Rare order 1889 Image of a Japanese Theatre Large Triple Plate Lithograph by Toyokuni Artistic Japan Antique Print S.Bing Liberty London

We are offering a selection of rare and exquisite colour and monochrome chromolithographs from the publication:

ARTISTIC JAPAN a monthly illustrated journal.

Publ. St Dunstan's House, Fetter Lane], London: Sampson Low, Marston, Searle & Rivington, 1888-1891
Artistic Japan: a monthly illustrated journal of arts and industries

Bing, Samuel, 1838-1905; Huish, Marcus Bourne, 1845-1921; Liberty & Co. (Firm : London)

Colour Triple Plate chromolithograph. Publ. 1889.

INTERIOR OF A THEATRE by TOYOKUNI
Description:

Plate BHD represents the auditorium of a theatre after TOYOKUNI, also the stage and the places nearest it. The scene shows the interior of a house of which we see, in the background, the enclosure made of frames of paper. A violent quarrel is exhibited. A young woman tries to separate the combatants, while a fourth actor waits, motionless, for his time to take part in what is going on.
The smoking apparatus of the two adversaries lie on the floor, and the two plates of brasero, and ash pan, placed on each side, show that the dispute has arisen in the course of a quiet conversation.

The boarded passage for the exits and entrances of the actors across the auditorium above the heads of the public, leads to the left.
On a level with the stage, on the spectators' right, is the orchestra composed of tambourines and guitars (shamisen). The person on his knees before the orchestra, marks time by means of two pieces of wood held in his hands. He has also to knock three times. He goes out in front of the stage before the curtain is drawn, and knocks his two pieces of wood together to obtain silence. Another person is seated in front of the orchestra, the prompter, known by the book in his hand. Behind the black screen which partly hides the musicians, is the chorus, the actor who, invisible, comments on the passages which are rendered in pantomime. The four projections seen
in front of the pit are for placing candles on. The large inscription on a red ground above the orchestra signifies, "great success.”

Commencing at the left of the crowd of spectators, we shall find two stages of boxes where women are following the course of the representation with interest. With their white head-dresses artistically folded, those of the lower stage are women of the people, serious and discreet in their behaviour. Above them, the richness of the head-dresses denotes women of Yoshivara, whose demeanour is not otherwise open to remark. Level with these, we find crowded in two stories people of the lower class in free and easy attitudes. An attendant is on the watch to prevent them from invading the boards. Among them we may observe a mother nursing her baby. In the boxes which encircle the stage, whence only the heads of the order occupants emerge an audience of a very mixed character is congregated. Young women, arriving late, trust them-
selves on the narrow ledge by which they gain their places. In the front are also boxes for the commoner sort of people. All do not give continuous attention to the play. Here one is pouring out a glass of saké, near him a hall-naked porter, for the lower orders do not dress for the theatre —asks his neighbour for a light. On the sill of the boxes are placed cups which help to pass the long hours of the representation. On the right, an audience more earnest is seated. And then there are boxes with women in the front seats, and, behind them young fellows, who seem to be there as much for the sake of the fair spectators as for the spectacle.
The absence of spectators of the better class in this Plate is explained by the fact that,
the boxes for the aristocracy are at the sides, a prolongation of the boxes where, we have observed groups of women.
The extreme end of the auditorium, invisible here, is generally occupied by an amphitheatre of places at a low price.


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Note the several fold lines on this triple plate chromolithograph.

Condition: Very good, commensurate to age. Age toning and wear to outside border edges.

Dimensions approx: 60cm x 32cm (23.5”x 12.5”)

Image size approx: 56cm x 27cm

Shipped tracked and insured.


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Among the publications that appeared toward the end of the 19th century with the aim of educating the European and American public about the art of Japan, few were as successful or as visually compelling as ARTISTIC JAPAN. Appearing in monthly instalments from mid 1888-1891 the magazine reached wide audiences by being printed in three languages ( French, German and English). This international character paralleled the breadth of the JAPONISME movement of which ARTISTIC JAPAN became one of the most visible and popular manifestations. The issues were lavishly illustrated, taking advantage of the most modern achievements in colour printing and included examples of Japanese art selected from leading European collections. The magazine became a visual encyclopaedia of Japanese art and a valuable source of inspiration for artists and designers around the globe perhaps most notably the artist Vincent Van Gogh.

Founded and compiled by the German art dealer S. (Siegfied) Bing (1838-1905).

Bing's declared aim in producing the journal was to “stimuler l'intérêt des amateurs”and “exercer une influence sur le goût, la culture, l'art et la constitution des collections publiques et privées” (stimulate the interest of amateurs and to influence the taste, culture, art and formation of public and private collections) in the art of Japan. One of the publication's chief sponsors was the fashionable London retail firm Liberty & Co. who had a full-page colour advertisement for their art fabrics on the back page of every issue of the English edition.The journal contains a series of illustrated essays on architecture, engraving, Hokusai's “Man-gwa”, the decoration of swords, Ritsuo and his School, netsukés and okimonos, the theatre in Japan, Hiroshigé, the poetic tradition in Japanese art, Animals in Japanese art, and Korin.Among contributors to Artistic Japan were Edmond de Goncourt, Roger Marx, Victor Champier, and Eugène Guillaume. The editor of the English edition was Marcus B. Huish (1843-1921).