Page 18 - Bonhams Auction NYC Japanese and Korean Art March 15, 2017

6024 6024
KATSUSHIKA HOKUSAI (1760-1849)
6025 Edo period (1615-1868), 1830s
Comprising eight single, 15 double-page sumizuri-e double-page
6026 illustration bookplates and six printed pages: two from one of the
16 | BONHAMS Hokusai manga, a double page of an elephant and two single pages of
birds on a drum or "water buffalo"; the remainder from Fugaku hyakkei
(100 Views of Mount Fuji), circa 1834-35, publishers Eirakuya Toshiro,
Nishimura Yuzo and Nishimuraya Yohachi; together with six single
pages printed with text [29]
9 x 6in (23 x 15cm) average (each page)

US$600 - 800

6025
KATSUSHIKA HOKUSAI (1760-1849)
Edo period (1615-1868), circa 1820s
Two shikishiban surimono prints, the first of the warrior Hatakeyama
Shigetada carrying his horse, with poems by Tetsunoya Ume[ ] and
Yomo Magao, circa 1820-22, signed Fusenkyo Iitsu hitsu; the second
of Ki no Natora and Otomo no Yoshio wrestling, circa 1829, signed
Saki no Hokusai Iitsu hitsu [2]
8 1/8 x 7 1/8in (20.8 x 18.3cm)
8 1/4 x 7 1/8in (21 x 18.2cm)

US$2,000 - 3,000

Another impression of the second is in the collection of the
Museum of Fine Arts, Boston (inv. no. 00.1949); see http://www.
mfa.org/collections/object/ki-no-natora-and-ôtomo-no-yoshio-
wrestling-178843

6026
YASHIMA GAKUTEI (CA. 1786-1855)
Edo period (1615-1868), circa 1820s
Two shikishiban surimono prints, the first of the warrior Miuranosuke
and a nine-tailed fox in the guise of Tamamo no Mae, a favorite
concubine of the Toba emperor, for the poetry group led by Bensusha
Masago, with poems by Bentandai Giboshi, Benbensai Kazumasa and
Bensusha Masado which, circa 1827, signed Gakutei, production seal
of Shugyokudo; the second of Takemikazuchi Daijin, from the series
Katsushika nijushisho (24 Generals for the Katsushika [Circle]), with a
poem by Bunpukukyo Chagamaru, circa 1821, signed Gakutei, studio
seal of Teiko [2]
8 1/8 x 7 1/8in (20.8 x 18.2cm)
8 1/8 x 7 1/4in (20.2 x 18.4cm)

US$1,400 - 2,200

Another impression of the first with additional information published in
Matthi Forrer, Surimono in the Rijksmuseum Amsterdam, Leiden, 2013,
p. 239, no. 443 and in John T Carpenter, ed., Reading Surimono: the
interplay of Text and Image in Japanese Prints, Leiden and Zurich:
Hotei Publishing in association with Museum Rietberg Zürich, 2008,
pp.186-187, no. 61.
Another impression of the second and discussion of this series is
published in John T. Carpenter, ed., Reading Surimono: The Interplay
of Text and Image in Japanese Prints, Leiden and Zurich: Hotei
Publishing in association with Museum Rietberg Zürich, 2008, pp.
118-119, Appendix II.