Utagawa Kunisada (Toyokuni III)

1786-1865

A Pictorial Commentary on One Hundred Poems by One Hundred Poets: no. 12, Sojo Henjo
(Hyakunin isshu esho: Sojo Henjo)

signed Kunisada aratame Nidai Toyokuni ga (Kunisada changing his name to Toyokuni II) with his Toshidama seal, censor's seal Mura (Murata Sahei), followed by the publisher's seal Sanoki (Sanoya Kihei of Kikakudo), ca. 1844-47

oban tate-e 14 1/4 by 9 7/8 in., 36.1 by 25.2 cm

The poem by Sojo Henjo is presented as the front and back of one card:

upper card (front):
amatsu kaze
kumo no kayoiji
fuki tojiyo

lower card (back):
tome no sugata
shiba shiba todo memu

O heavenly breeze,
blow so as to block
their path back through the clouds!
For I would, if but for a moment,
detain these maidens' forms

References:
Joshua S. Mostow, The Hundred Poets Compared, 2007, p. 58 (poem translation)
The Museum of Fine Arts, Boston (www.mfa.org), accession nos. 11.42925, 11.15690, 34.366, and 11.15691 (multiple designs from this series)
(inv. no. 10-5190)

$900

Utagawa Kunisada (Toyokuni III)

1786-1865

A Pictorial Commentary on One Hundred Poems by One Hundred Poets: no. 13, Yozei-in
(Hyakunin isshu esho: Yozei-in)

signed Kunisada aratame Nidaime Ichiyoshai Toyokuni ga (Kunisada changing his name to 'the second of the name'' Toyokuni) with his Toshidama seal, censor's seal Mura (Murata Sahei), followed by the publisher's seal Sanoki (Sanoya Kihei of Taihodo), ca. 1844

oban tate-e 14 1/4 by 10 in., 36.2 by 25.5 cm

A young beauty tucks a battledore paddle into the crook of her left arm while she carefully straightens the feathers of a shuttlecock. The long sleeves of her furisode (lit. 'swinging sleeves') of her kimono and the red bows of fabric in her hair indicate that she is in her early teens.

A poem by the retired Emperor Yozei-in (or Yosei-in) is presented as the front and back of the poem card:

upper card (front):
Tsukuba-ne no
mine yori otsuru
mina no kaha

lower card (back):
kohi zo tsumorite
fuchi to narinuru

Like the Mina River
that falls from the peak
of Mount Tsukuba,
so my longing has collected
and turned into deep pools

References:
Joshua S. Mostow, The Hundred Poets Compared, 2007, p. 60, no. 13 (poem translation)
William Sturgis Bigelow Collection at the Museum of Fine Arts, Boston, accession no. 11.42925
(inv. no. 10-5242)

$750

Utagawa Kunisada (Toyokuni III)

1786-1865

A Pictorial Commentary on One Hundred Poems by One Hundred Poets: no. 18, Fujiwara no Toshiyuki Ason
(Hyakunin isshu esho: ujiwara no Toshiyuki Ason)

signed Kunisada aratame Nidai Toyokuni ga (Kunisada changing his name to Toyokuni II) with his Toshidama seal, censor's seal Tanaka, followed by the publisher's seal Sanoki (Sanoya Kihei of Kikakudo), ca. 1844

oban tate-e 14 1/4 by 10 in., 36.2 by 25.5 cm

An infant crawls at the hem of a standing beauty pulling open her kimono at her chest as she cups her full breast. A poem by Fujiwara no Toshiyuki Ason is presented as the front and back of the poem card:

upper card (front):
Suminoe no
kishi ni yoru nami
yoru sahe ya
lower card (back):

yume no kayohi-jhi
hitome yokuran

Must you so avoid others' eyes
that not even at night,
along the road of dreams,
will you draw nigh like the waves
to the shore of Sumi-no-e Bay?

Reference:
Joshua S. Mostow, The Hundred Poets Compared, 2007, p. 70 , no. 18 (poem translation)
(inv. no. 10-5243)

$950

Utagawa Kunisada (Toyokuni III)

1786-1865

A Pictorial Commentary on One Hundred Poems by One Hundred Poets: no. 23, Oe no Chisato, and no. 24, Kanke
(Hyakunin isshu esho: Oe no Chisato, Kanke)

each sheet signed Kunisada aratame Nidai Toyokuni ga (Kunisada changing his name to Toyokuni II) with his Toshidama seal, censor's seal Tanaka, followed by the publisher's seal Sanoki (Sanoya Kihei of Kikakudo), ca. 1844

oban tate-e diptych 14 1/4 by 19 7/8 in., 36.3 by 50.5 cm

The poems by the poets Oe no Chisato and Kanke are presented as the front and back of poem cards:

Poem by Oe no Chisato upper card (front):
Tsuki mireba
Chijhi ni mono koso
kanashikere

lower card (back):
waga mi hitotsu no
aki ni ha aranedo

When I look at the moon
I am overcome by the sadness
of a thousand, thousand things-
even though it is not fall
for me alone

Poem by Kanke upper card (front):
Kono tabi ha
nusa mo tori-ahezu
tamuke-yama

lower card (back):
momijhi no nishiki
kami no mani-mani

This time around
I couldn't even bring sacred streamers
-Offering Hill-
but if this brocade of autumn leaves
is to the gods' liking...

