Edo Art

Beautiful mid 19th century Japanese woodblock print of a samurai by Utagawa Toyokuni III (Kunisada) (Japanese, 1786-1864/5). This piece is from a series of "The 53 Stations of the To...

Craftsmen Illustrator: Ishikawa Masumi Woodcarver: Watanabe Kazuo Printer: Yoshida Hideo Details Edition: limited edition of 300 Size: 16.73 x 12 inches (42.5 x 30.5 cm) Paper: Echi...

Craftsmen Illustrator: Ishikawa Masumi Woodcarver: Sekioka Senrei III Printer: Ito Tatsuya Details Edition: limited edition of 200 Size: 18.9 x 13.4 inches (48 x 34 cm) Paper: Echiz...

Shono. Series: Actors from the 53 Stations of the Tokaido. Station 46. Date: 1852 (rat ). Actor: Bando Hikosaburo IV . Role: Nakano Tobei. Publisher: Sumiyoshiya Masagoro. Censors' seals: Hama, Magome. Signed: Toyokuni ga. Size: vertical oban (14 x 10). Gaufrage (embossing) in the actor's robe. Light soiling in the actor's cheek; good color The Yakusha Tokaido by Kunisada Utagawa...

Craftsmen Illustrator: Ishikawa Masumi Woodcarver: Sekioka Senrei III Printer: Ito Tatsuya Details Edition: limited edition of 200 (first 100 autographed by the members of the band)...

Craftsmen Illustrator: Ishikawa Masumi Woodcarver: Sekioka Senrei III Printer: Ito Tatsuya Details Edition: limited edition of 200 (first 100 autographed by the members of the band)...

Illustrator: Ishikawa Masumi Woodcarver: Sekioka Senrei III Printer: Okada Takuya Details Edition: limited edition of 200 (first 100 autographed by the members of the band) Size: 18...

Illustrator: Ishikawa Masumi Woodcarver: Sekioka Senrei III Printer: Okada Takuya Details Edition: limited edition of 200 (first 100 autographed by the members of the band) Size: 18...

Japanese Woodblock print of a Biensennyo-ko a powder face women. Behind the women is a framed cityscape. The print is possibly from the series "Eight Favorite Things in the Modern World". The woodblock print is printed on rice paper. The print is not framed. Artist Biography: Keisai Eisen...

About Vestiges of Edo at Bell Tower (Toki no Kane Edo no Omokage) Artist: URBANOWICZ Mateusz Woodcarver: SEKIOKA Senrei III Printer: ITO Tatsuya Year: 2021 A former castle town situ...

Craftsmen Illustrator: Megumi Oishi (BALCOLONY) Woodcarver: Sekioka Senrei III Printer: Okada Takuya Details Edition: limited edition of 200 Size: 18.9 x 13.4 inches (48 x 34 cm) Pa...

About Vestiges of Edo at Bell Tower (Toki no Kane Edo no Omokage) Artist: URBANOWICZ Mateusz Woodcarver: SEKIOKA Senrei III Printer: ITO Tatsuya Year: 2021 A former castle town situ...

About Vestiges of Edo in Tsukuda (Tsukuda ni Nokoru Edo no Omokage) Artist: URBANOWICZ Mateusz Woodcarver: SEKIOKA Senrei III Printer: ITO Tatsuya Year: 2020 Our first original landscape ukiyo-e depicting Tsukuda, a neighborhood next to Tsukishima station in the east of Tokyo. This artwork highlights the striking contrast between the modern architecture and historical elements, that co-exist in harmony in Tsukuda today. The Japanese title Tsukuda ni Nokoru Edo no Omokage translates to “the vestiges of Edo in Tsukuda” - the word omokage (vestige) refers to the river, an aspect of old Edo that has continued to exist to this day, despite the fact that other things may have evolved or disappeared with time. When we trace back the history of ukiyo-e, we can see that there have been many foreign ukiyo-e artists who created important shin-hanga works in the 20th century, such as Paul Jacoulet, Elizabeth Keith...

