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Lot Essay
published:
Azabu Museum of Art, ed., Azabu bijutsukan: Shuzohin zuroku (Azabu Museum of Art: Catalogue of the collection) (Tokyo: Azabu Museum of Art, 1986), pls. 3--1, 3--2.
Azabu Museum of Art, and Osaka Municipal Museum of Art, eds., Nikuhitsu ukiyo-e meihin ten: Azabu bijutsukan shozo/Ukiyo-e Painting Masterpieces in the Collection of the Azabu Museum of Art, introduction by Kobayashi Tadashi, exh. cat. (Tokyo: Azabu Museum of Art; Osaka: Osaka Municipal Museum of Art, 1988), pl. 2.
Azabu Museum of Arts and Crafts, and Japan Institute of Arts and Crafts, eds., Edo no fashon, kaikan kinen ten, Part 1: Nikuhitsu ukiyo-e ni miru onnatachi no yosooi/"Fashion of Edo": Women's dress in Ukiyo-e Paintings, exh. cat. (Tokyo: Azabu Museum of Arts and Crafts, 1989), pl. 2.
Dale Carolyn Gluckman, and Sharon Sadako Takeda, When Art Became Fashion: Kosode in Edo-period Japan, exh. cat. (New York and Tokyo: Weatherhill; Los Angeles: Los Angeles County Museum of Art, 1992), cat. nos. 180a,b, color pls. p. 215.
Iwasa Matabei ten (Iwasa Matabei exhibition), edited by the Fukui Prefectural Museum, exh. cat. (Fukui: Fukui Prefectural Museum, 1984), pl. 34.
Kobayashi Tadashi, Edo no bijinga: Kan'ei, Kanbunki no nikuhitsuga (Edo beauty paintings: Paintings of the Kan'ei and Kanbun eras) (Tokyo: Gakken, 1982), pls. 33, 34.
_____, ed., Azabu bijutsu kogeikan (Azabu Museum of Arts and Crafts), vol. 6 of Nikuhitsu ukiyo-e taikan (Tokyo: Kodansha, 1995), pls. 6, 7.
Tsuji Nobuo, Iwasa Matabei, Nihon no bijutsu 12, no. 259 (Tokyo: Shibundo, 1987), no. 87.
Yamato Bunkakan, ed., Tokubetsu ten kokuho Matsuura byobu: Edo jidai Kan'ei ki no joseibi (Special exhibition of the National Treasure Matsuura screen: The beauty of women in the Kan'ei era of the Edo period), exh. cat. (Nara: Yamato Bunkakan, 1984), pl. 13, no. 13.
These are thought to be two panels of a screen or set of sliding doors painted in Fukui in the style of Matabei, who was in residence there working for the Matsudaira family from 1615 until 1637 when he moved to Edo. They may be associated with the circle of Matabei's son, Katsushige, who continued the Matabei painting tradition in Fukui. For similar works see Yoshida Teruji, Shoki ukiyo-e jidai (The early period of ukiyo-e), vol. 1 of Ukiyo-e taisei (Tokyo: Toho Shoin, 1931), nos. 38, 39 (former Uemura Masuo collection); Hyogo Prefectural Museum of History, ed., Tokubetsu ten rakuchu rakugai no purima donna: Yuraku to fuzokuga, 17 seiki (Special exhibition of prima donnas in scenes in and around the capital: Pleasure and genre painting, the 17th century) (Kobe: Hyogo Prefectural Museum of History, 1993), no. 34 (Saioji temple collection).
Azabu Museum of Art, ed., Azabu bijutsukan: Shuzohin zuroku (Azabu Museum of Art: Catalogue of the collection) (Tokyo: Azabu Museum of Art, 1986), pls. 3--1, 3--2.
Azabu Museum of Art, and Osaka Municipal Museum of Art, eds., Nikuhitsu ukiyo-e meihin ten: Azabu bijutsukan shozo/Ukiyo-e Painting Masterpieces in the Collection of the Azabu Museum of Art, introduction by Kobayashi Tadashi, exh. cat. (Tokyo: Azabu Museum of Art; Osaka: Osaka Municipal Museum of Art, 1988), pl. 2.
Azabu Museum of Arts and Crafts, and Japan Institute of Arts and Crafts, eds., Edo no fashon, kaikan kinen ten, Part 1: Nikuhitsu ukiyo-e ni miru onnatachi no yosooi/"Fashion of Edo": Women's dress in Ukiyo-e Paintings, exh. cat. (Tokyo: Azabu Museum of Arts and Crafts, 1989), pl. 2.
Dale Carolyn Gluckman, and Sharon Sadako Takeda, When Art Became Fashion: Kosode in Edo-period Japan, exh. cat. (New York and Tokyo: Weatherhill; Los Angeles: Los Angeles County Museum of Art, 1992), cat. nos. 180a,b, color pls. p. 215.
Iwasa Matabei ten (Iwasa Matabei exhibition), edited by the Fukui Prefectural Museum, exh. cat. (Fukui: Fukui Prefectural Museum, 1984), pl. 34.
Kobayashi Tadashi, Edo no bijinga: Kan'ei, Kanbunki no nikuhitsuga (Edo beauty paintings: Paintings of the Kan'ei and Kanbun eras) (Tokyo: Gakken, 1982), pls. 33, 34.
_____, ed., Azabu bijutsu kogeikan (Azabu Museum of Arts and Crafts), vol. 6 of Nikuhitsu ukiyo-e taikan (Tokyo: Kodansha, 1995), pls. 6, 7.
Tsuji Nobuo, Iwasa Matabei, Nihon no bijutsu 12, no. 259 (Tokyo: Shibundo, 1987), no. 87.
Yamato Bunkakan, ed., Tokubetsu ten kokuho Matsuura byobu: Edo jidai Kan'ei ki no joseibi (Special exhibition of the National Treasure Matsuura screen: The beauty of women in the Kan'ei era of the Edo period), exh. cat. (Nara: Yamato Bunkakan, 1984), pl. 13, no. 13.
These are thought to be two panels of a screen or set of sliding doors painted in Fukui in the style of Matabei, who was in residence there working for the Matsudaira family from 1615 until 1637 when he moved to Edo. They may be associated with the circle of Matabei's son, Katsushige, who continued the Matabei painting tradition in Fukui. For similar works see Yoshida Teruji, Shoki ukiyo-e jidai (The early period of ukiyo-e), vol. 1 of Ukiyo-e taisei (Tokyo: Toho Shoin, 1931), nos. 38, 39 (former Uemura Masuo collection); Hyogo Prefectural Museum of History, ed., Tokubetsu ten rakuchu rakugai no purima donna: Yuraku to fuzokuga, 17 seiki (Special exhibition of prima donnas in scenes in and around the capital: Pleasure and genre painting, the 17th century) (Kobe: Hyogo Prefectural Museum of History, 1993), no. 34 (Saioji temple collection).