Japanese Ukiyo-e Prints

Vibrant ukiyo-e prints showcasing traditional Japanese actors, courtesans, and scenes with elegant clothing and natural elements in a colorful, expressive style.

A young woman with a battledore and a shuttlecock, kneeling beside a young girl who is bouncing a ball. Created by Yamahito (Japanese, active 19th century) in 1806, the artwork is a woodcut with an extent of 14 x 9 in. (35.6 x 22.9 cm) and includes a forged signature of Utamaro

Immortal Poet 17th century Kano Shōun Japanese. Immortal Poet 45719

Courtesans Promenading on the Nakanocho, c. 1790. Utagawa Toyokuni (Japanese, 1769-1825). Triptych: color woodblock print; sheet: 37.8 x 25.8 cm (14 7/8 x 10 3/16 in.). The Nakanocho was the main street in the famous Yoshiwara pleasure district, a walled enclosure that housed as many as 4,000 courtesans during its height. In the early evening, elaborately dressed courtesans, accompanied by attendants, promenaded on the main thoroughfare, as in this scene. On the left side of the street, an unaccompanied courtesan holding a long, slender pipe lounges on a porch and converses with another courtesan. At the right, a pair of courtesans attract the attention of two men, one presumably a samurai who wears a hooded cloak and hides his face behind a fan. The open buildings with shop curtains hanging from their eaves are teahouses, establishments where men could arrange appointments with courtesans in the more prestigious brothels.

O-iwa the lantern ghost, 1830 Smoking lantern with holes and a spooky face; With Riet; Against a gray and dark blue background. print maker: Japanpublisher: Tokyo paper nishiki-e / color woodcut Smoking lantern with holes and a spooky face; With Riet; Against a gray and dark blue background. print maker: Japanpublisher: Tokyo paper nishiki-e / color woodcut

Flowers of a Hundred Worlds (Momoyogusa): Asazuma in Her Boat (Asazuma-bune), 1909. Kamisaka Sekka (Japanese, 1866-1942). Ink and color on paper; Kamisaka Sekka made preparatory drawings for his Flowers of a Hundred Worlds series on tracing paper with ink and color. The freehand sketches are much looser than the finished, printed compositions.

Ukiyo-e with an actor in the role of Soma-no-Masanori his face flushed with anger, woodcut from the Kabuki Theatre series. Japanese civilization, Edo period (1603-1868).

FILATELIA-SELLOS JAPONESES.

Japanese Tea Ceremony, 19th century. Museum: Victoria & Albert Museum, LONDRES, UK. Author: TOSHIKATA.

Four Actors in Roles of Ishikawa Goemon, Oritsu, Haginoya Yaegiri and Takagi Oriemon. Utagawa Kunisada (Toyokuni III) (Japan, Edo, 1786-1865). Japan, 1851. Prints; woodblocks. Color woodblock print

Tartar Officer with Blonde Lady 19th century Unidentified artist. Tartar Officer with Blonde Lady. Unidentified artist. China. 19th century. Eight album leaves; color on silk. Yuan (1271-1368)-Qing dynasty () (1644-1911). Paintings

Verschiedene Illustration der Kunst aus Japan, Historisch, digital restaurierte Reproduktion einer Originalvorlage aus dem 19. Jahrhundert

Benkei, the renowned henchman of Minamoto no Yoshitsune, stands on Gojo Bridge in Kyoto on a moonlit night, challenging all comers. A large white crane flies overhead., 1767, Woodcuts., 10 1/2 x 8 in. (26.7 x 20.3 cm)

Utagawa Kuniyoshi 1798-1861. Bando Shiuka as Princess Morokoshi. Onoe Kikugoro III as Tejiku Kaja. and Sawamura Sojuro V as Shibaemon. 1847. Oban vertical triptych.

Gion-dí´fu = Gion bean curd, Kitagawa, Utamaro (1753?-1806), (Artist), Date Created: ca. 1793-ca.1804.

