NEW YORK, NY.- Scholten Japanese Art is participating in Asia Week 2020 with an extraordinary offering of Japanese woodblock prints: The Baron J. Bachofen von Echt Collection of Golden Age Ukiyo-e. The collection is comprised of a highly selective group of twenty-two figural woodblock prints produced during a period considered the highpoint of the genre, known as the ‘golden age’ of ukiyo-e, reaching its peak in the last decade of the 18th century. The prints depict bijin-ga (lit. ‘beautiful person’), the influencers of their time—famous courtesans, waitresses, and beloved actors—with works by the most acclaimed ukiyo-e artists of the late 18th and early 19th century. There are works in this collection that are possibly unique, or one of only a handful of recorded examples, with connections to some of the most prominent early collectors and dealers of ukiyo-e. In many cases, these are the only examples still remaining outside of museum collections.

The term ukiyo (lit. ‘floating world’) references an older Buddhist concept regarding the impermanence of life, but during the prosperity of the Edo Period in Japan the term began to be used to encompass and embolden everyday indulgences because of that impermanence. One of the tangible records of those indulgences was the production of nishiki-e (lit. ‘brocade pictures’), the full-color prints that we recognize today as ukiyo-e—images of the floating world celebrating youth and beauty, which began in circa 1765. After the advent of full-color woodblock printing, the market for nishiki-e, accessible to everyday people, steadily grew, and the materials and methods used to create this art rapidly evolved. A significant change that came about in the 1770s was that the craftsmen involved with production developed techniques for full-color printing on larger sheets of paper, and, as a result, this led to the general adoption of the standard ‘oban’ (approximately 15 by 10 in) size by publishers. Larger paper was followed by an increase of the scale of the figures within compositions.

An excellent example of this is the earliest print in the group, a circa 1777 design by Kitao Shigemasa (ca. 1739-1820), Geisha and Maid Carrying a Shamisen Box (15 by 10 1/8 in., 38 by 25.7 cm). Shigemasa was primarily a designer of illustrated books, producing over 250 in his lifetime, many of which were erotic in nature. With a comparatively small output of single sheet designs, the scarcity of extant Shigemasa prints belies his talent and influence on the genre. He worked with over twenty publishers, often with the innovative Tsutaya Juzaburo (1750-1797), whose impact looms large in the ‘golden age’ and likewise, in the Bachofen Collection. In 1774, the first book published by Tsutaya, Thousands at a Glance (Hitome senbon), featured illustrations by Shigemasa. Approximately three years later Tsutaya published an untitled series depicting full-length images of geisha of which this is a part.

Kitao Shigemasa (1739-1820), Geisha and Maid Carrying a Shamisen Box, unsigned, with seal Hayashi Tadamasa, ca. 1777, oban tate-e 15 by 10 1/8 in., 38 by 25.7 cm. Sold. © Scholten Japanese Art.

One of the finest prints included in this show, Woman and Servant in Snow, ca. 1790 (14 1/2 by 9 7/8 in., 36.8 by 25.2 cm), is by an artist whose work is particularly rare to the market: Eishosai Choki (fl. ca. 1780-1809). Also published by Tsutaya Juzaburo, the print demonstrates one of the hallmarks of golden age prints- the introduction of lavish printing techniques such as mica ground printing. The print is from an untitled group of four portraits of beauties presented in a dramatic outdoor setting that are among the most reproduced and coveted works in all of the ukiyo-e genre. The designs are distinctive in the way that Choki positions the figure off to the side, only occupying roughly two-thirds of the composition. In this print we see a beauty pausing beneath an open umbrella which shields her from the fat flakes of falling snow, shimmering (or shivering) against a cold mica background. She leans on the back of her burly servant who is bending over, reaching beyond the frame of the composition to clean the clumps of heavy wet snow off of her geta. Although they are a study in contrasts, she is lovely and delicate, he is solid with rough whiskers on his face, Choki conveys a sense of quiet intimacy shared between the two.

