Yoshitora (23 results)

Condition: Fine. Size:- Number of books:1.

Hardcover. Condition: Very Good. 1st Edition. Colourful nishiki-e introducing a heroic story of Fourty-seven Ronins to the English reader. The legend is usually considered as historical and has a date on 31st January 1730, when brave samurais avenged the seppuku of the daimyo they were loyal to. Picture gallery represents the brave warrior and the folding illustration is a scene of the attack on the enemy palace. The illustrator Yoshitora Utagawa (active ca. 1850 - 1880) was master of Yokohama-e and Nishiki-e, depicting the foreigners in the famous Japanese port of Yokohama. Text in English. 26 leaves. 50 illustrations. 25x18,4cm. Folding illustration 37,5x75cm. Woodblock printed in colour. Oblong album. Bound in a wooden cover with brown silk cloth. Spine cracked. Pages oxidized. Very good condition.

Soft cover. Condition: Good. 1st Edition. A Comic Sketchbook of `Human Versions` of Animals. A humorous kyoka book that mimics Santo Kyoden`s `Harasuji Omuseki`. The book consists of comic details about the characteristics of birds, animals, insects, and sh, accompanied by illustrations of `human versions` of those creatures. While the title reads `shohen` (`fi rst part`), it appears that this was the only part published. One of the scarcer books illustrated by artist Yoshitora. Original wrappers, somewhat wormholed and with light marginal soiling. Slight wormholing, repaired in some places, and small occasional marks to text. Some illustrations hand-coloured. Good. 1 v., possibly complete. 20 leaves. 17.8 x 12.1 cm. Text in Japanese.

No Binding. Condition: Fine. A colour woodblock-print of the geisha 'Komakichi from the 'Edo Meisho Geisha' ['Famous Geisha of Edo'] series by Utagawa Yoshitora, the oldest pupil of Utagawa Kuniyoshi. A few light marks, small wormhole, repaired, otherwise fine. 1 leaf, 37x24.5cm.

Hardcover. auf Karton punktuell montiert (Karton etwas gebräunt), Papier teils geringf. knitterig. vermutlich späterer Abzug - differenzbesteuert, daher kein Ausweis der Mehrwertsteuer.

Woodblock print. 9.5x14.5 inch woodblock print, very good. Depicts Russian man with accordion, woman with small trumpet. Yoshitora was well known for his depictions of foreign subjects, a popular theme after the opening of the port of Yokohama.

Colour woodblock print, 37.2 x 25.3 cms, the sheet a little age-toned, a spot of browning at the foot and a pinhole in the upper margin, but the image unaffected, very good condition. This colour woodblock print by Utagawa Yoshitora is an excellent sample of Yokohama-e (Yokohama Prints), which were very popular in Japan after the country was opened in the mid-19th century. Yokohama was one of the trading ports with the outside world and many foreigners were residing in the area. The Yokohama-e was very similar to the Nagasaki-e (Nagasaki Prints), and depicted people and cultures which were foreign to the Japanese. Utagawa Yoshitora was active between the end of Edo Period to the mid-Meiji Period and produced numerous Nishiki-e prints, including Yokohama-e, in his career. He was regarded as one of the top Nishiki-e artists around that time. In this print, a Western man is strolling outside with his dog and a Mongolian boy who carries an umbrella for him. The man is observing something in a distance and about to jot down something in his notebook with a pen which he holds in his right hand. Behind him, his young attendant plays with the dog, unobserved by his pre-occupied master.

Color woodblock print, approximately 14½" x 10", of an English couple beneath a running header of Japanese text. Utagawa Toshitora did a number of prints of foreigners. Sometimes, as in this print, above the image, a list of foreign vocabulary is depicted. On the top row are Japanese words, below which appears phonetic approximation of (in this case) the English pronunciation of the word. .