Utagawa Kunisada (Tokoyuni III), 'Tokaido', color woodblock, 1863. Signed in the cartouche, lower right. A fine impression, with rich, fresh colors and pronounced woodgrain, the full...

About Vestiges of Edo in Tsukuda (Tsukuda ni Nokoru Edo no Omokage) Artist: URBANOWICZ Mateusz Woodcarver: SEKIOKA Senrei III Printer: ITO Tatsuya Year: 2020 Our first original landscape ukiyo-e depicting Tsukuda, a neighborhood next to Tsukishima station in the east of Tokyo. This artwork highlights the striking contrast between the modern architecture and historical elements, that co-exist in harmony in Tsukuda today. The Japanese title Tsukuda ni Nokoru Edo no Omokage translates to “the vestiges of Edo in Tsukuda” - the word omokage (vestige) refers to the river, an aspect of old Edo that has continued to exist to this day, despite the fact that other things may have evolved or disappeared with time. When we trace back the history of ukiyo-e, we can see that there have been many foreign ukiyo-e artists who created important shin-hanga works in the 20th century, such as Paul Jacoulet, Elizabeth Keith...

About Vestiges of Edo in Tsukuda (Tsukuda ni Nokoru Edo no Omokage) Artist: URBANOWICZ Mateusz Woodcarver: SEKIOKA Senrei III Printer: ITO Tatsuya Year: 2020 Our first original landscape ukiyo-e depicting Tsukuda, a neighborhood next to Tsukishima station in the east of Tokyo. This artwork highlights the striking contrast between the modern architecture and historical elements, that co-exist in harmony in Tsukuda today. The Japanese title Tsukuda ni Nokoru Edo no Omokage translates to “the vestiges of Edo in Tsukuda” - the word omokage (vestige) refers to the river, an aspect of old Edo that has continued to exist to this day, despite the fact that other things may have evolved or disappeared with time. When we trace back the history of ukiyo-e, we can see that there have been many foreign ukiyo-e artists who created important shin-hanga works in the 20th century, such as Paul Jacoulet, Elizabeth Keith...

About Vestiges of Edo in Tsukuda (Tsukuda ni Nokoru Edo no Omokage) Artist: URBANOWICZ Mateusz Woodcarver: SEKIOKA Senrei III Printer: ITO Tatsuya Year: 2020 Our first original landscape ukiyo-e depicting Tsukuda, a neighborhood next to Tsukishima station in the east of Tokyo. This artwork highlights the striking contrast between the modern architecture and historical elements, that co-exist in harmony in Tsukuda today. The Japanese title Tsukuda ni Nokoru Edo no Omokage translates to “the vestiges of Edo in Tsukuda” - the word omokage (vestige) refers to the river, an aspect of old Edo that has continued to exist to this day, despite the fact that other things may have evolved or disappeared with time. When we trace back the history of ukiyo-e, we can see that there have been many foreign ukiyo-e artists who created important shin-hanga works in the 20th century, such as Paul Jacoulet, Elizabeth Keith...

This 18th-century folding screen is a stunning example of Japanese artistry. Beautifully painted with delicate brushwork, the evocative screen depicts a lively festival during the Edo period (1615–1912). The raucous scene is full of life; within the dense crowd, you can make out people dancing...

Bijin-ga series XXIX (Nº 29) Title: Bijin Ôkubi Upper torso portrait of a Japanese beauty, depicted with a graceful hand gesture and an ornate headdress. Her soft round features contrast with the colourful sharp angles of the collars of her kimono. Her elongated oval face, straight nose and red butterfly lips are typical of the prototype of a beautiful woman, Bijin-ga. Her upper torso and face occupying the central section of the picture show a composition type that became known in time as Large-head pictures, or Okubi-e; compositions with which Utamaro became a model for generations of woodblock artists. This image is part of the Bijin-ga series (“Pretty women”) drawn by Mario BGil, based in the Kitigawa Utamaro woodblock print...