Eishosai Choki (fl. ca. 1780-1809), Woman and Servant in Snow (Sechu sho shiki jo), light silver mica ground of falling snowflakes with applied layer of gofun snow on top of her umbrella and the servant's hat, this impression unsigned and without censor or publisher seals, published by Tsutaya Juzaburo, ca. 1790, oban tate-e 14 1/2 by 9 7/8 in., 36.8 by 25.2 cm. Sold. © Scholten Japanese Art.

 An example of a lavish printing is by Hosoda Eishi (1756-1829), Selection of Beauties from the Pleasure Quarters: Hanamurasaki of the Tamaya in Procession (14 7/8 by 9 3/4 in., 37.9 by 24.9 cm), which utilizes both an incredibly dramatic dark mica background as well as metallic printing on the hem of the sauntering courtesan, Hanamurasaki. This design was formerly in the esteemed collection of the French connoisseur, Henri Vever (1854-1942), and the subject of extensive research by the American collector, Louis V. Ledoux (1880-1948), who had a variant impression which he identified as a later state of the print. His research led him to conclude that there may have been four states of this scarce print, of which this (the Vever impression) is the earliest and (he thought) one of only three extant examples. Current research clarifies that this one is one of only two recorded impressions of the earliest version of the print. 

Hosoda Eishi (1756-1829), Selection of Beauties from the Pleasure Quarters: Hanamurasaki of the Tamaya in Procession (Dochu no zu, Tamaya Hanamurasaki), dark grey mica background, signed Eishi giga (drawn for pleasure) with publisher's seal Iwa (Iwatoya Kisaburo of Eirindo), Vever collector's seal 'HV', ca. 1794-95, oban tate-e 14 7/8 by 9 3/4 in., 37.9 by 24.9 cm. Sold. © Scholten Japanese Art.

Another development in print production was the issuance of multi-panel prints- most typically in the format of triptychs. One of the most stunning works in the show which shares the Vever Collection provenance is a triptych by a student of Eishi, Chokosai Eisho (fl. ca. 1795-1801) titled A Glimpse of the Ogiya: Hashidate, Nanakoshi and Hanabito (triptych 15 1/8 by 28 3/8 in., 38.5 by 72 cm). This breath-taking composition presents three beautiful women who are seated in a brothel reception room decorated with an elaborate painting of a peacock covering the background wall. The three women are identified from right to left as the well-known and high-ranking courtesans. Hashidate, Nanakoshi and Hanabito. The title places them at the Ogiya brothel located in the Yoshiwara. All three courtesans worked at the Ogiya and seem to be engrossed in a private conversation away from their customers. Perhaps they are sharing an amusing story related to the folded love letter which Hashidate is handing to Nanakoshi. There are few copies of this triptych extant and almost all are now in museum collections. 

Chokosai Eisho (fl. ca. 1795-1801),  A Glimpse of the Ogiya: Hashidate, Nanakoshi and Hanabito (Ogiya mise ryaku: Hashidate, Nanakoshi, Hanabito), each sheet signed Eisho ga, with publisher's seal To of Yamaguchiya Chusuke, and Vever collector's seal 'HV', ca. mid-1790s,oban tate-e 15 1/8 by 28 3/8 in., 38.5 by 72 cm. Sold. © Scholten Japanese Art.

The bijin-ga of ukiyo-e were represented by beautiful women and beautiful men, and kabuki actors enjoyed celebrity-worship that would surely resonate with that of today. The Bachofen Collection includes three prints depicting kabuki actors, including a powerful bust-portrait by Utagawa Kunimasa (1773-1810), Actor Ichikawa Yaozo III as a Bandit (14 7/8 by 10 in., 37.7 by 25.5 cm). This intense okubi-e portrait of Ichikawa Yaozo III (Suketakaya Takasuke II, 1747-1818) shows the actor in the role of a yamagatsu (lumberjack), who is actually a legendary warrior in disguise. The print was made at the time of Yaozo’s performance in a play that was staged at the Miyako-za theater in the 11th lunar month of 1796. The artist Kunimasa died at the young age of only 37 with approximately 125 recorded designs with few impressions extant. Of the four known examples of this print, this is the only one currently in private hands.