355x260mm, 22 葉 木版、22葉のうち金澤近廣堂印3葉、表紙いたみ、虫喰い 355x260mm, 22 leaves, woodblockprint, “Kanazawa Konkodo 金澤近廣堂” stamped on 3 leaves. Japanese binding, color is fresh, some wormholes on the margin, a bit rubbed. Rare. Hikifuda are advertising flyers created during the Edo, Meiji, and Taisho periods to advertise stores, wholesalers, brokers, manufacturers, and distributors. They are not only used as historical materials for advertising, but also have value as works of art due to their unique colors and bold designs, making them the subject of collection, and are held in museums around the country, as well as exhibitions. Early Hikifuda had one or two colors, but brightly colored Hikifudas were created during the decline of ukiyo-e, and as commercial activity flourished with civilization and enlightenment, Japanese woodblocks, lithographs, copperplates. These are printed materials such as store flyers, insert advertisements, wanted flyers, prizes, and supplements that were produced in large quantities with the development of letterpress printing. They were used not only to advertise products, but also to celebrate store openings and renovations, hand out items to customers, and hand out items on the streets. It was the last general printed material with a handmade feel, second only to ukiyo-e, and was the origin of modern advertising, as well as the forerunner of catchphrases. Nowadays, it is treated as a work of art, and is also valuable as a historical document of the time. In addition to the clothing, food, shelter, daily necessities, and industry that the stores sold at the time, you can also see historical materials such as the first telephones, telephone poles, automobiles, trains, and airplanes depicted in paintings. For example, cigarette brands include Shikishima, Yamato, Yamazakura, Star, Cherry, and Hero. It spread not only to the metropolitan areas of the time, such as Edo-Tokyo, Osaka, and Kyoto, but also throughout the country. They come in a variety of sizes, some smaller than Ukiyo-e, and some larger. They were also pasted on the walls of houses, sliding doors, and public baths. (Wikipedia) Stock Code: 240814beni

美人十二ヶ月　其十一　嫁入り　12 Months Beauties 11th; marriage 宮川春汀　Shuntei Miyagawa 1873-1914 明治32（1899）年 三枚続　Triptych 370x250mm 茶ばみ、擦れ、縁にやぶれあり、色は綺麗です Woodblock print, browning overall, several places worn and stains, edges a bit tored, otherwise very good condition, color is fresh. Beautiful Illustration. Shuntei Miyagawa (November 11, 1873 - July 26, 1914) is an ukiyo-e artist during the Meiji period, called Seikei, Shuntei, and Gyoshi, and are also written as S. He particularly draws children with a soft touch, and is also good at drawing beautiful women (Bijin-ga). In addition to genre paintings, he also creates magazine frontispieces and newspaper illustrations. He interacted with many young writers and journalists, including Kunio Yanagita, Hanabukuro Tayama, Doppo Kunikida, Shusei Tokuda, and Yuyu Kiryu. He also became acquainted with the writer Sazanami Iwaya. Stock Code: 241006beni-xfoo #浮世絵 #Ukiyo-e

東海道五十三次リプリント【&対比写真】　京都三条大橋　歴史写真1937年7月号より(古書） 刊行年　1937 2葉 サイズ　22x30 【対比写真あり】東海道五十三次リプリント　京都三条大橋　歴史写真1937年7月号より　1937年当時の京都三条大橋の写真印刷付。 Stock Code: 240930benito

【加賀九谷陶磁器同業組合印】錦乃華 第一輯37枚　東海道五十三次 出版所　帝国記念協会美術部 刊行年　1922 ページ数　37葉 サイズ　36.5 x 25 【加賀九谷陶磁器同業組合印】錦乃華　第一輯　37枚 発行所　帝国記念協会美術部 目次：東海道五十三次の内　廣重筆　日本橋、品川 廣重筆　江戸百景の内　上野廣小路　歌麿筆　美人六歌仙 和綴じ、表紙、各図版に印あり。数ページの左下に破れあり（主に余白）。 Stock Code: 240930benito

東海道五十三次リプリント【&対比写真】　京都四条河原　歴史写真1937年８月号より 刊行年　1937 2葉 サイズ　22x30 東海道五十三次リプリント　京都四条河原　雑誌歴史写真1937年８月号より　1937年当時の四条河原町の写真印刷付。 Stock Code: 240930benito