Beautiful late 19th century Japanese woodblock print diptych of two kabuki actors by Kunichika Toyohara (Japanese, 1835-1900). This pair of prints is united by a continuous landscape...

Beautiful mid 19th century figural Japanese woodblock print of a kabuki actor in blue by Utagawa Toyokuni III (Kunisada) (Japanese, 1786-1864/5). Artist's chop is in the upper left corner of the piece. Presented in a cream mat, with a black and red frame and plexiglas. Image size ~13.5"H x 9.5"W During his lifetime Kunisada Utagawa...

Three women in the Saruwaka-machi District with a view of Kinryûzan Temple seen from the famous landmark Matsuchiyama. The woodblock print is from the series "Famous Places in Edo". ...

A Japanese embroidery from the Edo Period. “Figure of a Beauty” is a portrait embroidery, silk and gold thread in golds and grays. Provenance: Priv...

Torii Kiyonaga woodblock print from the series "Prescious Children's Games of the Five Festivals." It shows five children playing with a ball and kites flying in the background. This...

Bijing-Ga Series XII (Nº 12) Title: Reflective Love. Lovely portrait of a beauty looking over her shoulder. In Reflective Love (from the Utamaro...

Bijin-ga Series I (Nº1) Title: Karagoto of The Chojiya Head and bust portrait of the beautiful courtesan Karagoto, of the Chojiya House, who appears looking to her left while drying her right ear with the sleeve of her yukata (a fine summer garment, normally made of cotton that was normally used after bathing). The wide sleeve falls from her ear covering her right breast and leaving the left one uncovered. This image is part of the bijin-ga series (“Pretty women”) drawn by Mario BGil, based in the Kitigawa Utamaro woodblock print...

Torii Kiyonaga. (after). Twentieth-century woodcut printed on silk, based on the original Kiyonaga 1784 woodblock. 13 1/2 x 6 1/2 (image and sheet). Scattered foxing. Signed "Torii K...

Bijin-ga series XXI (Nº 21) Title: The courtese Hinakoto of the Hyôgorô House of Edo The courtesan Hinakoto is depicted by smoking tobacco. She takes the pipe delicately in her left hand and, in her right hand, she seems to be holding a “uchiwa” (rigid hand fan) that comes out from the bottom of the drawing, decorated with written calligraphy. Some strands of hair that fall on her temple and her scant clothing show that the painter has surprised her in a relaxed moment in which she does not lose her elegance and slenderness. This image is part of the bijin-ga series (“Pretty women”) drawn by Mario BGil, based in the Kitigawa Utamaro woodblock print...

Edo Meisho woodblock print of a famous Japanese coastal dock. This woodblock is most likely apart of the series "One Hundred Famous Views of Edo." The woodblock print is printed on r...

BIJIN-GA SERIES XVIII (Nº 18) Title: Obvious Love (Arawaruru Koi) This image is part of the bijin-ga series (“Pretty women”) drawn by Mario BGil, based in the Kitigawa Utamaro woodblock print Obvious Love (Arawaruru Koi) (1793-94); 38,8 x 26,2 cm.. Art Institute Chicago, USA. A sensual woman seems to care little that her kimono is open, exposing a breast. Her hair is in disarray , the hairpin at the front about to fall and she holds one of the hairpins in her left hand. She appears to be looking down outside the frame of the picture, perhaps in mid-conversation. The term “arawaruru” refers to a love so wholehearted that it expresses itself in the lover´s face and mannerisms. In the 1780's and 90's the publisher Tsutaya Juzaburo and the designer Kitagawa Utamaro worked together on the production of many woodblock prints, most of them of the bijin-ga type. One of their most popular productions was a set of images that purported to depict psychological classifications of women - 'fickle', 'interesting', etc.. Perhaps in response to this success, they then came up with something similar - a set of prints...