Sin Encuadernar. Condition: Bien. Materia: Xilografía antigua de finales del siglo XIX. Arte japonés. Globos aerostáticos. América - Utagawa Yoshitora. Publicación: Kagaya Kichibei, 1885. Dimensiones: 37'5 x 25 cm [cada plancha], 37'5 x 75 cm [tres hojas en total]. Firma: Las tres planchas "Yoshitora ga". Descripción visual: Multitud de personas se ha reunido para ver una ascensión en globo en Estados Unidos. Utagawa Yoshitora fue un artista japonés que vivió durante el período Edo. Yoshitora fue un pintor y editor de obras de arte aclamadas por la crítica en su tiempo. Sus obras fueron influenciadas por su maestro Utagawa Kuniyoshi y se destacaron por su uso creativo e imaginativo del espacio. También contribuyó a la propagación de los estilos artísticos posteriores Bijinga y Ukiyo-e. Desde la década de 1860, Yoshitora produjo grabados Yokohama-e de extranjeros en medio de la rápida modernización que llegó a Japón después de que el país se abriera al comercio. Conservación: Buen estado. Pequeñas manchas y desgastes. RSSS1 Este artículo necesita permiso de exportación / This item needs an export permit.

Woodblock print (nishiki-e) with ink and hand-coloring in watercolor on handmade mulberry paper, 14 7/16 x 9 15/16 inches (367 x 252 mm), ?ban tate-e, the full sheet. In good condition with some handling creases. Colors are fresh and extremely vibrant. The right panel from the triptych by Yoshitora depicting one of Japan's most storied naval battles. An impression of this work may be found in the permanent collection of the Honolulu Museum of Art. The great naval battle of Dan-no-ura in 1185 was the final climax in a long series of bitter wars between two powerful families in feudal Japan. The Minamato clan, under their skilled military leader Yoshitsune, defeated the Taira. The protracted naval battle at the narrow straits separating the mainland from the northern tip of Kyushu marked a decisive end to the Gempei War, and set the stage for centuries of samurai rule. This defeat of the Taira forces led to the end of the Taira bid for control of Japan, and resulted in Minamoto no Yoritomo becoming the first sh?gun of Japan.

No Binding. Condition: Very Good. 1st Edition. A triptych of Beautiful Prostitutes in a Western-Style Building. A colour woodblock-printed triptych by Yochitora depicting the Shin-Yoshiwara area using western-style perspective techniques. Yoshitora was a pupil of Utagawa Kuniyoshi and painted many kaika-e and Yokohama-e (western-style paintings). The Shin-Yoshiwara, a government-approved red-light district, became westernised in the Meiji period, when beautiful prostitutes were lined up and displayed. There are hardly any documents such as this one, which was rare at the time. Very minor soiling, slight wear to extremities, otherwise very good to near fine. 3 prints, complete. Each print measures 36.9 x 25 cm. Text in Japanese.

Leatherbound. Condition: NEW. BOOKS ARE EXEMPT FROM IMPORT DUTIES AND TARIFFS; NO EXTRA CHARGES APPLY. Leatherbound edition. Condition: New. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. Pages: 240. A perfect gift for your loved ones. Reprinted from 1877 edition. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. IF YOU WISH TO ORDER PARTICULAR VOLUME OR ALL THE VOLUMES YOU CAN CONTACT US. Resized as per current standards. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Volume 1 Language: Japanese Pages: 240 Volume 1.

Materia: Xilografía antigua del siglo XIX. Arte japonés. Utagawa Yoshitora. Publicación: c. 1850. Medidas: 37 x 25 cm. Montado sobre passepartout libre de ácidos y ph neutro. (55 x 43 cm.) Técnica: Xilografía. Utagawa Yoshitora fue un artista japonés que vivió durante el período Edo. Yoshitora fue un pintor y editor de obras de arte aclamadas por la crítica en su tiempo. Sus obras fueron influenciadas por su maestro Utagawa Kuniyoshi y se destacaron por su uso creativo e imaginativo del espacio. También contribuyó a la propagación de los estilos artísticos posteriores Bi-jinga y Ukiyo-e. Desde la década de 1860, Yoshitora produjo grabados Yokohama-e de extranjeros en medio de la rápida modernización que llegó a Japón después de que el país se abriera al comercio. Notas: Con sello de censor y sello del editor Yamamotoya Heikichi Conservación: Muy buen estado. ES1.

