Preparatory Drawing and Print of 'Beauties Compared to Flowers: Standing Beauty'
a standing beauty with blossoming asagao (morning glory) vines, preparatory drawing with sumi ink on paper and notations regarding colors, conserved on archival paper; the print signed Keisai Eisen ga, series title within the illustrated book cartouche, Bijin hana awase, ca. 1830
drawing 15 3/4 by 11 in., 40.1 by 27.8 cm oban tate-e 13 3/4 by 9 5/8 in., 35 by 24.5 cm
This composition seems inspired in part by works by Utagawa Kunisada (1786-1865) and Keisei Eisen (1790-1848), both were leading (and competing) artists of the bijinga (images of beautiful women) genre. The juxtaposition of a beauty against a spray of flowers is similar to Kunisada's Wild Carnation (Nadeshiko) from his circa 1825-30 series, A Contest of Beauties (Bijin awase) published by Moritaya Hanzo. And while the composed stance of this beauty with one of her feet turned very slightly inward is archetypical in ukiyo-e and easily found in many prints, the proportions of this figure are typical of Eisen's works. For example, Eisen's circa 1830s print, Competition of Three Beauties: Mimeguri Embankment (San bijin kurabe: Mimeguri no dote), published by Izumiya Ihibei of Sen'ichi, is a classic example of the type. And an untitled Eisen (possibly earlier based on the signature) from the scarce series Appearances of Beauties (Bijin sugata) published by Kawaguchiya Shozo of Shoeido, illustrates an even closer comparison with nearly the same outline with similar rounded folds on her kimono and a closer match to the hairstyle. Kawaguchiya Shozo was a relatively small publisher that issued four titled series by Eisen and two by his student Teisai Sencho (active ca. 1830-50).
The drawing appears to be a near-final version of a composition with very detailed instructions for the carver and printer on how the coloration should be addressed. It seems unlikely that these details would not be given if the design were not yet approved for production. While the absolute final version of the design, the hanshita, would be destroyed in the normal process of carving the keyblock, drawings of this type would have been helpful to keep on hand during the production process, particularly for the printer, to ensure that the artist's intentions were followed.
References: The Exhibition of Keisai Eisen: in memory of the 150th anniversary after his death, Ota Memorial Museum of Art, 1997, catalogue no. 151 (same series)
Andreas Marks, Publishers of Japanese Woodblock Prints: A Compendium, 2011, pp. 197-198 (on Kawaguchiya Shozo) Keisai Eisen: Artist of the Floating World, Chiba City Museum of Art, 2012, p. 291; Eisen Nishiki-e Index, no. 274-3 (listed series total four designs)
Museum of Fine Arts, Boston, accession no. 34.451 (Kunisada)
(inv. no. 10-2694)
price: Sold
Scholten Japanese Art is open Monday - Friday, and some Saturdays by appointment only
Contact Katherine Martin at (212) 585-0474 or email [email protected] to schedule a visit between 11am and 4pm preferably for no more than two individuals at a time.
site last updated
March 18, 2024
Scholten Japanese Art
145 West 58th Street, suite 6D
New York, New York 10019
ph: (212) 585-0474
fx: (212) 585-0475