Reference:
Joshua S. Mostow, The Hundred Poets Compared, 2007, p. 80-82 (poem translations)

SOLD

Utagawa Kunisada (Toyokuni III)

1786-1865

A Pictorial Commentary on One Hundred Poems by One Hundred Poets: no. 32, Ki no Tomonori, no. 33, Fujiwara no Okikaze, and no. 34, Ki no Tsurayuki
(Hyakunin isshu esho: Ki no Tomonori, Fujiwara no Okikaze, Ki no Tsurayuki)

the left and right sheets signed Kunisada aratame Nidaime Toyokuni ga (Kunisada changing his name to Toyokuni II), and the center sheet similarly signed Kunisada aratame Nidai Toyokuni ga (Kunisada changing his name to Toyokuni II), all with his Toshidama seal, censor's seal Mura (Murata Sahei), followed by the publisher's seal Sanoki (Sanoya Kihei of Kikakudo), ca. 1844

oban tate-e triptych 14 1/4 by 30 in., 36.1 by 76.2 cm

The poems by the three poets are presented as the front and back of poem cards on each sheet:
no. 32, Ki no Tomonori (Hyakunin isshu no. 33)

Hisa-kata no
hikari notokeki
haru no hi ni
~
Shidzu-kokoro naku
hana no chiruran

In these spring days
with the tranquil light encompassing
the four directions,
why should the blossoms scatter
with disquieted hearts?


no. 33, Fujiwara no Okikaze (Hyakunin isshu no. 34)

Tare wo ka mo
shiru hiro ni sen
takasago no
~
matsu mo mukashi no
tomo naranaku ni

Whom, then, shall I have
as someone who knows me?
since even the ancient pines
of Takasago
are no friends from my past...


no. 34, Ki no Tsurayuki (Hyakunin isshu no. 35)

Hiro ha iza
kokoro mo shirazu
furusato ha
~
hana zo mukashi no
ka ni nihohikeru

With people, well,
you can never know their hearts;
but inmy old village
the flowers brightly bloom with
the scent of the days of old

Reference:
Joshua S. Mostow, The Hundred Poets Compared, 2007, pp. 101-104 (poem translations)
(inv. no. 10-5235)

$3,500

Utagawa Kunisada (Toyokuni III)

1786-1865

A Pictorial Commentary on One Hundred Poems by One Hundred Poets: no. 37, Mibu no Tadamine
(Hyakunin isshu esho: Mibu no Tadamine)

signed Kunisada aratame Nidaime Toyokuni ga (Kunisada changing his name to Toyokuni II) with his Toshidama seal, censor's seal Mura (Murata Sahei), followed by the publisher's seal Sanoki (Sanoya Kihei of Kikakudo), ca. 1844

oban tate-e 14 1/4 by 10 in., 36.2 by 25.4 cm

A beauty seated before a raised platform holds her kokyu upright with her bow resting on the strings. Although all of the designs in this series of 100 hundred prints were issued as individual sheets (with relevant signature and seals), there are several instances where consecutive designs relate to one another, but only occaisonally with elements that connect the compositions. This print can form the left hand sheet of a triptych comprised of design number 35 on the right featuring a poem by Kiyowara no Fukayabu and a beauty playing a koto; and design number 36 as the center sheet with a poem by Funiya no Asayasu and a beauty playng a shakuhachi. When viewed together, the three women form an ensemble in concert.

A poem by Mibu no Tadamine is presented as the front and back of the poem card (Hyakunin isshu no. 30):

upper card (front):
Ariake no
tsurenaku mieshi
wakare yori

lower card (back):
aka-tsuki bakari
uki mono ha nashi

There is nothing as depressing
as the break of day and
leaving you after
having seen the heartless
morning moon

Reference:
Joshua S. Mostow, The Hundred Poets Compared, 2007, p. 94, no. 30 (poem translation)
(inv. no. 10-5237)

$650

Utagawa Kunisada (Toyokuni III)

1786-1865

A Pictorial Commentary on One Hundred Poems by One Hundred Poets: no. 36, Bun'ya no Asayasu
(Hyakunin isshu esho: Bun'ya no Asayasu)

signed Kunisada aratame Nidaime Toyokuni ga (Kunisada changing his name to Toyokuni II) with his Toshidama seal, censor's seal Mura (Murata Sahei), followed by the publisher's seal Sanoki (Sanoya Kihei of Kikakudo), ca. 1844-46

oban tate-e 14 1/4 by 10 in., 36.1 by 25.4 cm

A beauty stands near the edge of a stage wearing an understated grey kimono holds a shakuhachi (end-blown bamboo flute) in both hands, her fingertips are placed at the ready along the instrument. She glances expectantly to her right as though awaiting a cue to resume playing.

Although all of the designs in this series of 100 hundred prints were issued as individual sheets (with relevant signature and seals), there are several instances where consecutive designs relate to one another, but only occaisonally with elements that connect the compositions. This print can form the center sheet of a triptych comprised of design number 35 on the right featuring a poem by Kiyowara no Fukayabu and a beauty playing a koto; and design number 37 as the left sheet with a poem by Mibu no Tadamine and a beauty playng a kokyu. When viewed together, the three women form an ensemble in concert.

Bun'ya no Asayasu (or Fun'ya no Asayasu) was revered as one of the Rokkasen (Six Importal Poets) identified as important and notable in the introduction to the poetry anthology, Kokin Wakushu (ca. 905). His poem is presented as the front and back of the poem card (Hyakunin isshu no. 37):

upper card (front):
Shira-tsuyu ni
kaze no fuki-shiku
aki no ta ha

lower card (back):
tsuranuki-tomenu
tama zo chirikeru

In the autumn fields
where the wind blows repeatedly
on the white dewdrops,
the gems, not strung together,
do scatter about indeed

References:
Honolulu Museum of Art, acquisition no. 25381
Tokyo Metropolitan Library, acquisition no. 4132-002-001(36)
Joshua S. Mostow, The Hundred Poets Compared, 2007, p. 108, no. 37 (poem translation)
(inv. no. 10-5236)

$850

Utagawa Kunisada (Toyokuni III)

1786-1865

A Pictorial Commentary on One Hundred Poems by One Hundred Poets: no. 48, Egyo Hoshi
(Hyakunin isshu esho: Egyo Hoshi)

signed Kochoro Toyokuni ga with red Toshidama seal, numbered print 48 in the series in the pink placard-shaped cartouche, published by Sanoya Kihei, ca. 1845

oban tate-e 14 1/4 by 10 in., 36.2 by 25.4 cm

After issuing the 37th design in this series of 100 poet prints, Kunisada changed the framework of the compositions by eliminating the series title and replacing the poem cards with a cartouche in the shape of an open book illustrating the featured poet and poem, and for the next ten prints the design number in the series was indicated by a small cartouche in the shape of a wooden placard decorated with a tassle. He reverts to the original format only on design number 47, before returning to the open book cartouche for this print, number 48, and the remainder of the series. The changes to the format may be responsible for some confusion that led to the numbering of the prints sometimes falling out of sequence with the numbering of the poems in the Hyakunin isshu. Although this is identified as print number 48 in the series, the portrait on this print is of the Egyo (or Ekei) Hoshi accompanied by his poem number 47 in the Hyakunin isshu.