Sin Encuadernar. Condition: Muy bien. Materia: Xilografía antigua del siglo XIX. Arte japonés. Héroes y monstruos - Utagawa Yoshitora. Publicación: c. 1860. Medidas: 11'5 x 7'5 cm [papel], 26 x 22 cm [passepartout]. Técnica: Xilografía. Utagawa Yoshitora fue un artista japonés que vivió durante el período Edo. Yoshitora fue un pintor y editor de obras de arte aclamadas por la crítica en su tiempo. Sus obras fueron influenciadas por su maestro Utagawa Kuniyoshi y se destacaron por su uso creativo e imaginativo del espacio. También contribuyó a la propagación de los estilos artísticos posteriores Bi-jinga y Ukiyo-e. Desde la década de 1860, Yoshitora produjo grabados Yokohama-e de extranjeros en medio de la rápida modernización que llegó a Japón después de que el país se abriera al comercio. Conservación: Muy buen estado. Montado sobre paspartú de calidad museo, libre de ácidos y ph neutro. PS1.

Leather Bound. Condition: New. Language: Japanese. Language: Japanese. Presenting an Exquisite Leather-Bound Edition, expertly crafted with Original Natural Leather that gracefully adorns the spine and corners. The allure continues with Golden Leaf Printing that adds a touch of elegance, while Hand Embossing on the rounded spine lends an artistic flair. This masterpiece has been meticulously reprinted in 2024, utilizing the invaluable guidance of the original edition published many years ago in 1877. The contents of this book are presented in classic black and white. Its durability is ensured through a meticulous sewing binding technique, enhancing its longevity. Imprinted on top-tier quality paper. A team of professionals has expertly processed each page, delicately preserving its content without alteration. Due to the vintage nature of these books, every page has been manually restored for legibility. However, in certain instances, occasional blurriness, missing segments, or faint black spots might persist. We sincerely hope for your understanding of the challenges we faced with these books. Recognizing their significance for readers seeking insight into our historical treasure, we've diligently restored and reissued them. Our intention is to offer this valuable resource once again. We eagerly await your feedback, hoping that you'll find it appealing and will generously share your thoughts and recommendations. Lang: - Japanese, Pages: - 240, Print on Demand. If it is a multi-volume set, then it is only a single volume. We are specialised in Customisation of books, if you wish to opt different color leather binding, you may contact us. This service is chargeable. Product Disclaimer: Kindly be informed that, owing to the inherent nature of leather as a natural material, minor discolorations or textural variations may be perceptible. Explore the FOLIO EDITION (12x19 Inches): Available Upon Request. 240 240.

Condition: Gut. (Utagawa Yoshitora, arbeitete zwischen 1836 und 1882, Meister des japanischen Farbholzschnitts und der Malerei des Ukiyo-e, der in Edo lebte und arbeitete). Original-Farbholzschnitt, einzelne Buchseite, von Utagawa Yoshitora auf Japanpapier, hier eine der 47 ronin (Samurai), aus der Serie "Kanadehon Chushingura", ca. 1860. Blatt hinter Glas/Passepartout im Holzahmen gerahmt, oben mit einem Haken zur Aufhängung. Nicht ausgerahmt. Innerer Passepartoutausschnitt: 15,0 x 10,3 cm. Rahmengröße: 39,0 x 26,3 cm. Rahmen an der unteren Leiste mit einer Stoßstelle. Guter bis sehr guter Zustand. Vielen Dank an Horst Gräbner für die Angaben.

Materia: Xilografía antigua del siglo XIX. Arte japonés. Utagawa Yoshitora. Publicación: 1860. Medidas: 37 x 25 una plancha, las tres planchas 37 x 75 cm. Técnica: Xilografía. Utagawa Yoshitora fue un artista japonés que vivió durante el período Edo. Yoshitora fue un pintor y editor de obras de arte aclamadas por la crítica en su tiempo. Sus obras fueron influenciadas por su maestro Utagawa Kuniyoshi y se destacaron por su uso creativo e imaginativo del espacio. También contribuyó a la propagación de los estilos artísticos posteriores Bijinga y Ukiyo-e. Desde la década de 1860, Yoshitora produjo grabados Yokohama-e de extranjeros en medio de la rápida modernización que llegó a Japón después de que el país se abriera al comercio. Conservación: Muy buen estado colores vivos. LS2.