Title：日清合戦 我軍大勝利 九連没落之図 First China(Sino)-Japan War Artist：楊斎延一　Nobukazu Yosai Date：明治27年　1894 Publisher：堤吉兵衛 Triptych　大判 三枚続　 Colour is fresh. Very good condition. 楊斎 延一（ようさい のぶかず、明治5年（1872年） - 昭和19年（1944年））は、明治時代の浮世絵師。 楊洲周延の門人。姓は渡辺、後に島田、名は次郎。楊斎と号す。東京本郷森川町に住んでいた。作画期は明治20年（1887年）頃から明治40年（1907年）頃までで、主に、日清戦争、日露戦争などの戦争物の錦絵を描いて名を上げている。また、他に美人画や風俗画、博覧会、憲法、国会関係、「東京名所」連作なども手がけた。代表作として「陸海軍大演習之図」、「参謀本部会議之図」、「大元帥陛下新橋御発輦ノ図」などがあげられ、その他に「大日本国会議事図」や「東京名所上野公園之景」などの3枚続も描いている。明治20年代には石版画も描き、晩年には肉筆画を描いた。享年73。 https://ja.wikipedia.org/wiki/楊斎延一 Nobukazu Yosai (1872 - 1944) was an ukiyo-e artist during the Meiji period. A disciple of Yoshu Shuen. His surname was Watanabe, later Shimada, and his given name was Jiro. His name is Yosai. He lived in Morikawa-cho, Hongo, Tokyo. His painting period was from around 1887 to 1907, and he made a name for himself mainly by painting nishiki-e of war stories such as the Sino-Japanese War and the Russo-Japanese War. He also worked on paintings of beautiful women, genre paintings, exhibitions, the Constitution, the Diet, and the ``Tokyo Famous Places'' series. His representative works include ``Illustration of the Grand Army and Navy Exercises,'' ``Illustration of the General Staff Meeting,'' and ``Illustration of His Majesty the Grand Marshal's Departure from Shinbashi,'' as well as ``Illustration of the Diet of Japan'' and ``Tokyo Famous Places Ueno Park.'' He also painted triptychs such as ``Scenery''. In the 1890s, he also painted lithographs, and in his later years he painted hand-drawn paintings. He passed away at the age of 73. Stock Code: 240713beTo

Title 東京府下第一霊場 浅草公園地 金竜山観世音境内之全図 Asakusa-Garden in Tokyo Artist　三代目広重Hiroshige III (1842-1894) Date　18?? Publisher 清水屋常治郎/版 彫工朝/彫 Tsunejiro Shimizuya 三代目 歌川 広重（さんだいめ うたがわ ひろしげ、天保13年〈1842年〉[1] - 明治27年〈1894年〉3月28日）とは、江戸時代から明治時代にかけての浮世絵師。 初代歌川広重の門人。…. 広重の名前では初代、二代と同様に三代広重も「東海道五拾三次」を描いたことで世に知られているが、さすがに明治という時代を反映して、怒濤のごとく押し寄せる文明開化の産物、蒸気機関車、蒸気船、鉄道、洋風建築、洋服、散切り頭の民衆、人力車などを積極的に描いている。…三代目広重はこういった文明開化の有様を毒々しい輸入アニリン紅を多用して描いたので、彼の開化絵は「赤絵」と呼ばれた。当時の落ち着きのない騒々しい世相を見事に映し取っていたといえよう。三代広重の開化絵は初代広重がもっていた叙情性とは縁がないが、からりとした明治前期の時代色を良く伝えている。 https://ja.wikipedia.org/wiki/歌川広重_(3代目) Hiroshige Utagawa III (Tenpo 13 (1842) [1] - March 28, 1894) was an ukiyo-e artist from the Edo period to the Meiji period. A disciple of the first generation Utagawa Hiroshige. Like the first and second generations, Hiroshige's third generation is known to the world for his depiction of the ``Fifty-Three Stations of the Tokaido'', which reflects the Meiji era, and was filled with the rush of civilization and enlightenment. He actively depicts industrial products, steam locomotives, steamships, railroads, Western-style architecture, clothes, people with chopped heads, rickshaws, etc. ...The third generation Hiroshige depicted the state of civilization and enlightenment using a lot of poisonous imported aniline red, so his enlightenment paintings were called ``red pictures (Aka-e)''. It can be said that it perfectly reflected the restless and noisy social situation of the time. Although the third generation Hiroshige's Kaika-e paintings have nothing to do with the lyricism that the first generation Hiroshige had, they do well convey the colorful atmosphere of the early Meiji era. Stock Code: 240713beTo