Yahe mugura
shigereru yado no
sabishiki ni
hito koso miene
aki ha kinikeri

To the lonely house
where the wees, eight-layers deep,
have grown rank,
not a soul can be seen--
but autumn, at least, has come

Reference:
Joshua S. Mostow, The Hundred Poets Compared, 2007, p. 128, no. 47 (poem translation)
(inv. no. 10-5244)

$950

Utagawa Kunisada (Toyokuni III)

1786-1865

A Pictorial Commentary on One Hundred Poems by One Hundred Poets: no. 49, Minamoto no Shigeyuki
(Hyakunin isshu esho: Minamoto no Shigeyuki)

signed Kochoro Toyokuni ga with red Toshidama seal, censor's seal Watarai, followed by the publisher's seal Sanoki (Sanoya Kihei of Kikaudo), ca. 1845

oban tate-e 14 1/4 by 10 in., 36.1 by 25.4 cm

A standing beauty wearing an elegant kimono decorated with a pattern of butterflies and plovers in flight (an allusion to the legend of the Soga Brothers) holding a large shamisen with a plectrum in her right hand as she adjusts the tuning pegs with her left.

After issuing the 37th design in this series (except no. 47) of 100 poet prints, Kunisada changed the framework of the compositions by eliminating the series title and replacing the poem cards with a cartouche in the shape of an open book illustrating the featured poet and poem. The poem is by Minamoto no Shigeyuki (Hyakunin isshu no. 48).

Kaze wo itami
iha utsu nami no
onore nomi kudakete mono wo
omofu koro kana

Waves that beat against the rocks,
fanned by a fierce wind -
it is I alone
who breaks, those times
when I think of her!

Reference:
Joshua S. Mostow, The Hundred Poets Compared, 2007, p. 130, no. 48 (poem translation)
(inv. no. 10-5238)

$1,100

Utagawa Kunisada (Toyokuni III)

1786-1865

A Pictorial Commentary on One Hundred Poems by One Hundred Poets: no. 58, Daini San-mi
(Hyakunin isshu esho: Daini San-mi)

signed Ichiyosai Toyokuni ga with red Toshidama seal, censor's seal Watarai, followed by the publisher's seal Sanoki (Sanoya Kihei of Kikakudo), ca. 1845

oban tate-e 14 1/4 by 10 in., 36.1 by 25.3 cm

An elegantly dressed geisha holds a five-stringed musical instrument that appears to be a biwa with an unsually rounded body.

After issuing the 37th design in this series (except no. 47) of 100 poet prints, Kunisada changed the framework of the compositions by eliminating the series title and replacing the poem cards with a cartouche in the shape of an open book illustrating the featured poet and poem, on this print the portrait is of Daini no Sanmi (Katako, the daughter of Murasaki Shikibu, the author of The Tale of Genji) paired with her poem number 58 from the Hyakunin isshu.

Arima yama
ina no sasahara
kaze fukeba
ide soyo hito wo
wasure ya ha suru

When the wind blows
through the bamboo-grass field of Ina
near Arima Mountain
soyo- so it is:
how could I forget you?

Reference:
Joshua S. Mostow, The Hundred Poets Compared, 2007, p. 150, no. 58 (poem translation)
(inv. no. 10-5240)

$950

Utagawa Kunisada (Toyokuni III)

1786-1865

A Pictorial Commentary on One Hundred Poems by One Hundred Poets: no. 56, Izumi Shikibu
(Hyakunin isshu esho: Izumi Shikibu)

signed Ichiyosai Toyokuni ga with red Toshidama seal, censor's seal Watarai, followed by the publisher's seal Sanoki (Sanoya Kihei of Kikakudo), ca. 1845

oban tate-e 4 1/4 by 10 in., 36.1 by 25.4 cm

A young beauty wearing a lovely kimono decorated with flowering cherry blossoms sits with a biwa resting on her knees.

After issuing the 37th design in this series (except no. 47) of 100 poet prints, Kunisada changed the framework of the compositions by eliminating the series title and replacing the poem cards with a cartouche in the shape of an open book illustrating the featured poet and poem. The portrait is of Izumi Shikibu (a contemporary of Murasaki Shikibu, the author of The Tale of Genji) and the poem is number 56 from the Hyakunin isshu.

Arazaran
kono yo no hoka no
omohide ni
ima hito-tabi no
afu koto mogana

Among my memories of this world, from which
I will soon be gone,
oh, how I wish there was
one more meeting, now, with you!

Reference:
Joshua S. Mostow, The Hundred Poets Compared, 2007, p. 146, no. 56 (poem translation)
(inv. no. 10-5239)

$800

Utagawa Kunisada (Toyokuni III)

1786-1865

A Pictorial Commentary on One Hundred Poems by One Hundred Poets: no. 61, Ise no Taifu
(Hyakunin isshu esho: se no Taifu)

signed oju Ichiyosai Toyokuni ga with red Toshidama seal, censor's seal Yoshimura, followed by the publisher's seal Sanoki (Sanoya Kihei of Kikaudo), ca. 1845

oban tate-e 14 1/4 by 9 7/8 in., 36.2 by 25.2 cm

After issuing the 37th design in this series (except no. 47) of 100 poet prints, Kunisada changed the framework of the compositions by eliminating the series title and replacing the poem cards with a cartouche in the shape of an open book illustrating the featured poet and poem. Capitalizing on his recent success as illustrator of the serialized novel by Ryutei Tanehiko, Nise Murasaki Inaka Genji (A Rustic Genji by a Fraudulent Murasaki) which was published from 1829-1842, Kunisada introduced Genji-related motifs to 42 subsequent prints this series and referenced his own designs from the covers of the updated Genji. The composition of this print references the illustration on the eighth double page of part I of vol. 10.