[Japan 1861. An Oban Tate-e, color woodblock print, 25.5 x 36.5 cm., minor old mended worm holes, nice vegetal colors, excellent registry, strong images, a tiny bit of minor scuff else a very good example. R A R E *** *** *** . . . AN EXCELLENT EXAMPLE OF AMERICAN LIFE IN YOKOHAMA . . . DURING THE LATE 1850'S-EARLY 1860'S . * This excellent example shows an early American sailor wearing his U.S. Navy uniform: blue jacket and white trousers, a full beard, complete with regulation issue hat. He holds a drinking cup in his right hand while his left arm escorts his courtesan or prostitute. . She wears the typical silk decorated Kimono of period, it is clearly a winter scene as her several layers of heavy clothing evident. She wears Pokkuri or lacquered high Geta type footwear with uncovered feet. She holds a foreign bottle of liquor in her right hand & lifts her hems to keep up with the long-legged American while they take a stroll in Yokohama. . The American fixes his gaze on the exotic girl of choice, while she also eyes him. The handsome black cartouche states the title of the print. The Kiwame or censor's seal reads the 'First Month 1861' [January], a cold time of the year in Yokohama. . THE ARTIST: UTAGAWA Yoshitora [c.1818-1875]: He used several "Go" or studio names. He was a good pupil of Utagawa Kuniyoshi who concentrated on making prints of Tokyo area and of foreigners in Yokohama. . Per Roberts: "The prints have a considerable naive charm." Yoshitora was one of the four main artists that depicted Yokohama & foreigners or "Yokohama-e," as well as scenic views of Edo [old Tokyo] & of foreign lands, gleaned from foreign paintings & photographs. . *** REFERENCES: Laurence P. Roberts: DICTIONARY OF JAPANESE ARTISTS, p.204 * M. Paske-Smith.: WESTERN BARBARIANS, p.277 * KANAGAWA KEN RITSU HAKUBUTSU KAN [KANAGAWA PREFECTURAL MUSEUM] Compiler.: SHUTAISEI YOKOHAMA UKIYO-E: COMPREHENSIVE CATALOGUE OF YOKOHAMA UKIYO-E COLOR PRINTS, p.83. * UKIYOE SHUNGA MEI HIN SHU SEI p.36 item #2. * FIRST IMPRESSIONS JAPANESE PRINTS OF FOREIGNERS, curator by Willa Tanabe from the McGovern Collection. * Tamba.: REFLECTION OF THE CULTURES OF YOKOHAMA IN DAYS OF THE PORT OPENING [YOKOHAMA UKIYO-E] shows this as print # 208, and he also notes its RARITY ! * K. Nonogami.: COLOR PRINTS OF THE LATE TOKUGAWA & EARLY MEIJI PERIODS IN THE NONOGAMI COLLECTION [BUNMEI KAIKA NISHIKI-E SHU]. * Robert Eldred Auction catalog, Aug. 20, 1974, plate # 98 & 239. * Ann Yonemura.: YOKOHAMA PRINTS FROM THE 19th CENTURY JAPAN, color plate p.145, #56. She points out that in Miyozaki the entertainment district of Yokohama, few women other than courtesans [prostitutes] lived in the port city during the first years after the opening to international trade. Published by Enshuya. ***.