Title 「忠信利平 河原崎権十郎」 Kabuki Actor Kawarazaki GonjuroI as Tadanobu Rihei Artist 落合芳幾 Yoshiiku UTAGAWA [OCHIAI] Date　1862 Excellent condition 忠信利平 ただのぶ-りへいは、歌舞伎「青砥稿花紅彩画(あおとぞうしはなのにしきえ)」の登場人物。 白浪五人男のひとりで,日本駄右衛門の手下。赤星十三郎の切腹をとめ,100両をあたえて日本駄右衛門にひきあわす。河竹黙阿弥の作で,文久2年(1862)江戸市村座初演。別外題は「弁天娘女男白浪(べんてんむすめめおのしらなみ)」など。講談社デジタル版 日本人名大辞典 落合 芳幾（おちあい よしいく、天保4年〈1833年〉 - 明治37年〈1904年〉2月6日）は、幕末から明治にかけて活躍した浮世絵師。.. 姓は落合、名は幾次郎。画姓は歌川。画号は一恵斎、一蕙斎、蕙斎、朝霞楼、洒落斎、蕙阿弥など。歌川国芳の門下で、月岡芳年とは兄弟弟子（芳幾が兄格）である。一時は浮世絵師として芳年と人気を二分する程であったが、新聞人としてまた挿絵画家として新聞の発行にもかかわった。 天保4年（1833年）4月、日本堤下の編笠茶屋に生まれる。…嘉永2年（1849年）頃、17、8歳で歌川国芳に入門する。安政2年（1855年）、安政の大地震で妻子を失うがこの時の吉原の惨状を錦絵に描き名をあげる。…慶応2年（1866年）には芳年との無残絵の競作「英名二十八衆句」が発行されて人気を呼んだ。慶応3年（1867年）、皎々舎梅崕編の『久万那幾影（くまなきかげ）』の挿絵を描いた。その一方で、開化的なものに興味関心があり横浜絵などを描いた点は芳年とは異なっていた。 しかし芳幾の関心は浮世絵にとどまらなかった。明治5年（1872年）、条野伝平、西田伝助とともに「東京日日新聞」の発起人となり[3]明治7年（1874年）10月には錦絵版『東京日日新聞』に新聞錦絵を書き始め、錦絵新聞流行の先駆けとなる。芳幾は明治8年7月まで挿絵を担当していた。 明治8年（1875年）、「平仮名絵入新聞」（のちの「東京絵入新聞」）の創刊にもかかわりこの新聞で挿絵画家としても活動[4]。また『歌舞伎新報』の発行にもかかわり、明治12年2月の創刊当時から俳優の特徴を写実的にとらえた挿絵を描いた。 Stock Code: 240707beTo

Title 上野の黄昏の降雪 Evening Snowfall in Ueno (Tokyo) Date ca. 1847-50 Artist 歌川国貞（1786-1865） Kunisada UTAGAWA Publisher　山城屋甚平　Jinbee YAMASHIROYA Dyptych　三枚続のうちの二枚 Umbrellas are a very important motif for Beautiful Women of Ukiyo-e (Japanese Woodblock Prints). Utagawa Kunisada (Japanese: 歌川 国貞; 1786 – 12 January 1865), also known as Utagawa Toyokuni III (三代 歌川 豊国, Sandai Otagawa Toyokuni), was a Japanese ukiyo-e artist. He is considered the most popular, prolific and commercially successful designer of ukiyo-e woodblock prints in 19th-century Japan. In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi. At the end of the Edo period (1603–1867), Hiroshige, Kuniyoshi and Kunisada were the three best representatives of the Japanese color woodcut in Edo (capital city of Japan, now Tokyo). However, among European and American collectors of Japanese prints, beginning in the late 19th and early 20th century, all three of these artists were actually regarded as rather inferior to the greats of classical ukiyo-e, and therefore as having contributed considerably to the downfall of their art. For this reason, some referred to their works as "decadent". Beginning in the 1930s and 1970s, respectively, the works of Hiroshige and Kuniyoshi were submitted to a re-evaluation, and these two are now counted among the masters of their art. Thus, from Kunisada alone was withheld, for a long time, the acknowledgment which is due to him. With a few exceptions, such as actor portraits (yakusha-e) and portraits of beautiful women (bijin-ga), at the beginning of his career, and some series of large-size actor head-portraits near the end, it was thought that he had produced only inferior works. It was not until the early 1990s, with the appearance of Jan van Doesburg's overview of the artistic development of Kunisada, and Sebastian Izzard's extensive study of his work, that this picture began to change, with Kunisada more clearly revealed as one of the "giants" of the Japanese print that he was…… https://en.wikipedia.org/wiki/Kunisada Stock Code: 240420To