The portrait is of Ise no Taifu, (a contemporary of Murasaki Shikibu, the author of The Tale of Genji) and the poem is number 61 from the Hyakunin isshu.

Inishihe no
nara no miyako no
yahe-zakura
kefu kokonohe ni
nihohinuru kana

The eight-petalled cherries
from the Nara capital
of the ancient past,
today nine layers thick
have bloomed within your court!

Reference:
Joshua S. Mostow, The Hundred Poets Compared, 2007, p. 156, no. 61 (poem translation)
Jeff Hopewell, Kunisada 100 Poets Prints Derived from Nise Murasaki Inaka Genji Images, Kunisada.de, 2008
Andreas Marks, Genji's World in Japanese Woodblock Prints, 2021, pp. 14-15
(inv. no. 10-5245)

$950

Utagawa Kunisada (Toyokuni III)

1786-1865

A Pictorial Commentary on One Hundred Poems by One Hundred Poets: no. 68, Sanjo-in
(Hyakunin isshu esho: Sanjo-in)

signed Kochoro Toyokuni ga with red Toshidama seal, censor's seal Yoshimura, followed by the publisher's seal Sanoki (Sanoya Kihei of Kikaudo), ca. 1845

oban tate-e 14 1/4 by 10 in., 36.1 by 25.4 cm

After issuing the 37th design in this series (except no. 47) of 100 poet prints, Kunisada changed the framework of the compositions by eliminating the series title and replacing the poem cards with a cartouche in the shape of an open book illustrating the featured poet and poem. Capitalizing on his recent success as illustrator of the serialized novel by Ryutei Tanehiko, Nise Murasaki Inaka Genji (A Rustic Genji by a Fraudulent Murasaki) which was published from 1829-1842, Kunisada introduced Genji-related motifs to 42 subsequent prints this series and referenced his own designs from the covers of the updated Genji. The composition of this print references the cover of part II of volume 36.

The portrait is of the retired Emperor Sanjo-in and the poem is number 68 from the Hyakunin isshu.

Kokoro ni mo
arade uki yo ni
nagaraheba
kohishikarubeki
yoha no tsuki kana

Though it is not what's in my heart,
if in this world of pain
I should linger, then
no doubt I shall remember fondly
the bright moon of this dark night!

References:
Joshua S. Mostow, The Hundred Poets Compared, 2007, p. 170, no. 68 (poem translation)
Jeff Hopewell, Kunisada 100 Poets Prints Derived from Nise Murasaki Inaka Genji Images, Kunisada.de, 2008
Andreas Marks, Genji's World in Japanese Woodblock Prints, 2021, pp. 14-15
(inv. no. 10-5241)

$600

Utagawa Kunisada (Toyokuni III)

1786-1865

A Pictorial Commentary on One Hundred Poems by One Hundred Poets: no. 70, Priest Ryozen
(Hyakunin isshu esho: Ryozen)

signed Kochoro Toyokuni ga with red Toshidama seal, censor's seals Yoshimura and Muramatsu, followed by the publisher's seal Sanoki (Sanoya Kihei of Kikaudo), ca. 1846

oban tate-e 14 1/4 by 10 in., 36.2 by 25.3 cm

A young beauty holding a uchiwa fan demurely covers her mouth as she glances over her shoulder.

After issuing the 37th design in this series (except no. 47) of 100 poet prints, Kunisada changed the framework of the compositions by eliminating the series title and replacing the poem cards with a cartouche in the shape of an open book illustrating the featured poet and poem. Capitalizing on his recent success as illustrator of the serialized novel by Ryutei Tanehiko, Nise Murasaki Inaka Genji (A Rustic Genji by a Fraudulent Murasaki) which was published from 1829-1842, Kunisada introduced Genji-related motifs to 42 subsequent prints this series and referenced his own designs from the covers of the updated Genji. The composition of this print references the cover illustration of part II in volume 31.

The open book cartouche overlapping a band of genjimon (Genji incense patterns) illustrates a portrait of the Priest Ryozen paired with his poem number 70 from the Hyakunin isshu.

Sabishisa ni
yado wo tachi-idete
nagamureba
idzuko mo onaji
aki no yufugure

When from loneliness,
I stand up and leave my hut
and look distractedly about:
everywhere it is the same
evening in autumn

References:
Joshua S. Mostow, The Hundred Poets Compared, 2007, p. 174, no. 70 (poem translation)
Jeff Hopewell, Kunisada 100 Poets Prints Derived from Nise Murasaki Inaka Genji Images, Kunisada.de, 2008
Andreas Marks, Genji's World in Japanese Woodblock Prints, 2021, pp. 14-15, no. 4
(inv. no. 10-5247)

$800

Utagawa Kunisada (Toyokuni III)

1786-1865

A Pictorial Commentary on One Hundred Poems by One Hundred Poets: no. 69, Priest Noin
(Hyakunin isshu esho: Noin-hoshi)

signed Kochoro Toyokuni ga with red Toshidamaseal, censor's seals Yoshimura and Muramatsu, followed by the publisher's seal Sanoki (Sanoya Kihei of Kikaudo), ca. 1847

oban tate-e 14 1/4 by 9 7/8 in., 36.1 by 25.2 cm

An elegant standing beauty holding a folded fan along with a netsuke and inro- the accoutrements of a gentleman, drapes a section of puple fabric over her outstretched arm.

After issuing the 37th design in this series (except no. 47) of 100 poet prints, Kunisada changed the framework of the compositions by eliminating the series title and replacing the poem cards with a cartouche in the shape of an open book illustrating the featured poet and poem. Capitalizing on his recent success as illustrator of the serialized novel by Ryutei Tanehiko, Nise Murasaki Inaka Genji (A Rustic Genji by a Fraudulent Murasaki) which was published from 1829-1842, Kunisada introduced Genji-related motifs to 42 subsequent prints this series and referenced his own designs from the covers of the updated Genji. The composition of this print possibly references the illustration on the fourth double-page inart II of volume 20.