Bijing-Ga series XXVII (Nº 27) Title: Tomomoto Toyohina Tomimoto Toyohina was a much sought-after geisha (entertainer) who performed narrative ballads accompanied by the shamisen. She was one of several non-prostitute beauties, including teahouse waitresses, whom Utamaro depicted repeatedly in the early to mid 1790s. She appears here with a brush in hand, dressed and combed with simple elegance. This composition is from a six-print series comprising half-length portraits of famous beauties (Famous beauties of Edo). Utamaro elevated Tomimoto Toyohina to the status of one of the three most renowned beauties of her age (together with Okita and Ohisa). She was from a prominent family of musicians that provided entertainment in the Yoshiwara. Toyohina’s appeal undoubtedly was as much due to her appearance as to her skills in singing, and Utamaro’s celebration of her would have further elevated the status of an already well-known lineage. This image is part of the bijin-ga series (“Pretty women”) drawn by Mario BGil, based in the Kitigawa Utamaro woodblock print...

Alluring two-piece edo woodblock print of Japanese actors by Toyohara Kunichika (Japanese, 1835-1900). Titled, dated and signed on verso. Presented...

Beijing-ga Series XXX (nº 30) Title: “Takashimaohisa” Ohisa, along with Okita and Tomimoto Toyohina, were the three most famous beauties of the time. The first two were waitresses...

Hanazuma, a beautiful high-class courtesan of the Hyôgaya House, appears sitting sideways on her legs, twisting a letter between her hands at the height of her heart. It is perhaps its message that makes her throw her head back with a beautiful turn of her entire body allowing us to contemplate the frontal details of her kimono and her obi, in green and orange, with beautiful ornaments. This image is part of the “bijin-ga” series (Pretty women) drawn by Mario BGil, based in the Kitigawa Utamaro woodblock print “Hanazuma of the Hyôgaya House”, (1794), 38,8 x 25,9 cm. The Japan Ukiyo-e Museum. Matsumoto, Japan. The artist reproduces the seal of the censor (Kiwame) and from the original publisher (“Tsutaya”, climbing leaf)), between the two, the signature of Mario BGil written in Japanese, with the date 14 (2014). The mesaurements of the drawing are 76 x 56 cm. (29,92 x 22,05 in.), with a painted surface of 67 x 49,5 cm. With his work on the bijing-ga series, Mario BGil wanted to embellish, give brilliance and volume to the images presented by japanese artist Kitigawa Utamaro in those beautiful engravings, ennobled with the patina of time, which have served as inspiration. The result obtained is almost life-size portraits, endowed with strong chromaticism and valuable contrasts, all enhanced, in turn, with the volume provided by the weight and rigidity of the paper, and its thick texture (Fabriano Artistico “grana grosso”, 640g/m2; the thickness and hardness of the paper makes it necessary to transport it without rolling). In this way, Mario BGil pays tribute to his admired artist and offers us a new and enriched vision of this popular facet of oriental art from the 18th and 19th centuries. ABOUT THE ARTIST Mario BGil is a self-taught artist who for years has combined his creative activity with his work in the business world, away from commercial art galleries. Man of very diverse interests and great artistic sensitivity, studied Art History and in 2012, a deep interest in oriental art was awakened in him so that he began to study the great masters of Japanese Ukiyo-e prints, who had such an influence on the European avant-garde of the late 19th century. The discovery of Kitagawa Utamaro (1753-1806), a key figure in the metropolitan culture of Edo (now Tokyo), and a point of reference in the history of Japanese engraving...

“Hitomoto of The Daimonjiya in Kyô-Machi Itchôme” Hitomoto holds a bouquet of flowers looking to her left, with a surprised face, and with her mouth aj...