Very good. 3 sheets. Unrepaired tear and slight loss to upper left margin of left sheet. Size 14.75 x 30 Inches. This stunning 1876 Ukiyo-e triptych, depicting the Dai-Ichi Bank Building in Tokyo, was drawn by the artist Yoshitora and published by Takekawa Seikichi. Both the bank and its building, along with several other financial institutions in the same area, were key signifiers of Japan's modernization in the early Meiji period. A Closer Look Edobashi (???) is to the left, and Nihonbashi (here as ????) is to the far left, while Yoroibashi (here as ?????) is just to the right of the bank building, indicating a general northwards orientation. The Kaiun Bridge, referred to in the title, sat between Edobashi and Yoroibashi in Tokyo's Kabutoch? (??) neighborhood. The bridge is gone, but a stone pillar remains as a memorial. Like the other bridges just mentioned, it was a wooden bridge from the Edo period but was rebuilt with stone in the Meiji period, in this case, 1875, which was likely part of the motivation for drawing this view. As a side note, the utilization of both kanji and kana in place names (such as 'bridge' being rendered as both ?and ??) is a reflection of the exciting but somewhat confused linguistic atmosphere of the early Meiji. The main focus of the view is the Dai-Ichi Kokuritsu, or First National Bank, Building (discussed more below), which was notable for being among the first Western-style banks and the first Western-style buildings in Japan. Additional buildings in the background are labeled, including other financial institutions such as the Mitsui Group (????), Fifth National Bank (????) and the Kaiwase Kaisha (????). The Dai-Ichi National Bank The Dai-Ichi Kokuritsu Bank (First National Bank of Japan) was founded in 1873, shortly after the Meiji Restoration (1868). Among the first Japanese banks to issue banknotes instead of specie (coins), it was founded by Shibusawa Eiichi (????, 1840 - 1931), the father of modern Japanese finance. Shibusawa used the bank as a springboard for building the Meiji Japanese economy, financing hundreds of joint stock corporations (he also founded the Tokyo Stock Exchange and the Japanese Chamber of Commerce). It was later an early means for expanding Japanese influence and eventually colonizing Korea. The Dai-Ichi Bank remained a major financial institution into the Second World War period and has since gone through several mergers and divisions, ultimately becoming part of the Mizuho Financial Group. The bank building seen here was also a novelty, being constructed with brick and standing several stories tall. It was originally built in 1872 and was intended for the Mitsui Group, but was instead acquired by the new Dai-Ichi Bank the following year (though it colloquially continued to be known as the 'Mitsui Building' or 'Mitsui House' for some time). Like the Mitsui Building seen in the background here, the style is not exactly a copy of Western architecture. It is rooted in Western architecture while maintaining some Japanese architectural motifs and styles (such as the pointed roof at the center and the incorporation of bird (possibly cranes) reliefs on the front of the balcony). Although this building no longer exists, the area maintains connections with the financial world as home to the Tokyo Stock Exchange. The Kaiwase Kaisha, also seen here, was another early Meiji financial experiment that issued loans and paper currency, accepted deposits, and handled foreign exchange (it was closed with the National Bank Act of 1872 which merged several such existing institutions, but the building remained). This was typical of early Meiji financial experiments, which often floundered after a few years and were merged into larger operations. Meanwhile, the Mitsui Group, whose headquarters are prominent at the left, was a vitally important conglomerate in the modernization of Japan, developing into the archetypal zaibatsu (??) in the Meiji period; it remains one of the country's.

Very good. Light wear and water damage on some corners. Size 14.25 x 114 Inches. An epic twelve-panel ukiyo-e woodblock print panorama, this work, covering the Tokaido Road between Edo and Kyoto, was produced in 1864 by Utagawa Yoshitora, one of the master woodblock print artists of the era. Published near the end of the Tokugawa Shogunate, it celebrates one of the regime's paramount achievements and the 'famous places' (??) along it. A Closer Look Oriented towards the west, the view covers the Tokaido between Edo (now Tokyo) and Kyoto (simply as ? here), though Yoshitora eschews a consistent perspective or scale in order to include all the famous sites along the Tokaido. Cities, mountains, waterways, castles, temples, teahouses, and other features are represented in a rough geographic approximation of their locations. These sites include the famous 53 stations of the Tokaido (usually but not always marked with yellow boxes), such as Hodogaya (???) at top-right. Mt. Fuji stands prominently at center-right. Edo sits in the foreground at right, with Nihonbashi (???) and Kyobashi (??) clearly labeled, and with Edo Castle, residence of the shogun and administrative center of his realm, appearing at the extreme right of the print. Across the landscape, human figures are engaged in a great variety of activities. The Tokaido itself is packed with samurai, servants, and other retainers of the daimyo, who demanded the height of luxury on their travels to and from Edo. All along the route, commoners sit by the wayside to gawk at the elaborate processions. At left, within the Imperial Palace in Kyoto, advisors and servants to the emperor, including kuge court nobles, can be seen wearing tradition j?e robes. On water, a variety of ships are engaged in trade, though many are also enrolled in the daimyo processions. Perhaps most noticeably, a large number of men can be seen pulling a daimyo across the ?i River (???) near center. For security reasons, the Tokugawa forbade the building of bridges on most parts of the Tokaido, and did not even allow ferries to cross the ?i River, requiring travelers to ford it, a harrowing experience chronicled frequently in literature and ukiyo-e prints of the Edo era. The crossing was considered the most difficult part of the Tokaido and created a bottleneck, often forcing daimyo entourages to wait days or weeks to cross, a major boon to the economies of Shimada (??) and Kanaya (??) on either side of the river. Though extolling one of the great achievements of the Tokugawa era, this work was produced at a time when the regime and Japan as a whole were in crisis. Some sense of the drastic changes underway can be seen with the inclusion, in the background at right, of Yokohama (??), little more than a fishing village five years prior, but here already a bustling city where foreigners resided and traded in large numbers. The Tokaido The Tokaido, literally meaning 'Eastern Sea Way,' was a national highway of sorts connecting the Kansai and Kanto regions of Japan, squeezing between mountains and the coast. It became an important economic engine and cultural symbol in the period of Tokugawa rule, particularly as the Tokugawa Shoguns forced daimyo to travel to Edo regularly (the sankin kotai system). The daimyo, accustomed to luxury and seeking to demonstrate their wealth, patronized an entire service industry that grew up along the sides of the road, including inns, teahouses, and restaurants. In particular, regular stopping points usually about one day's travel apart developed and became known as the 'fifty-three stations' of the Tokaido. Aside from the political impact of the sankin kotai, the Tokaido aided the cultural unification of Japan. Writers, poets, and ukiyo-e artists depicted the road and the sites it passed, especially Mt. Fuji. Even the language became more standardized because people from different regions could travel more easily on the Tokaido and interact with those who spoke other dialects. In t.