Japan: Traditional crafts and trades of the 18th century from a hand-painted album by an anonymous artist. Folio 26

Tsukioka Yoshitoshi (30 April 1839 9 June 1892) (also named Taiso Yoshitoshi) was a Japanese artist and Ukiyo-e woodblock print master. He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras the last years of Edo period Japan, and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing. By the end of his career, Yoshitoshi was in an almost single-handed struggle against time and technology. As he worked on in the old manner, Japan was adopting Western mass reproduction methods like photography and lithography. Nonetheless, in a Japan that was turning away from its own past, he almost singlehandedly ma

fine arts, Japan, graphic, couple on a couch, colour woodcut, student of Kesai Eisen, silk, circa 1890, private collection,

Courtesans preparing tea; by Koriusai; 18th Century, japanese

Japanese dance by Kitagawa Utamaro, Color linocut, c. 1796, 1754-1806, Russia, Moscow, State A. Pushkin Museum of Fine Arts, 37,5x75

Three men next to the a waterfall, from the series: Ise Monogatari Katsukawa, shunsho (1726 1792)

Woman under a tree, Japan, middle of the eighth century. Detail of a wall screen. India ink and pale colour on paper.

Japan, Ibaya Senzaburô, Kinugasa Fusajiro, Hama Yahei, Kuniyoshi, Utagawa, Nitakaragura kabe no mudagaki, Scribbles on the wall of a department store, Six portraits of actors, under print - stamped, Wall with graffiti depicting six portraits of actors, flowers and a umbrella., print, prints, Japan (collection), height 367 mm, width 255 mm, Japanese, 1798 - 1861-04-14, print maker, printmaker, 1847 - 1847, second quarter 19th century, paper, nishiki-e, colour woodcut, censor, Publication (Event), Publication, publisher

Portraits of members of a Manchu family. Artist: Unidentified Artist. Culture: China. Dimensions: 13 1/8 x 14 1/8 in. (33.3 x 35.9 cm). Date: mid-19th century.Portrait albums are rare, and this one, which seems to depict an entire family, is particularly unusual. The clothing indicates that the subjects were Manchus, the ethnicity of the ruling Qing dynasty (1644-1911). Several of the men wear "rank badges"--textile squares or circles indicating their official position within the Qing government. In each image, objects of refinement--books, fine furniture, scholar's rocks--are carefully placed around the sitter to indicate his or her sophistication. This album is a touching document of one family's attempt to record its ideal self-image. Museum: Metropolitan Museum of Art, New York, USA.

Girl with apples watercolours, works on paper

Maharani Mandial of Guler at Leisure. India, Himachal Pradesh, Guler, circa 1760-1770. Drawings. Pencil and opaque watercolor on paper

Woman Cooling Herself ca. 1800 Utagawa Toyohiro. Woman Cooling Herself. Utagawa Toyohiro (Japanese, 1763-1828). Japan. ca. 1800. Hanging scroll; ink and color on silk. Edo period (1615-1868). Paintings

Man with a sword sitting at the table, spectrum head in the background YOSHITOSHI, UTAGAWA (1842 1892)

Japan: The Ugly Royal Son in Law Xuan Zan or Shugunba Sensan, one of the 'One Hundred and Eight Heroes of the Water Margin', makes a stroke with his sword by a waterfall, while his hat blows away in the strong wind. Woodblock print by Utagawa Kuniyoshi (1797-1863), 1827-1830. The Water Margin (known in Chinese as Shuihu Zhuan, sometimes abbreviated to Shuihu, known as Suikoden in Japanese, as well as Outlaws of the Marsh, Tale of the Marshes, All Men Are Brothers, Men of the Marshes, or The Marshes of Mount Liang in English, is a 14th century novel and one of the Four Great Classical Novels of Chinese literature. Attributed to Shi Nai'an and written in vernacular Chinese.

Tsukioka Yoshitoshi (30 April 1839 9 June 1892) (also named Taiso Yoshitoshi) was a Japanese artist and Ukiyo-e woodblock print master. He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras the last years of Edo period Japan, and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing. By the end of his career, Yoshitoshi was in an almost single-handed struggle against time and technology. As he worked on in the old manner, Japan was adopting Western mass reproduction methods like photography and lithography. Nonetheless, in a Japan that was turning away from its own past, he almost singlehandedly ma

Honchô hyakuyûden, utagawa seradamasu, 1847-1848 print Ichikawa Ebijûrô IV (from 1847 to 4/1849 called Bandô Jutarô II) as Gotobei, and Kataoka Ichizô I (Frontal in Beeld) as Sato Masakiyo. Chûban with Koban Diptiek paper portrait of actor, actress

Guo Ziyi with family on the way to the audience. Wang, Zhenpeng (fl. 1301-1400), painter

Honchô hyakuyûden, utagawa seradamasu, 1847-1848 print Kataoka Ichizô I as Daroku and Arashi Rikan III (with hat) as ono no tôfû. Chûban with Koban Diptiek paper portrait of actor, actress

Grand Box, Toulouse-Lautrec, Henri de, 1897

World Erotic Art Museum. Japanese Shunga ( erotic art ) painting on paper scroll. Setei Tsuikioka 1726-1787. Miami, Florida, USA.

