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Japanese Art
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Japanese Art
Sebastian Izzard LLC
NEW YORK LOCATION
17 East 76th Street, 3rd Floor
New York, NY 10021
Tel: 212 794 1522
By appointment only

Attributed to Suzuki Harunobu (1724−1770), The Heron Maiden (Sagi musume),
ca. 1766–67, color woodblock print: chūban tate-e, 11 x 8⅜ in. (27.9 x 21.3 cm), unsigned
Attributed to Suzuki Harunobu (1724−1770), The Heron Maiden (Sagi musume),
ca. 1766–67, color woodblock print: chūban tate-e, 11 x 8⅜ in. (27.9 x 21.3 cm), unsigned

Attributed to Kitagawa Utamaro (1754–1806), Lovers in a Private Room in a Teahouse, 1788, color woodblock print; ōban yoko-e, 10½ x 15 in. (26.7 x 38.1 cm)
Plate from the album The Poems of the Pillow (Utamakura), unsigned
Publisher: [Kōshodō (Tsutaya Jūzaburō)]
Attributed to Kitagawa Utamaro (1754–1806), Lovers in a Private Room in a Teahouse, 1788, color woodblock print; ōban yoko-e, 10½ x 15 in. (26.7 x 38.1 cm)
Plate from the album The Poems of the Pillow (Utamakura), unsigned
Publisher: [Kōshodō (Tsutaya Jūzaburō)]

Tōshūsai Sharaku (active 1794–95), Arashi Ryūzō II as Ishibe Kinkichi, 1794, color woodblock print, with mica ground: ōban tate-e, 14½ x 9⅞ in. (36.8 x 25.1 cm)
Signed: Tōshūsai Sharaku ga
Censor’s seal: kiwame (approved)
Publisher: Kōshodō (Tsutaya Jūzaburō)
Provenance: Theodor Scheiwe
Tōshūsai Sharaku (active 1794–95), Arashi Ryūzō II as Ishibe Kinkichi, 1794, color woodblock print, with mica ground: ōban tate-e, 14½ x 9⅞ in. (36.8 x 25.1 cm)
Signed: Tōshūsai Sharaku ga
Censor’s seal: kiwame (approved)
Publisher: Kōshodō (Tsutaya Jūzaburō)
Provenance: Theodor Scheiwe
Important Japanese Prints and Paintings of the Late Eighteenth Century
Japanese prints and paintings of the last years of the eighteenth century are the focus of the fall exhibition at Sebastian Izzard LLC Asian Art. This was the decade of the ōkubi-—defined as head and shoulder portraits—of both men and women, usually actors or courtesans and famous beauties of the day. Although not part of the Asian pictorial tradition, portrait heads of actors began to make their appearance on fan prints, and on fan-shaped cartouches on larger prints, from the 1720s onwards. It was not until around 1770 that the format was popularized. From around 1775 Katsukawa Shunshō (1726–1792) made large prints of actors that were designed to be cut out and mounted as folding fans and in the early 1780s, he made aiban-size, half-length portraits. His student Katsukawa Shunkō (1743‒1812) then followed up with his major contribution to ukiyo-e, the first full-size ōban tate-e ōkubi-e.
The exhibition will also include rare prints by Kitagawa Utamaro (1754‒1806), Katsukawa Shun’ei (1762‒1819), Chōkōsai Eishō (act. ca. 1780‒1800), Utagawa Kunimasa (1773‒1810), Tōshūsai Sharaku (act. 1794‒95), and Utagawa Toyokuni (1769‒1825), as well as a select group of ukiyo-e beauty paintings.