The open book cartouche overlapping a band of genjimon (Genji incense patterns) illustrates a portrait of the Priest Noin (Tachibana no Nagayasu) paired with his poem number 69 from the Hyakunin isshu.

Arashi-fuku
mimuro no yama no
momijhiba ha
tatsuta no kaha no
nishiki narikeri

It's the autumn leaves
of the hills of Mimuro,
where the tempest blow,
that are the woven brocade
floating on the waters of Tatsuta River!

References:
Joshua S. Mostow, The Hundred Poets Compared, 2007, p. 172, no. 69 (poem translation)
Jeff Hopewell, Kunisada 100 Poets Prints Derived from Nise Murasaki Inaka Genji Images, Kunisada.de, 2008
Andreas Marks, Genji's World in Japanese Woodblock Prints, 2021, pp. 14-15
(inv. no. 10-5246)

$850

Utagawa Kunisada (Toyokuni III)

1786-1865

A Pictorial Commentary on One Hundred Poems by One Hundred Poets: no. 72, Yoshi Naishinnoke no Kii
(Hyakunin isshu esho: Yoshi Naishinnoke no Kii)

signed Ichiyosai Toyokuni ga with red Toshidama seal, censor's seals Yoshimura and Muramatsu, followed by the publisher's seal Sanoki (Sanoya Kihei of Kikaudo), ca. 1847

oban tate-e 14 1/4 by 10 in., 36.1 by 25.5 cm

A beauty wearing loosely secured robes with her long hair falling over her shoulders appears to have emerged from the bath, a subtle watery reference to the waves mentioned in accompanying poem.

After issuing the 37th design in this series (except no. 47) of 100 poet prints, Kunisada changed the framework of the compositions by eliminating the series title and replacing the poem cards with a cartouche in the shape of an open book illustrating the featured poet and poem. Capitalizing on his recent success as illustrator of the serialized novel by Ryutei Tanehiko, Nise Murasaki Inaka Genji (A Rustic Genji by a Fraudulent Murasaki) which was published from 1829-1842, Kunisada introduced Genji-related motifs to 42 subsequent prints this series and referenced his own designs from the covers of the updated Genji. The composition of this print references the cover illustration of part II in volume 4.

The open book cartouche overlapping a band of genjimon (Genji incense patterns) illustrates a portrait of Yoshi Naishinnoke no Kii (Kii of Princesss Yushi's household) paired with her poem number 72 from the Hyakunin isshu.

Oto ni kiku
takashi no hama no
ada-nami ha
kakeji ya sode no
nure mo koso sure

Known far and wide,
the unpredictable waves
of Takashi's beach--
I will not let them catch me--
For I'd be sorry should my sleeves get wet!

References:
Joshua S. Mostow, The Hundred Poets Compared, 2007, p. 179, no. 72 (poem translation)
Jeff Hopewell, Kunisada 100 Poets Prints Derived from Nise Murasaki Inaka Genji Images, Kunisada.de, 2008
Andreas Marks, Genji's World in Japanese Woodblock Prints, 2021, pp. 14-15
(inv. no. 10-5248)

$950

Utagawa Kunisada (Toyokuni III)

1786-1865

A Pictorial Commentary on One Hundred Poems by One Hundred Poets: no. 74, Minamoto no Toshiyori Ason
(Hyakunin isshu esho: Minamoto no Toshiyori Ason)

signed Ichiyosai Toyokuni ga with red Toshidama seal, censor's seals Yoshimura and Muramatsu, followed by the publisher's seal Sanoki (Sanoya Kihei of Kikaudo), ca. 1847

oban tate-e 14 1/8 by 10 in., 36 by 25.4 cm

After issuing the 37th design in this series (except no. 47) of 100 poet prints, Kunisada changed the framework of the compositions by eliminating the series title and replacing the poem cards with a cartouche in the shape of an open book illustrating the featured poet and poem. Capitalizing on his recent success as illustrator of the serialized novel by Ryutei Tanehiko, Nise Murasaki Inaka Genji (A Rustic Genji by a Fraudulent Murasaki) which was published from 1829-1842, Kunisada introduced Genji-related motifs to 42 subsequent prints this series and referenced his own designs from the covers of the updated Genji. The composition of this print references the cover illustration of part I in volume 2.

The open book cartouche overlapping a band of genjimon (Genji incense patterns) illustrates a portrait of Minamoto no Toshiyori Ason paired with his poem number 74 from the Hyakunin isshu.

Ukarikeru
hito wo hatsuse no
yama-oroshi
hageshikare to ha
inoranu mono wo

'Make that heartless
one, O mountain storm
of Hatsuse Temple,
crueler still! - this is not
what I prayed for, and yet...

References:
Joshua S. Mostow, The Hundred Poets Compared, 2007, p. 182, no. 74 (poem translation)
Jeff Hopewell, Kunisada 100 Poets Prints Derived from Nise Murasaki Inaka Genji Images, Kunisada.de, 2008
Andreas Marks, Genji's World in Japanese Woodblock Prints, 2021, pp. 14-15
(inv. no. 10-5249)

$750

Utagawa Kunisada (Toyokuni III)

1786-1865

A Pictorial Commentary on One Hundred Poems by One Hundred Poets: no. 80, Go-Tokudaiji Sadaijin
(Hyakunin isshu esho: Go-Tokudaiji Sadaijin)

signed Kochoro Toyokuni ga with red Toshidama seal, censor's seals Kinugasa and Hama, followed by the publisher's seal Sanoki (Sanoya Kihei of Kikakudo), ca. 1847

oban tate-e oban tate-e 14 1/8 by 10 in., 36 by 25.5 cm

A young beauty pulls a small cart with a basin for seawater of a type used to collect brine for salt kilns. Her furisode ('swinging sleeves') kimono is decorated with chidori (plovers) on the upper half and seashells on the lower half. The seaside imagery is suggestive of the sad tale of the play Matsukaze which tells of the legend of two sister 'salt carriers' who fall in love with the prince Yukihira who is temporarily banished to their remote beach. When he is called back to court he breaks both their hearts. This design compliments the next print in the series, number 81, illustrating a seated girl with a similarly decorated kimono, together referencing the sisters. Their legend is referred to in the Suma of Genji Monogatari (The Tale of Genji) in which Genji is similarly banished and likewise breaks a lover's heart upon his departure.