Original woodblock triptych print, printed in Japan, 1867. 490 x 885 mm. (Size includes mount).

No Binding. Condition: Very Good. 1st Edition. Wonderful early wood block triptych by Utagawa Yoshitora (c.1836-c.1880) of the great battle of Shijô-Nawate on the fifth day of the first month, 1350 (Shôhei gonen shôgatsu itsuka Shijô-Nawate ôgassen no zu) The 1348 Battle of Shijōnawate was a battle of the Nanboku-chō period (1336-1392) which took place in Yoshino, Nara. It was fought between the armies of the Northern and Southern Emperors of Japan. The Southern army, led by Kusunoki Masatsura was attacked at Yoshino, the temporary palace of the Imperial residence. Feeling too weak to defend the residence, Masatsura marched out with his whole force to meet his assailants. Kitabatake Chikafusa, meanwhile, led his force towards Izumi, diverting some of the attackers away from the palace. Kusunoki engaged the enemy commander Kō no Moroyasu in single combat, and, it is said, was about to take Kō's head when he was struck by an arrow; Kusunoki then committed seppuku. The battle ended in a Northern Court victory, but the Southern Court fled Yoshino, leaving little for their enemies to capture. Signed in each panel, "Ichimōsai Yoshitora ga". Publisher: Yamaguchiya Tôbei (Kinkôdô) 184752 (Kôka 4Kaei 5) References: Marks, A. Publishers of Woodblock Prints: A Compendium. Leden 2011 p.478, #6. Collections: Museum of Fine Arts Boston: ACCESSION NUMBER 11.41376a-c Paper Size: 733mm x 360mm (28.8" x 14.1"). Condition: In good condition, three sheets joined. Technique: Woodblock.