Onoe Matsusuke as a Man Standing at Night at Yoshiwara probably 1770 Ippitsusai Bunchō Japanese. Onoe Matsusuke as a Man Standing at Night at Yoshiwara 36714

Momoyogusa = Flowers of a Hundred Generations.. Kamisaka, Sekka, 1866-1942. Prints, Illustrations. 1909 - 1910. Spencer Collection. Japan , Social life and customs

Portrait of AnOfficial, 15thcentury, Ink, color, and gold on silk; framed Chinese mounting, without mounting: 41 3/4 × 23 1/4 in. (106 × 59cm), China, Chinese, Ming dynasty(1368-1644), Paintings

Akasaka Station, inn with serving women; print from the series: Tokaido gojusan tsugi-no uchi (53 Stations of the Tokaido). Utagawa, Hiroshige I (1797-1858), graphic artist

'Black Ship' (Kurofune), illustration from Bugei Kurabu (Literary Club) Tomioka Eisen Japanese. 'Black Ship' (Kurofune), illustration from Bugei Kurabu (Literary Club) 55985

Male figure with writing rolls, detail from Yamaraja, fifth judge of the underworld, 1795, colour on silk, from the temple of Suguk-Sa, South Korea. Korean Civilisation, Joseon dynasty, 18th century.

Woman Sweeping right of a pair of Women, early 19th century, Tatebe Sōchō, Japanese, 1761 - 1814, 50 5/8 × 19 9/16 in. (128.59 × 49.69 cm) (image)77 3/4 × 26 3/16 in. (197.49 × 66.52 cm) (mount, without roller), Ink and color on paper, Japan, 19th century

American cook, 1860, Woodcuts, Color, 13 3/8 x 8 7/8 in. (34 x 22.6 cm)

Ukiyo-e with an actor in women's clothes with a lantern, 19th century, woodcut from the Kabuki Theatre series. Japanese civilization, Edo period (1603-1868).

T. Enami (Enami Nobukuni, 1859 - 1929) was the trade name of a celebrated Meiji period photographer. The T. of his trade name is thought to have stood for Toshi, though he never spelled it out on any personal or business document. Born in Edo (now Tokyo) during the Bakumatsu era, Enami was first a student of, and then an assistant to the well known photographer and collotypist, Ogawa Kazumasa. Enami relocated to Yokohama, and opened a studio on Benten-dori (Benten Street) in 1892. Just a few doors away from him was the studio of the already well known Tamamura Kozaburo. He and Enami would work together on at least three related projects over the years. Enami became quietly unique as the only photographer of that period known to work in all popular formats, including the production of large-format photographs compiled into what are commonly called 'Yokohama Albums'. Enami went on to become Japan's most prolific photographer of small-format images such as the stereoview and glass lantern

One of Sixteen Scenes of the Death and Burial of a Man, Japan watercolor on silk or paper, From a series of sixteen scenes of the death and burial of a man in Japan., Japan, 19th century, drawing, drawing

Eijiri stop 18. Bust of a man in a white scarf, from the series: Tokaido gojusan tsugi no uchi Kunisada, UTAGAWA (1786 1864)

Tokyo, Fukuda Kumajirô, Japan, Kiyochika, Kobayashi, Koume Hikifunedo sekkei, Snowy Landscape at Hikifune in Koume, verso - stamped, Two Women Walking in the Snow by a River., print, prent, prints, Japan (collection), height 236 mm, width 337 mm, 1847 - 1915, print maker, prentmaker, 1877 - 1882, fourth quarter 19th century, paper, papier, nishiki-e, colour woodcut, color woodcut, Publication (Event), Publication, Japanese, publisher

Chinese domestic scene, c1820. Artist: Unknown

Between the end of the First World War in 1918 and the outbreak of the Pacific War in 1941, Japanese graphic design as represented in advertsing posters, magazine covers and book covers underwent a series of changes characterised by increasing Western influence, a growing middle class, industrialisation and militarisation, as well as (initially) left wing political ideals and (subsequently) right wing nationalism and the influence of European Fascist art forms.

'Big Celebration with Colored Lights'. China, City of Yanlyutsin, late 19th - early 20th century. Dimensions: 107x61 cm. Museum: State Hermitage, St. Petersburg.

From a series of sixteen scenes of the death and burial of a man in Japan. Date: 19th century. Japan watercolor on silk or paper. Museum: Cooper Hewitt, Smithsonian Design Museum.