After issuing the 37th design in this series (except no. 47) of 100 poet prints, Kunisada changed the framework of the compositions by eliminating the series title and replacing the poem cards with a cartouche in the shape of an open book illustrating the featured poet and poem. Capitalizing on his recent success as illustrator of the serialized novel by Ryutei Tanehiko, Nise Murasaki Inaka Genji (A Rustic Genji by a Fraudulent Murasaki) which was published from 1829-1842, Kunisada introduced Genji-related motifs to 42 subsequent prints this series and referenced his own designs from the covers of the updated Genji. The composition of this print references the first double page of part I of volume 17.

The cartouche in the shape of an open book overlapping a band of genjimon (Genji incense patterns) depicts a portrait of the poet Go-Tokudaiji Sadaijin paired with his poem which was number 81 ( Hyakunin isshu no. 81)

Hototogisu
nakitsuru kata wo
nagamureba
tada ariake no
tsuki zo nokoreru

The hototogisu (cuckoo)
when I gaze out towards where
he was singing
all that remains is the moon,
pale in the morning sky

References:
Charlotte van Rappard-Boon, Catalogue of the Van Gogh Museum's Collection of Japanese Prints, 1991. p. 159, no. 188
Joshua S. Mostow, The Hundred Poets Compared, 2007, p. 196 (poem translation)
Jeff Hopewell, Kunisada 100 Poets Prints Derived from Nise Murasaki Inaka Genji Images, Kunisada.de, 2008
Andreas Marks, Genji's World in Japanese Woodblock Prints, 2021, pp. 14-15
(inv. no. 10-5250)

$900

Utagawa Kunisada (Toyokuni III)

1786-1865

A Pictorial Commentary on One Hundred Poems by One Hundred Poets: no. 81, Priest Doin
(Hyakunin isshu esho: Doin-hoshi)

signed Kochoro Toyokuni ga with red Toshidama seal, censor's seals Kinugasa and Hama, followed by the publisher's seal Sanoki (Sanoya Kihei of Kikakudo), ca. 1847

oban tate-e 14 1/8 by 10 in., 36 by 25.5 cm

A seated beauty holds a tobacco pipe in one hand, and a small ashtray e and tobacco pouch in the other. She wears a furisode (lit. 'swinging sleeves') kimono of deep blue which gradates to a light grey towards the hem where it is adorned with a scattering of seashells. The design compliments the previous print in the series, number 80, illustrating a standing girl with a similarly decorated kimono, together referencing the lovelorn salt-gathering sisters, Matsukaze ('pine wind') and Murasame ('passing rain'). One could also associate print number 79 from the series, which ostensibly illustrates the object of their affection, Ariwara no Yukihira, although the compositions themselves do not connect.

After issuing the 37th design in this series (except no. 47) of 100 poet prints, Kunisada changed the framework of the compositions by eliminating the series title and replacing the poem cards with a cartouche in the shape of an open book illustrating the featured poet and poem. Capitalizing on his recent success as illustrator of the serialized novel by Ryutei Tanehiko, Nise Murasaki Inaka Genji (A Rustic Genji by a Fraudulent Murasaki) which was published from 1829-1842, Kunisada introduced Genji-related motifs to 42 subsequent prints this series and referenced his own designs from the covers of the updated Genji. The composition of this print references the is the reversed image of the cover of part I of volume 17.

The cartouche in the shape of an open book overlapping a band of genjimon (Genji incense patterns) depicts a portrait of the poet Doin Hoshi paired with his poem (Hyakunin isshu no. 82):

Omohi-wabi
sate mo inochi ha
aru mono wo
uki ni tahenu ha
namida narikeri

Miserable,
nonetheless, somehow
I cling to life, but
it is my tears
that cannot endure the pain!

References:
Joshua S. Mostow, The Hundred Poets Compared, 2007, p. 199, no. 82 (poem translation)
Jeff Hopewell, Kunisada 100 Poets Prints Derived from Nise Murasaki Inaka Genji Images, Kunisada.de, 2008
Andreas Marks, Genji's World in Japanese Woodblock Prints, 2021, pp. 14-15
(inv. no. 10-5251)

$650

Utagawa Kunisada (Toyokuni III)

1786-1865

A Pictorial Commentary on One Hundred Poems by One Hundred Poets: no. 84, Priest Shun'e
(Hyakunin isshu esho: Shun'e Hoshi)

signed Ichiyosai Toyokuni ga with red Toshidama seal, censor's seals Hama and Kingusa, followed by the publisher's seal Sanoki (Sanoya Kihei of Kikaudo), ca. 1847

oban tate-e 14 1/8 by 10 in., 36 by 25.4 cm

A young beauty wearing a furisode (lit. 'swinging sleeves') kimono decorated with morning glories holds an origami crane in her hands and looks to her right with an expression of delight. Her merry demeanour stands in contrast with the long, dark night of soul-searching described in the accompanying poem.

After issuing the 37th design in this series (except no. 47) of 100 poet prints, Kunisada changed the framework of the compositions by eliminating the series title and replacing the poem cards with a cartouche in the shape of an open book illustrating the featured poet and poem. The changes to the format may be responsible for some confusion that led to the numbering of the prints sometimes falling out of sequence with the numbering of the poems in the Hyakunin isshu. Capitalizing on his recent success as illustrator of the serialized novel by Ryutei Tanehiko, Nise Murasaki Inaka Genji (A Rustic Genji by a Fraudulent Murasaki) which was published from 1829-1842, Kunisada introduced Genji-related motifs to 42 subsequent prints this series and referenced his own designs from the covers of the updated Genji. The composition of this print references the cover illustration of part I in volume 6.