Shichirigahama, Sagami Province. A beauty in the foreground waves to her young companions, who run towards her on the beach. The beauty at left wears a western-style golden ring. We ...

c. 1883. Kakemono: 28 3/8 x 9 7/16. Repairs and staining; fine color. An extremely scarce historical image. Signed Chikanobu. Housed in a 36 x 15 1/2-inch archival mat, ready for your choice of frame. The Russo-Japanese War...

Famous scene of the feminine Yoshitsune as he meets Benkei on Gojo Bridge in Kyoto. We see a bronze-colored moon rising as Benkei seems to have been thwarted by Yoshitsune throwing h...

SNOW, MOON AND FLOWERS OF THE ÔGIYA TEA HOUSE Head and shoulders portrait of a beautiful courtesan of the Ôgiya Tea House. With an attentive gesture, she brings her left hand behind her ear with delicate wrist and finger motion. This image is part of the bijin-ga series, “Pretty women”, drawn by Mario BGil, based in the Kitigawa Utamaro woodblock print “Snow, moon and flowers from the Ôgiya Tea House” (1793-1795). The tittle is a Japanese topic in art and design originating from a poem by Tang dynasty poet Bai Juyi. It became popular in the late Edo used to describe serene beauty. The artist reproduces the seal of the censor (Kiwame) and from the original publisher (Tsutaya, climbing leaf)), as it appears in the woodblock print used as a model; between the two, the signature of Mario BGil written in Japanese, with the date 14 (2014). The mesaurements of the drawing are 76 x 56 cm., with a painted surface of 67 x 49,5 cm. (the woodblock print is 36,2 x 25,9 cm.). With his work on the bijing-ga series, Mario BGil wanted to embellish, give brilliance and volume to the images presented by japanese artist Kitigawa Utamaro in those beautiful engravings, ennobled with the patina of time, which have served as inspiration. The result obtained is almost life-size portraits, endowed with strong chromaticism and valuable contrasts, all enhanced, in turn, with the volume provided by the weight and rigidity of the paper, and its thick texture (Fabriano Artistico “grana grosso”, 640g/m2; the thickness and hardness of the paper makes it necessary to transport it without rolling). In this way, Mario BGil pays tribute to his admired artist and offers us a new and enriched vision of this popular facet of oriental art from the 18th and 19th centuries. ABOUT THE ARTIST Mario BGil is a self-taught artist who for years has combined his creative activity with his work in the family business, away from commercial art galleries. In 2012, a deep interest in oriental art was awakened in him and he began to study the great masters of Japanese Ukiyo-e prints, who had such an influence on the European avant-garde of the late XIX century. The discovery of Kitagawa Utamaro (1753-1806), a key figure in the metropolitan culture of Edo (now Tokyo), and a point of reference in the history of Japanese engraving...

This print is from a highly regarded series by the Edo woodblock artist Utagawa Kuniyoshi: in the period, there were at times prohibitions in depicting a...