The visit, illustration, French, c.1889

Portrait of a Lady'. Oil on canvas painting by Okada Saburosuke (1869-1939), 1907. Okada Saburosuke (12 January 1869 - 23 September, 1939) was a Japanese yoga (Western-style) painter. He was influenced by great yoga painters such as Kuroda Seiki and Kume Keiichiro, and became one of the founding members of Hakuba-kai (White Horse Society), an artists' association. He was awarded the Order of Culture in 1937, the highest honour in the Japanese cultural world.

Color woodblock prints; oban triptych.

Japanese Girl with Vases, Tissot, James Jacques Joseph, 1865

Print on hosho paper : woodcut, colour of a Japanese print showing head-and-shoulders portrait of Admiral Perry (1794-1858). Perry was a commodore of the U.S. Navy and commander of a number of ships.

Hand-coloured photograph of a Japanese woman painting a screen by Felice Beato (1832-1909) Italian-British photographer. Dated 1869

'When the Fish Turns Into a Dragon, it Rises High Up'. China, City of Peking, late 19th - early 20th century. Dimensions: 58x35 cm. Museum: State Hermitage, St. Petersburg.

At last he turned to her and said, 'Am I so very ugly', 1896, by Walter Crane. This print features a conversation between characters in an interior setting, depicting themes from fairy tales like Beauty and the Beast. The illustration includes sofas, boars, and animals in human situations. The extent of the print is 1 wood engraving, colored, measuring 26 x 44 cm.'

Japan, Takekawa Risaburô, Gekkô, Ogata, Bijin hana kurabe, Comparisons between beauties and flowers, Ran, Orchid, verso - stamped, Woman sitting by room divider, looking at running away animal near broken flowerpot., print, prints, Japan (collection), height 350 mm, width 238 mm, Japanese, 1859 - 1920, print maker, printmaker, 1896 - 1896, paper, colour woodcut, blind stamp, Publication (Event), Publication, publisher

Portrait of Commodore Matthew Perry. The Japanese hand-colored wood block print was made after the US quasi-military diplomatic mission of 1852-54 which opened Japan to the West (BSLOC_2019_7_60)

. Painted a performance in emails on a copper plate. A man, woman and child are in a pavilion, a servant comes with tea. The figures and architecture elements are somewhat relieved. A curtain encloses the representation at the top and right side. Original table with black lacquer and squirrels and vines in gold.

Traditional Chinese Painting, Lucky Patterns, win promotion and get rich

Jinrikishia. Kusakabe Kimbei (Japanese, 1841 - 1934)

Li Gonglin, style name Boshi, pseudonym Longmian Jushi (Householder of Sleeping Dragon), was a Chinese painter, civil officer and archaeologist in the Northern Song Dynasty. Born into a scholarly home near what is modern day Lu'an City, Li Gonglin passed the highest level of civil service examinations at 21 and became a civil officer. He became famous for his paintings of horses, then he turned to Buddhist and Daoist religious painting, as well as portraits and landscapes. His painting style was attributed to the style of Gu Kaizhi and Wu Daozi.

Siyah Kalem or 'Black Pen' is the name given to the 15th century school of painting attributed to Mehmed Siyah Kalem. Nothing is known of his life, but his work indicates that he was of Central Asian Turkic origin, and thoroughly familiar with camp and military life. The paintings appear in the 'Conquerors Albums', so named because two portraits of Sultan Mehmed II the Conqueror are present in one of them. The albums are made up of miniatures taken from manuscripts of the 14th, 15th, and early 16th centuries, and one series of paintings is inscribed 'work of Master Muḥammad Siyah Kalem'. Something of the style and techniques of Chinese paintings is apparent in these, and an acquaintance with Buddhist art, particularly in the depictions of grotesque demonic figures. It seems likely that certain paintings contained in the 'Conqueror's Albums' are of Chinese origin and may have been used as stylistic guides for painters in the Siyah Kalem tradition.

Santiago Estrany i Castany / 'Kyoto', 1991. Museum: PRIVATE COLLECTION.

Singapore: A door painting depicting Chinese merchants at Thian Hock Keng Temple, Telok Ayer Street in Singapore's Chinatown area. The temple, also known as the Tianfu Temple, was established in 1839 and was built for the worship of the Chinese sea goddess, Mazu. It is the oldest Hokkien temple in the country.

Anonymous watercolor depicting equipment used for larger vessels, showing tools, components, and structure.

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