The open book cartouche overlapping a band of genjimon (Genji incense patterns) illustrates a portrait of the Priest Shun'e paired with his poem number 85 from the Hyakunin isshu.

Yomosugara
mono-omofu koro ha
ake-yarade
neya no hima sahe
tsurenakarikeri

All through the night
recently, as I dwell on things,
it does not dawn, and even the gap
between the doors of my bedroom
seems cruel and heartless to me

References:
Joshua S. Mostow, The Hundred Poets Compared, 2007, p. 204, no. 85 (poem translation)
Jeff Hopewell, Kunisada 100 Poets Prints Derived from Nise Murasaki Inaka Genji Images, Kunisada.de, 2008
Andreas Marks, Genji's World in Japanese Woodblock Prints, 2021, pp. 14-15
(inv. no. 10-5252)

$650

Utagawa Kunisada (Toyokuni III)

1786-1865

A Pictorial Commentary on One Hundred Poems by One Hundred Poets: no. 88, Imperial Princess Shokushi
(Hyakunin isshu esho: Shokushi Naishinno)

signed Kochoro Toyokuni ga with red Toshidama seal, censor's seals Hama and Kingusa, followed by the publisher's seal Sanoki(Sanoya Kihei of Kikaudo), ca. 1847

oban tate-e 14 1/8 by 10 in., 36 by 25.4 cm

A beauty wearing a striped furisode (lit. 'swinging sleeves') kimono is seated before a kotsuzumi (small double-skin hourglass-shaped drum) which rests on a lacquer stand.

After issuing the 37th design in this series (except no. 47) of 100 poet prints, Kunisada changed the framework of the compositions by eliminating the series title and replacing the poem cards with a cartouche in the shape of an open book illustrating the featured poet and poem. Capitalizing on his recent success as illustrator of the serialized novel by Ryutei Tanehiko, Nise Murasaki Inaka Genji (A Rustic Genji by a Fraudulent Murasaki) which was published from 1829-1842, Kunisada introduced Genji-related motifs to 42 subsequent prints this series. The changes to the format may be responsible for some confusion that led to the numbering of the prints sometimes falling out of sequence with the numbering of the poems in the Hyakunin isshu. Although this is identified as print number 88 in the series, the open book cartouche overlapping a band of genjimon (Genji incense patterns) illustrates a portrait of the Imperial Princess Shokushi accompanied by her poem number 89 from the Hyakunin isshu.

Tama no wo yo
tahenabe taene
nagaraheba
shinoburu koto no
yohari mo zo suru

O, jewelled thread of life!
if you are to break, then break now!
for, if I live on,
my ability to hide my love
will most surely weaken!

References:
Joshua S. Mostow, The Hundred Poets Compared, 2007, p. 212, no. 89 (poem translation)
Jeff Hopewell, Kunisada 100 Poets Prints Derived from Nise Murasaki Inaka Genji Images, Kunisada.de, 2008
Andreas Marks, Genji's World in Japanese Woodblock Prints, 2021, pp. 14-15
(inv. no. 10-5253)

SOLD

Utagawa Kunisada (Toyokuni III)

1786-1865

A Pictorial Commentary on One Hundred Poems by One Hundred Poets: no. 93, Kamakura Minister of the Right
(Hyakunin isshu esho: Kamakura no Udaijin)

signed Kochoro Toyokuni ga with red Toshidama seal, censor's seals Hama and Kingusa, followed by the publisher's seal Sanoki (Sanoya Kihei of Kikaudo), ca. 1847

oban tate-e 14 1/8 by 9 7/8 in., 36 by 25.2 cm

A standing beauty holds a gold lacquer jubako (stacked box) the lid of which is slightly askew.

After issuing the 37th design in this series (except no. 47) of 100 poet prints, Kunisada changed the framework of the compositions by eliminating the series title and replacing the poem cards with a cartouche in the shape of an open book illustrating the featured poet and poem. Capitalizing on his recent success as illustrator of the serialized novel by Ryutei Tanehiko, Nise Murasaki Inaka Genji (A Rustic Genji by a Fraudulent Murasaki) which was published from 1829-1842, Kunisada introduced Genji-related motifs to 42 subsequent prints this series and referenced his own designs from the covers of the updated Genji. The composition of this print references the illustration on the first double page of part I of volume 35.

The open book cartouche overlapping a band of genjimon (Genji incense patterns) illustrates a portrait of the Kamakura Minister of the Right, Minamoto no Sanetomo, accompanied by his poem number 93 from the Hyakunin isshu.

Yo no naka ha
tsune ni mogamo na
nagisa kogu
ama no wo-bune no
tsunade kanashi mo

If only this world
could always remain the same!
The sight of them towing
the small boats of the fishermen
who row in the tide
is touching indeed!

References:
Joshua S. Mostow, The Hundred Poets Compared, 2007, p. 220, no. 93 (poem translation)
Jeff Hopewell, Kunisada 100 Poets Prints Derived from Nise Murasaki Inaka Genji Images, Kunisada.de, 2008
Andreas Marks, Genji's World in Japanese Woodblock Prints, 2021, pp. 14-15
Museum of Fine Arts, Boston, Bigelow Collection, accession no. 11.15463
(inv. no. 10-5254)

$950

Utagawa Kunisada (Toyokuni III)

1786-1865

A Pictorial Commentary on One Hundred Poems by One Hundred Poets: no. 95, Saki no Daisojo Jien
(Hyakunin isshu esho: Saki no Daisojo Jien)

signed Ichiyosi Toyokuni ga with red Toshidama seal, censor's seals Hama and ingusa, followed by the publisher's seal Sanoki (Sanoya Kihei of Kikaudo), ca. 1847

oban tate-e 14 1/8 by 10 in., 35.9 by 25.3 cm

A beauty seated beside a folding screen and an open insect cage holds an uchiwa fan at her shoulder as she attempts to catch the fireflies flitting around her. Although all of the designs in this series of 100 hundred prints were issued as individual sheets (with relevant signature and seals), there are several instances where consecutive designs relate to one another, but only occaisonally with elements that connect the compositions. This print can form the left hand sheet of a diptych comprised of design number 94 on the right featuring a poem by Sangi Masatsune and a beauty peering over the top of the standing screen.