LOVE FOR A STREET-WALKER Crayon, graphite, pencil on paper. Measurements: (H) 76 x (W) 56 cm. Attractive portrait of an Edo prostitute hurrying through the streets. She wears a black kimono over layers of colored kimono, tucking her hand into the "obi" at her waist. A white scarf is draped over her head, the edge caught between her teeth, and loose wisps of hair framed her face. There is an impressive contrast between the black kimono and the yellow-orange of collars, sleeves and "obi", balancing the composition the pastel pink of the scarf that covers her head. This image is part of the "bijin-ga" series, Pretty Women, drawn by Mario BGil, based in the Kitigawa Utamaro woodblock print "Love for a street-walker" (1795), 37,2 x 24,6 cm. The British Musem. London, UK. The artist reproduces the seal of the censor (Kiwame) and from the original publisher ("Tsutaya", climbing leaf)), between the two, the signature of Mario BGil written in Japanese, with the date 14 (2014). The mesaurements of the drawing are 76 x 56 cm. (29,92 x 22,05 in.), with a painted surface of 67 x 49,5 cm. With his work on the "bijing-ga" series, Mario BGil wanted to embellish, give brilliance and volume to the images presented by japanese artist Kitigawa Utamaro in those beautiful engravings, ennobled with the patina of time, which have served as inspiration. The result obtained is almost life-size portraits, endowed with strong chromaticism and valuable contrasts, all enhanced, in turn, with the volume provided by the weight and rigidity of the paper, and its thick texture (Fabriano Artistico “grana grosso”, 640g/m2; the thickness and hardness of the paper makes it necessary to transport it without rolling). In this way, Mario BGil pays tribute to his admired artist and offers us a new and enriched vision of this popular facet of oriental art from the 18th and 19th centuries. ABOUT THE ARTIST Mario BGil is a self-taught artist who for years has combined his creative activity with his work in the family business, away from commercial art galleries. In 2012, a deep interest in oriental art was awakened in him and he began to study the great masters of Japanese Ukiyo-e prints, who had such an influence on the European avant-garde of the late 19th century. The discovery of Kitagawa Utamaro (1753-1806), a key figure in the metropolitan culture of Edo (now Tokyo), and a point of reference in the history of Japanese engraving...

WOMAN READING A LETTER Three-quarter portrait of an Edo period Japanese courtesan caught reading a letter. Her clothing is simple: an inner pink kimono peeks out from the collar and short sleeves of the outer gray kimono with black trim. The note of color is provided by the obi tied at the waist at the front, the ribbon around the bow and the light turquoise background. This image is part of the bijin-ga series (“Pretty women”) drawn by Mario BGil, based in the Kitigawa Utamaro woodblock print “Woman reding a letter” (1792-17993). The artist reproduces also the seal of the censor (Kiwame) and the original publisher's seal (Tsutaya, climbing leaf), as it appears in the woodblock print used as a model; between the two, the signature of Mario BGil written in Japanese, with the date 14 (2014). The measurements of the woodblock print are 37,2 x 24,5 cm., the drawing made by Mario BGil is 76 x 56 cm. / 29,92 x 22.05 in. With his work on the bijing-ga series, Mario BGil wanted to embellish, give brilliance and volume to the images presented by japanese artist Kitigawa Utamaro in those beautiful engravings, ennobled with the patina of time, which have served as inspiration. The result obtained is almost life-size portraits, endowed with strong chromaticism and valuable contrasts, all enhanced, in turn, with the volume provided by the weight and rigidity of the paper, and its thick texture (Fabriano Artistico “grana grosso”, 640g/m2); the thickness and hardness of the paper makes it necessary to transport it without rolling). In this way, Mario BGil pays tribute to his admired artist and offers us a new and enriched vision of this popular facet of oriental art from the 18th and 19th centuries. ABOUT THE ARTIST Mario BGil is a self-taught artist who for years has combined his creative activity with his work in the family business, away from commercial art galleries. In 2012, a deep interest in oriental art was awakened in him and he began to study the great masters of Japanese Ukiyo-e prints, who had such an influence on the European avant-garde of the late s...