Artist 歌川国明Kuniaki UTAGAWA Title 「夢の市郎兵衛 市村羽左衛門」 Kabuki Actor Uzaemon Ichimura as wandering vigilante Yumeno-Ichirobee Date　1861（文久元・万延2年） Oban　大判 Excellent condition. 夢 市郎兵衛（ゆめ の いちろべえ、生没年不詳）は、江戸時代前期に実在したとされる日本の侠客である[1][2]。夢の市郎兵衛、夢廼 市郎兵衛（いずれも読み同）とも表記される[2]。侠客・幡随院長兵衛の子分である放駒四郎兵衛の実弟、17世紀の人物である[1][2]。本名深野 茂兵衛（ふかの もへえ）[1]。…吉原遊廓での喧嘩を大見得を切って仲裁したことで有名となり、そのときの紫鉢巻が、歌舞伎における花川戸助六（助六）のキャラクター造詣に影響を落としたという説がある[1][2]。…1742年（寛保2年）春に中村座で初演された『娘曾我凱陣八島』に登場している[5]。二代目松井幸三が『曾我評判比翼男』を書いた[6]。…歌川豊国は、『御誂三段ぼかし』の1作として『夢乃市郎兵衛』[7]を描いたほか、『当世好男子伝 張順に比す夢の市郎兵衛』（1859年）、『時代世話当姿見 夢の市郎兵衛』（同）で市郎兵衛を描き、豊原国周が錦絵に初代 河原崎権十郎演ずる「夢の市郎兵衛」（1866年）を描いた[8]。1840年（天保11年）には、三代目歌川豊国（歌川国貞）が、四代目中村歌右衛門演ずるところの市郎兵衛を描いた『夢の市郎兵衛 中村歌右衛門』が発表された。 https://ja.wikipedia.org/wiki/夢市郎兵衛 Yume no Ichirobee (year of birth and death unknown) was a Japanese samurai who is said to have existed in the early Edo period. He was a 17th century person who was the younger brother of Hokoma Shirobei, a henchman of the chivalrous man, Banzuin Chobei. His real name is Mohei Fukano. ... He became famous for arbitrating a fight in the Yoshiwara red-light district with great grace, and there is a theory that the purple headband he wore at that time had an influence on Sukeroku Hanakawado's (Sukeroku) character knowledge in Kabuki.[1] [2]. ...He appeared in ``Daughter Soga Kaijin Yashima,'' which premiered at the Nakamura-za Theater in the spring of 1742…Toyokuni Utagawa painted ``Yumeno Ichirobei'' as one of the works in ``Goto Sandanbokashi,'' as well as ``Biography of a Good Man of the Day: Yume no Ichirobei Compared to Zhang Jun'' (1859), and Kunichika Toyohara painted ``Yumeno Ichirobee'' (1866), performed by Gonjuro Kawarazaki I, on a colored woodblock print. In 1840, the third generation Utagawa Toyokuni (Utagawa Kunisada) published ``Dream Ichirobee Nakamura Utaemon,'' which depicts Ichirobee as performed by the fourth generation Nakamura Utaemon. Stock Code: 2407To

Artist：国貞 Kunisada Title：新薄雪物語 Shinusuyukimonogatari Date：1839 Dyptych 二枚続（三枚のうち） Actor Ebizo as Dankuro, Danzo as Masamune (Japan's greatest swordsmith) Stock Code: 240510To

Title: Modern Tale of Genji; New Hairstyles; Coming of Age Day 今様源氏　御髪あげ　 Artist: Kunisada II 二代歌川国貞 Date: 1868 Woodblock print Ukiyo-e 浮世絵 Stock Code: 2408To

三代広重　Hiroshige III (1842-1894) 上野不忍弁財天開帳の図　Ueno-Shionobazu Benzai-ten Kaicho-no-zu 三枚続　Triptych 良好 Very good condition Stock Code: 240822To

高野楳嶺 『花鳥図譜』よりミミズクの図譜 1883年　木版 Bairei Kono. Flowers and Birds. 1883. Woodblock Print, very good. Stock Code: 240822To

花模様　寛永正保頃　Floral pattern; Kan-ei~Shoho Era 清親　Kiyochika 明治29年（1896） 三枚続　Triptych 375x250mm Woodblock print, very good condition. Kobayashi Kiyochika (小林 清親, 10 September 1847 – 28 November 1915) was a Japanese ukiyo-e artist, best known for his colour woodblock prints and newspaper illustrations. His work documents the rapid modernization and Westernization Japan underwent during the Meiji period (1868–1912) and employs a sense of light and shade called kōsen-ga [ja] inspired by Western art techniques. His work first found an audience in the 1870s with prints of red-brick buildings and trains that had proliferated after the Meiji Restoration; his prints of the First Sino-Japanese War of 1894–95 were also popular. Woodblock printing fell out of favour during this period, and many collectors[who?] consider Kobayashi's work the last significant example of ukiyo-e......... (https://en.wikipedia.org/wiki/Kobayashi_Kiyochika) Stock Code: 241006beni #浮世絵