After issuing the 37th design in this series (except no. 47) of 100 poet prints, Kunisada changed the framework of the compositions by eliminating the series title and replacing the poem cards with a cartouche in the shape of an open book illustrating the featured poet and poem. Capitalizing on his recent success as illustrator of the serialized novel by Ryutei Tanehiko, Nise Murasaki Inaka Genji (A Rustic Genji by a Fraudulent Murasaki) which was published from 1829-1842, Kunisada introduced Genji-related motifs to 42 subsequent prints this series and referenced his own designs from the covers of the updated Genji. The composition of this print references the illustration on the ninth double page of part I of volume 35.

The open book cartouche overlapping a band of genjimon (Genji incense patterns) illustrates a portrait of the Former Major Archbishop Jien, accompanied by his poem number 95 from the Hyakunin isshu.

Ohoke naku
uki yo no tami ni
ohofu kana
waga tatsu soma ni
sumi-zome no sode

Inadequate, but
they must shelter the folk
of this wretched world -
my ink-black sleeves, having begun
to live
'in this timber-forest that I enter'

References:
Joshua S. Mostow, The Hundred Poets Compared, 2007, p. 224, no. 95 (poem translation)
Jeff Hopewell, Kunisada 100 Poets Prints Derived from Nise Murasaki Inaka Genji Images, Kunisada.de, 2008
Andreas Marks, Genji's World in Japanese Woodblock Prints, 2021, pp. 14-15
Museum of Fine Arts, Boston, Bigelow Collection, accession no. 11.15460
(inv. no. 10-5255)

$800

Ogata Gekko

1859-1920

flowered hat dance
((hanagasa odori))

hanging scroll, ink and color on silk; signed Gekko with artist's seal Gekko, ca. late 1890s

painting 122 by 44 cm
overall 209 by 58.5

The dancer is performing the hanagasa odori ('flowered hat dance'), a dance which originated from a kabuki play, but was incorporated into a new repertoire of dances, the Shin Nihon Buyou ('new Japanese dance'), a Meiji Period (1868-1912) compilation of traditional dances which were derived from older kabuki and geiko sources. The hat dance is a short section from a longer dance in the kabuki play, Musume Dojoji, in which a temple dancer (representing a snake-demon) changes her costume nine times, which was the number of times snakes were thought to shed their skin. In this section, the dancer manipulates a pile of hats into a variety of shapes while dancing.

A similar composition of the same subject by Gekko is in the collection of The Brooklyn Museum of Art, accession no. 1990.22.1.

SOLD

Acquired by the Saint Louis Art Museum

School of Kiyokata

20th century

Listening (Kiku obi)

hanging scroll depicting a beauty playing the violin, unsigned ink and colors on silk, mounted on brocade, ca. 1900

overall: 17 5/8 by 20 1/4, 182 by 51.5 cm
painting: 38 by 15 1/4 in., 96.5 by 38.7 cm

The subject of this painting is clearly referencing a well-known kuchi-e (frontispiece) print known as 'Morning Dew' (or 'Kiku' or 'Chrysanthemums') by the Nihonga (and early shin-hanga) master, Kaburagi Kiyokata (1878-1973). While the Kiyokata print (surely based on a painting) features a beauty wearing a pale green furisode ('swinging sleeves') kimono while standing beside blossoming chrysanthemums, in this composition the artist references the flowers with the pattern on the young musician's obi.

$1,800

Tamamura Biho

dates unknown

Song of Quiet Night Thoughts
(Seiyakashi)

hanging scroll, ink and colors on silk; signed Biho with artist's seal Biho, with tomobako signed Biho with artist's seal Biho, a sticker on the scroll end reads Tamamura, ca. 1930-40s

painting 49 3/8 by 19 7/8 in., 125.5 by 50.5 cm
overall 81 7/8 by 25 5/8 in., 208 by 65 cm

The subject of this painting relates directly to painting by Kobayakawa Kiyoshi (1896-1948), who derived the title for his work from a famous Chinese poem commonly known in Japanese as Seiyashi (lit. Quiet Night Thoughts), written by the immortal Chiense poet, Li Po (Li Bai, 701-762); although Kiyoshi inserted the extra kanji, 'ka' (song) in his title.

Neru mae ni gekko wo miru
Utagauraraku wa kore chijyo no shimo
Atama wo agete sangetsu wo nozomi
Atama wo hiku tarete kokyo wo omou

This poem has been translated numerous times into English, but perhaps most famously, it was also included among a group of Li Po poems translated by the influential American poet, Ezra Pound (1885-1972), based, in part, on the notes of his good friend, the late Ernest Fenollosa (1853-1908), an American professor who joined the faculty at the Imperial University in Tokyo in 1878 and who was one of the most influential figures advocating Nihonga in Japan.

On a Quiet Night
I saw the moonlight before my couch,
And wondered if it were not the frost on the ground.
I raised my head and looked out on the mountain moon,
I bowed my head and thought of my far-off home.

(Translated by Shigeyoshi Obata, The Works of Li Po, the Chinese Poet, 1923)

Night Thoughts
Before my bed there is bright moonlight
So that is seems like frost on the ground
Lifting my head I watch the bright moon
Lowering my head I dream that I'm home

(Translated by Arthur Cooper, Li Po and Tu Fu, 1973)

Calm Night Thought
The moon light is on the floor luminous
I thought it was frost, it was so white
Holding up head I look at mountain moon
Lowering head think of old home

(Translated by Ezra Pound, Cathay, 1915).

References:
Laurance P. Roberts, A Dictionary of Japanese Artists, Weatherhill, 1976, p. 84
Helen Merritt and Nanako Yamada, Guide to Modern Japanese Woodblock Prints: 1900-1975, University of Hawaii Press, 1992, p 70

$2,000