Portrait of the top-class courtesan Hanamurasaki elegantly combed, and dressed in a simple formal kimono and obi, adorned with symbols of her okiya. She is sitting on her knees in a graceful pose, stretching her arms forward and crossing her fingers with a delicate movement of the wrists. This image is part of the “bijin-ga series” (Pretty women) drawn by Mario BGil, based in the Kitigawa Utamaro woodblock print “Hanamurasaky of the Tamaya”, (from the series: “Array of supreme beauties of the Present Day”, 1794), 36,2 x 25 cm. Museum of Fine Arts. Boston, USA. The artist reproduces the seal of the censor (Kiwame) and from the original publisher ("Tsutaya", climbing leaf)), between the two, the signature of Mario BGil written in Japanese, with the date 14 (2014). The mesaurements of the drawing are 76 x 56 cm. (29,92 x 22,05 in.), with a painted surface of 67 x 49,5 cm. With his work on the "bijing-ga series", Mario BGil wanted to embellish, give brilliance and volume to the images presented by japanese artist Kitigawa Utamaro in those beautiful engravings, ennobled with the patina of time, which have served as inspiration. The result obtained is almost life-size portraits, endowed with strong chromaticism and valuable contrasts, all enhanced, in turn, with the volume provided by the weight and rigidity of the paper, and its thick texture (Fabriano Artistico “grana grosso”, 640g/m2; the thickness and hardness of the paper makes it necessary to transport it without rolling). In this way, Mario BGil pays tribute to his admired artist and offers us a new and enriched vision of this popular facet of oriental art from the 18th and 19th centuries. ABOUT THE ARTIST Mario BGil is a self-taught artist who for years has combined his creative activity with his work in the business world, away from commercial art galleries. Man of very diverse interests and great artistic sensitivity, studied Art History and in 2012, a deep interest in oriental art was awakened in him so that he began to study the great masters of Japanese Ukiyo-e prints, who had such an influence on the European avant-garde of the late 19th century. The discovery of Kitagawa Utamaro (1753-1806), a key figure in the metropolitan culture of Edo (now Tokyo), and a point of reference in the history of Japanese engraving...

Utagawa Hiroshige II (1829-1869), 'Kintai Bridge at Iwakuni in Suo Province' (Suo iwakuni kintai-bashi), from the series 'One Hundred Views of Famous Pla...

Japanese woodblock print of a woman kneeling by the river. She is holding a stick making it appear like she is fishing with it. The woodblock print is printed on rice paper. The print is not framed. Artist Biography: Utagawa Kuniyasu...

A cascading waterfall fills Chiyo’s Pond, named after an ancient samurai’s wife. Cherry trees in full bloom line the banks of the pond. The reflections of the trees in the pond are a notable feature, as Hiroshige did not use reflections in very many of his prints, as it was something of an exotic import. From the series One Hundred Famous Views of Edo...

Morning Glories. c.1900. Japanese paper stencil on mulberry paper treated with persimmon juice and smoked. Thrust carving with silk thread insertion re...

New Year’s festivities are indicated by the flying kites as well as the two battledores tossing the shuttlecock that floats in the middle sky. Note that the women holding the battled...

Sumi ink drawing, c. 1928 Signed in the lower right corner (see detail) Original illustration for the novel "Gunmo" (Hoi Polloi or Blind and Foolish Masses), volume 4 in the "Complete Works of Burafu Nakamura." Nakamura, a popular Japanese novelist and playwright, lived from 1886-1949. Framed in acid free rag matting, OP3 Acrylic and a rounded corner metal leaf frame Sight size: 6-3/4 x 5-3/8" Frame size: 14-5/8 x 12-5/8 x 3/4" Shinsui Itō...

"Ichimura Hazaemon as Hatsuyumeya Mitsujiro" is a woodcut print by Toyoharu Kunichika in red, blue, and black. 14" x 9 1/2" art 20 3/4" x 16 3/4" framed From the series “First Per...

Attributed to Ukita Ikkei (1795-1859) Hanging scroll painting of the American ship commanded by Commodore Matthew Perry in Uraga Bay, annotate...

Craftsmen Illustrator: Ishikawa Masumi Wood Carver: Sato Nami Printer: Nakayama Makoto Details Edition: limited edition of 200 Size: 18.9 x 13.4 inches (48 x 34 cm) Paper: Echizen K...

Craftsmen Illustrator: Ishikawa Masumi Woodcarver: Watanabe Kazuo Printer: Yoshida Hideo Details Edition: limited edition of 200 (first 100 autographed by the members of the band) ...

Craftsmen Illustrator: Ishikawa Masumi Woodcarver: Watanabe Kazuo Printer: Yoshida Hideo Details Edition: limited edition of 200 (first 100 autographed by the members of the band) ...