[Tokyo 1890 Miyake]. Nine matching Oban woodcut prints,in an accordion folding folder, neatly rebacked, each print ca. 25 x 37 cm., folds open to 223.5 cm., very clean, no defects, lovely polychrome color printing. RARE FIRST & ONLY EDITION This stunning and complete nine panel print series is more than RARE within the genre of Japanese prints, they are IMPOSSIBLE ! * We are fortunate to have acquired this complete and marvelous work by the master UTAGAWA Yoshitora aka: Gountei [flourished 1850-1880] was an Ukiyo-e painter and did many fine prints of foreigners in Yokohama, with considerable naive charm. His works are widely collected by world museums and institutaions. With the Yoshitora's alternate or "studio name" of Nagashima Mohsai found on two panels [#4 & 9] in a white signature cartououche. * This lovely work covers the Boshin War of 1868, also know as the Ueno or Todai War. * BOSHIN WAR: This is the largest and most famous battle scene of the Ueno war designed by Yoshitora, and is surely the most complete view of the battle ever printed in nine complete panels. It is spectacular and exceedingly RARE to find it complete and preserved in such a clean and flawless state. * The Boshin Senso [war], "War of the Year of the Dragon" was a civil war in Japan, fought from 1868 to 1869 between forces of the ruling Tokugawa Shogunate and those seeking to return political power to the imperial court. The war finds its origins in dissatisfaction among many nobles and young samurai with the Shogunate's handling of foreign-ers following the opening of Japan in 1854 by Commodore Perry, the prior decade. An alliance of southern Samurai and court officials secured the cooperation of the young Emperor Meiji, who declared the abolition of the two-hundred-year- old Shogunate. Military movements by imperial forces and partisan violence in Edo led Tokugawa Yoshinobu, the sitting Shogun, to launch a military campaign to seize the emperor's court at Kyoto. The military tide rapidly turned in favor of the smaller but relatively modernized imperial faction, and after a series of battles culminating in the surrender of Edo, Yoshinobu personally surrendered. The Tokugawa remnant retreated to northern Honshu and later to Hokkaido, where they founded the Ezo republic. Defeat at the Battle of Hakodate broke this last holdout and left the imperial rule supreme throughout the whole of Japan, completing the military phase of the Meiji Restoration. * Approximately 120,000 men were mobilized during the conflict and of these about 3,500 were killed. In the end,the victorious imperial faction abandoned its objective to expel foreigners from Japan and instead adopted a policy of continued modernization with an eye to eventual renegotiation of the Unequal Treaties with the Western powers. Due to the persistence of Saigo Takamori, a prominent leader of the imperial faction, the Tokugawa loyalists were shown clemency, and many former Shogun leaders were later given positions of responsibility under the new government. * The Boshin War testifies to the advanced state of moderni- zation already achieved by Japan barely fourteen years after its opening to the West, the already high involvement of Western nations, especially Great Britain and France in the country's politics, and the rather turbulent installation of Imperial power. Over time, the war has been romanticized by Japanese and others who view the Meiji Restoration as a "bloodless revolution," despite the number of casualties. Various dramatizations of the war have been made in Japan, and elements of the conflict were incorporated into the 2003 American film The Last Samurai. * The work is a series of nine matching panels in vertical Oban format, each with a number i.e. 1-9, with two title cartouches, the first on page 1, the second on page five. Of historical importance, was the actual burning of Kaneji shrine, known then as the most important Buddhist Temple during the Tokugawa Shogunate. It was rebuilt, but this image is perhaps the most original remaining relic of the former glory and true nature of the actual shrine. [Liberally quoted from Wikipedia] * The battle was conducted during a rain storm, and the prints show the streaks of ran falling in silver giving realism to the overall work. The sky area has been delicately mica dusted to give a shimmering starry effect. The two forces are uniformed in greatly differing ways: the Imperial soldiers are in "modern" Western style uniforms, with back packs and rifles with bayonets drawn, while the Imperial opposition were in traditional Samurai warrior uniform, sporting their famed Samurai swords. In panel seven, the Imperial forces were being over-run by the opposition soldiers and they began to commit suicide rather than be killed or captured. One view shows an Imperial Samurai disemboweling himself in the traditional posture with his sword and cutting his jugular, while another uses his toe to shoot himself in the head. A dramatic insight to the brutality of this war. * BIBLIOGRAPHY: L. Roberts: DICTIONARY OF JAPANESE ARTISTS, p.204. - * General Sadahide References: K. Nonogami; BUN MEI KAI KA NISHIKI E SHU: COLOR PRINTS OF THE LATE TOKUGAWA EARLY MEIJI PERIODS IN THE NONOGAMI COLLECTION. - T. Tamba: REFLECTIONS OF THE CULTURES OF YOKOHAMA IN THE PORT OPENING. - Kanagawa Kenritsu Hakubutsukan: YOKOHAMA UKIYOE TO SORATOBU ESHI GOUNTE SADAHIDE. *.