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Extra resources for Japanese Prints: From The Early Masters To The Modern
Four X forty four. 7. eighty two. younger guy WITH FLOWER-CART. past due 1750's. a tender samurai incorporates a dangling flower association performed within the demeanour of a flower-cart. Poem: " The cherry blossom blooms yet a second: so too the flowering days of reasonable younger lads. " Signature: Ishikawa Toyonobu hitsu; Ishikawa uji, Toyonobu seals. writer: Urokogataya. effective (slight discoloration). From Chandler, Wright, Murata. In UTS IV, 17. Benizuri-e: pink, eco-friendly, yellow. 38. eight X 17. four. Kiyoshige Torii Kiyoshige (worked past due 1720's to early 1760's). A past due student of Kiyonobu I, Kiyoshige frequently lends a slightly stiff, angular notice to his figures. His huge pillar-prints within the Masanobu demeanour, besides the fact that, rank one of the masterpieces of the Torii tuition. eighty three. SANOKAWA ICHIMATSU. Early 1740's. The actor is obvious within the position of a samurai, sporting a department of cherry blossoms. (Yoshida Teruji indicates the position can be that of Yoriie in Ainoyama onna katakiuchi, played III/1761. Nakamura-za; yet stylistically the print would appear thus far from approximately 20 years past. ) In an unsigned model this print has continually been given to Masanobu; cf. UT III, 154 and V&I I, 133. Signature: Torii Kiyoshige hitsu; Kiyoshige seal. writer: Urokogataya. situation high quality (small computer virus holes, sponsored. ) From Chandler. Urushi-e: three colours via hand. seventy one. 2 X sixteen. eighty five. ICHIKAWA YAOZŌ. 1754. Yaozō within the position of Soga Gorō, from Satsuki-matsu Soga tachibana, played I/1754, Ichimura-za. Poem: "They bloom in colours: the flowering azaleas of Matsushima. " Signature: Torii Kivoshige; Kiyoshige seal. writer: Yamamoto. situation stable. From Lewis, Kellogg, Yamanaka. Benizuri-e: purple, eco-friendly, grey, overprinting. 39. 1 X 17. five. Kiyomitsu Torii Kiyomitsu (ca. 1735-85), son of Kiyomasu II, represents the ultimate interval of glory of the normal Torii tuition. His output used to be huge, and lots of of his actor prints are boring, yet in such ingenious scenes as that of No. ninety two he monitors a dreamlike grace that equals the easiest of Harunobu. eighty four. BANDŌ HIKOSABURŌ II. Ca. 1760. The actor is proven within the function of Akaneya Hanshichi, most likely from Furiwakegami suehiro Genji, played I/1760, Ichimura-za. Poem (by Jōa): "The face of old flame: faded blush of early maples. " Signature: Torii Kiyomitsu hitsu; Kiyomitsu seal. situation reliable (small element of higher left nook lacking, folded, toned). From Chandler, 11/12/1912. Benizuri-e: purple, eco-friendly, grey. forty eight. eight X 19. five. ninety two. MAIDEN DREAMING. 1760's. within the middle, a maiden of the the Aristocracy desires of being nervous by way of a wide cat which leaps from amidst the peonies as butterflies scatter approximately. on the left a maidservant holds a lantern whereas to the ideal one other maidservant with lantern enters with a samurai, in all probability the maiden's lover. Signature: Torii Kiyomitsu ga; Kiyomitsu seal. writer: Tōri-abura-chō, Hōsendō, Yamamoto Kohei. reasonable (folded). From Chandler, Longweil, Ledoux, Yamanaka. In London, No. forty-one. Benizuri-e: pink, yellow, grey, overprinting. 31. three X forty three. five. 93—95. DANCERS. 1760's. 3 lady dancers are depicted in roles derived from the Noh drama.