Chichibu Pilgrimage Route), from the series Kannon reigenki (Miracles of Kannon). SEE ILLUSTRATION PLATE LXXII.
Iidem. The Miracles of Kannon.Temple Himisen / Fudatate Touge. Col. woodcut ôban, signed Kunisada ga in toshidama seal and Hiroshige (in inset view), printer Yamadaya Shôjirô, censor seal.
- Two sm. closed tears in margins; cut sl. short and restored in left (mostly blank) margin, affecting the publisher and censor's seal.
= No. 34 of the Chichibu Pilgrimage Route.
AND 4 others by the same from the same series, all near fine: Jigan-ji on Mount Kika (no. 13 of the Chichibu Pilgrimage Route); Yanodô at Kannon-ji on Mount Yôkô (no. 21 of the Chichibu Pilgrimage Route); Makinoo-dera in Izumi Province (no. 4 of the Saikoku Pilgrimage Route) and Temple no.5 (unidentified scene).
- Inkstain in lower part; brownish stains; mounted under a thin Japanese paper passepartout.
= Perhaps a prepatory drawing for a book illustration or a koban print.
- Cut sl. short; slender closed wormhole in lower margin. Otherwise fine,
- Some foxing and brownish spots.
= Chapter 39 from Murasaki Shikibu Genji karuta (Murasaki's Cards of the Tale of Genji). SEE ILLUSTRATION PLATE LXXII.
Yoshiiku (1833-1904). (Kaidomaru refereeing a wrestling match between a monkey and a rabbit). Col. woodcut aiban tata-e, signed Yoskiiku ga, publ. unread.
= From the series Imayô nazorae Genji (Modern Parodies of Genji).
- Strengthened along outer margins on verso; sl. fingersoiled.
Eisen (1790-1848). (Bijin reading a sign in front of a screen). Col. woodcut ôban, signed Eisen ga, publisher unread. - AND 5 others, two col. woodcut ôban and 3 woodcut bookillustrations.
- Trifle stained; a few thin spots.
- Some fingersoiling in lower margin; first few lvs. w. waterstains in lower and upper margin; a few scattered stains. Binding worn, w. part of the hanshira title lacking.
= Abbreviated forms of drawing flowering plants. Age of Utamaro, Masayoshi, p.16, no.6. SEE ILLUSTRATION PLATE LVIII.
- Sl. wormholed in upper margin.
= The Examples of sentences for the occasions and season's greetings for women.
Shisui Rokkaku (1867-1950). Shinsen moyo no shiori. Ehon, n.pl., n.publ., Meiji 32 (1899), 26 lvs., 24 double-p. (col.) woodcut ills. by SHISUI ROKKAKU, orig. clothbacked boards w. hashira-title, large 8vo. - AND 2 other ehon, i.a. a model drawing book w. woodcut illustrations.
= Showing designs for lacquerware boxes etc.
AND 3 others in 5 vols., all unidentified.
- Both vols. partly wormholed; one vol. broken in 2 parts. Binding sl. soiled.
= Contains nice col. woodcuts of flowers, fruits and vegetables.
- Frontcover detached.
= Rare work on etiquette.
= Produced in the Meiji period.
AND 1 other.
- Two sm. wormholed spots of in lower margin of the outer border; doubled; waterstained on verso, partly shining through on recto; tiny (foxed) spots mainly in right margin; creased (mainly in decorated borders); several tiny imperfections on the simple rectangular borders.
= The two Arabic stamps on verso date this painting to 1621 (the smaller stamp) and 1631 (the central one). The smaller stamp reads "Ali Waliallah", the bigger stamp is about Imam Husein; the farsi inscription in the margin mentions that the painting was delivered to someone named "Muhammad Beyg". An early 17th cent. manuscript Dutch annotation (caption?) on verso reads: "b[r?]alanat[?] met sijne mat[?]") which also proves that this miniature dates back to at least the first half of the 17th century. A highly refined miniature with meticulously painted details and with attractively decorated borders in a distinctly free style resembling that of the great master of Safavid painting of the early 17th century Reza Abbasi. Provenance: Jan Betram van Stolk (1854-1927), founder of the Museum Van Stolk, whose collection was sold by auction by Mensing in Amsterdam in May 1928. This painting was not included in the sale: it became property of the present owners by descent. SEE ILLUSTRATION ON FRONTCOVER.