Page 81 - September 21 2021 Important Japanese Art Christie's NYC
P. 81

PROPERTY FROM THE SPRINGFIELD MUSEUMS
          (LOTS 24-83)




           74 UTAGAWA                KUNIYOSHI               (1797-1861)


               Sashu Tsukahara setchu
               (Nichiren in the snow at

               Tsukahara on Sado Island)

               Woodblock print, from the series Koso
               goichidai ryakuzu (Sketches of the life of the
               Great Priest), signed Ichiyusai Kuniyoshi hitsu,
               published by Iseya Rihei (Kinjudo), circa 1830-
               35
               Horizontal oban: 9¿ x 14¡ in. (23.2 x 36.5 cm.)

               $10,000-15,000



               PROVENANCE:
               Raymond A. Bidwell (1876-1954), Springfield,
               Massachusetts
               Hayashi Tadamasa (1853-1906), Paris

               EXHIBITED:
               Joan Whitney Payson Gallery of Art, Portland, Maine, 25
               February-9 April, 1989
               “Utagawa Kuniyoshi”, Springfield Museum of Fine Arts,
               Springfield, Massachusetts, 1980, exh. cat. pl. 32
               “Exhibition of Ukiyo-e by Utagawa Kuniyoshi”, Riccar
               Art Museum, Tokyo, 23 November-24 December, 1978,
               exh. cat. pl. 184


               LITERATURE:
               The Raymond A. Bidwell Collection of Prints by Utagawa
               Kuniyoshi (Massachusetts: The Raymond A. Bidwell and
               Bertha U. Bidwell Fund, 1968), pl. 17.


               A  solitary  figure  bracing  himself  against  the  wind,  trudges
               up an exposed, snow-covered mountain slope near Tsukahara
               on  Sado  island.  Snow  falls  thickly  from  a  dark  sky.  This  is
               Nichiren,  sent  into  exile  by  the  regent  Hojo  Tokimune  in
               1271. It is believed that this print must have been very popular
               during Kuniyoshi’s lifetime and it remains one of Kuniyoshi’s
               best-known designs.
               Although there is debate surrounding the many editions of this
               print and which should be considered the first, it is generally
               believed that prints without the horizon line (as with the print
               offered here) are indicative of the first edition.
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