拍品信息
拍品名称
SUZUKI HARUNOBU (1724-1770)
年代
Edo period, circa 1768-69
起拍价
GBP 3,000
估值区间
GBP 3000 - 4000
尺寸
未知
品相
未知
更多信息
Edo period, circa 1768-69
A woodblock print, chuban tate-e, 'Lover Taking Leave of a Courtesan', signed Harunobu ga with a red collector's seal of Hayashi Tadamasa.
28cm x 21.3cm (11in x 8 3/8in).
Footnotes
Provenance: Hayashi Tadamasa (1853-1906)
An English Private Collection, acquired in the early 20th century and thence by descent.
Hayashi Tadamasa (1853-1906) was one of the first ambassadors of Japanese culture in France. He played a pivotal role in introducing Japanese arts and culture to intellectuals, critics and artists in Europe, contributing to the rise of Japonisme in the late 19th century in Europe.
The theme of lovers reluctantly parting at dawn often echoes courtly literature. According to The Pillow Book of Sei Shônagon (Makura no sôshi circa 966-1017): 'A good lover will behave as elegantly at dawn as at any other time ... Even when he is dressed he still lingers, vaguely pretending to be fastening his sash ... Indeed, one's attachment to a man depends largely on the elegance of his leave-taking.' Here a high-ranking courtesan (entitled to a luxurious three-futon mattress) catches at her lover's kimono jacket (haori) as he prepares to knot its inner tie. Sake for the cup of parting is on the cabinet behind them.
The man's jacket has a white geometric symbol repeated on the sleeve, which is one of the crests (Genji mon) identifying the chapters in the classic novel The Tale of Genji (Genji monogatari) by Murasaki Shikibu (c.973-1020). References to the novel were often made in this way on prints, although there does not seem to be a specific reference intended here.
Other examples of this print can be found in The Museum of Fine Arts, Boston, accession no. 11.30148 and The Fitzwilliam Museum, Cambridge, accession no. P.3522-R.
A woodblock print, chuban tate-e, 'Lover Taking Leave of a Courtesan', signed Harunobu ga with a red collector's seal of Hayashi Tadamasa.
28cm x 21.3cm (11in x 8 3/8in).
Footnotes
Provenance: Hayashi Tadamasa (1853-1906)
An English Private Collection, acquired in the early 20th century and thence by descent.
Hayashi Tadamasa (1853-1906) was one of the first ambassadors of Japanese culture in France. He played a pivotal role in introducing Japanese arts and culture to intellectuals, critics and artists in Europe, contributing to the rise of Japonisme in the late 19th century in Europe.
The theme of lovers reluctantly parting at dawn often echoes courtly literature. According to The Pillow Book of Sei Shônagon (Makura no sôshi circa 966-1017): 'A good lover will behave as elegantly at dawn as at any other time ... Even when he is dressed he still lingers, vaguely pretending to be fastening his sash ... Indeed, one's attachment to a man depends largely on the elegance of his leave-taking.' Here a high-ranking courtesan (entitled to a luxurious three-futon mattress) catches at her lover's kimono jacket (haori) as he prepares to knot its inner tie. Sake for the cup of parting is on the cabinet behind them.
The man's jacket has a white geometric symbol repeated on the sleeve, which is one of the crests (Genji mon) identifying the chapters in the classic novel The Tale of Genji (Genji monogatari) by Murasaki Shikibu (c.973-1020). References to the novel were often made in this way on prints, although there does not seem to be a specific reference intended here.
Other examples of this print can be found in The Museum of Fine Arts, Boston, accession no. 11.30148 and The Fitzwilliam Museum, Cambridge, accession no. P.3522-R.
常见问题
这件SUZUKI HARUNOBU (1724-1770)的成交价是多少？
落槌价为 预展中。 成交价为 预展中。
