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Toutes les enchères / Art Ancien / SADAHIDE • Musha-e Masterpiece • The Night Raid on Abe no...
** A remarkable triptych by Utagawa Sadahide. The design exists in two versions, a night impression and a daylight impression like this one, and both are considered rare. A night impression of this exact design is currently offered for $3,000 by a well-established international gallery. The composition is extremely dense, with every part of the three sheets filled with armour, weapons and figures. The carving is exceptionally fine, down to the armour lacing, textile patterns and the thin rain lines crossing the whole scene. ** Artist: Utagawa Sadahide (歌川貞秀) 1807–c.1878–79 Subject: Night raid on the encampment of Abe no Sadato (安倍貞任) during the Former Nine Years' War (前九年の役, 1051–1062) Principal figures: Centre: Abe no Sadato (安倍貞任), standing on a fallen foe, blocking a spear-thrust with his sword Left: Minamoto no Yoshiie — Hachimantarō (八幡太郎義家) — on a dappled horse Throughout: armoured retainers of both sides, white battle flags, a tiger-skin banner, lightning streaking across the sky Date: c. 1847–1852 Technique: Woodblock print (mokuhanga) — nishiki-e (polychrome) Format: Ōban tate-e triptych (三枚続) — three sheets, approx. 36 × 75 cm combined (14¼ × 28¾ in.) Signature: Signed Gountei Sadahide ga (五雲亭貞秀画) with seal on each sheet CONDITION Impression & Colours: A stunning impression across all three sheets, with strong keyblock lines preserving the fine detail of lacquered armour plates, the weave of the camp curtain, and the hatching of rain and lightning across the sky. Colours are very well-preserved and vibrant: the deep Prussian blues of the warriors' armour, rich golds and ochres of the armour fittings and cartouches, vivid reds and oranges in the lightning strikes and armour cords, the creamy white of the large battle flags, and warm greys of the storm-lit sky. Paper: Three separate ōban sheets on firm Japanese washi. Even, age-appropriate toning across all sheets — consistent with a print from the late Edo period and entirely expected for work of this age. Minor residue of old backing has darkened some areas slightly on the back, which appears less pronounced on the front. Minor binding holes. One print had a weak margin and it was professionally reinforced with a minor repair. The paper remains firm and subtle. Overall a solid very good condition. The Scene — A Night Raid in the Northern Wars Sadahide sets the action under a sky split by jagged lightning — slanting rain across all three sheets, armoured men colliding in the darkness, camp curtains pushed aside as the attackers pour in. At the centre, Abe no Sadato stands firm atop a fallen enemy, his sword raised to block a spear-thrust by Ōya no Mitsuto, his face composed even as the battle rages around him. On the left, mounted high above the chaos on a dappled horse, Minamoto no Yoshiie — Hachimantarō, Son of Hachiman, god of war — directs the assault with a tasselled command baton, the authority of the imperial court made visible in his elevated posture above the melee. The composition is arranged across the full width of the triptych as a continuous field of controlled chaos: white battle flags billow from poles, a tiger-skin banner arcs across the left sheet, and named warriors are identified throughout in the red label cartouches that had become standard in the musha-e tradition since Kuniyoshi. The narrative text cartouche at the top of the centre panel — framed in pale blue against the storm sky — grounds the scene in its literary and historical sources, a characteristic feature of this period's most ambitious battle triptychs. What Sadahide achieves here is a compositional tension between the personal and the panoramic: Sadato is given weight and dignity even in extremis — one foot planted on the fallen, sword meeting spear, the posture of a man who will not break — while the world around him dissolves into the beautiful disorder of a night engagement. The rain makes everything indistinct and urgent simultaneously. It is a scene built not for historical illustration, but for drama. The Story — Samurai, War Poet, and the Birth of Minamoto Honour The Former Nine Years' War (前九年の役, Zenkunen no Eki, 1051–1062) was the conflict that turned the Minamoto clan from regional warriors into the supreme military house of Japan. The Abe clan had ruled Mutsu Province — the vast, forested north of Honshū — for generations as military governors, gradually assuming powers that the imperial court could no longer ignore. When Abe no Yoritoki refused to submit, the court dispatched Minamoto no Yoriyoshi as commander, accompanied by his teenage son Yoshiie. It was Yoshiie, later celebrated as Hachimantarō, who fought the war's key battles — and it was his adversary Abe no Sadato, Yoritoki's eldest son, who made him famous. Sadato was everything a warrior epic requires in an antagonist: skilled, proud, tenacious, and — crucially — noble enough to inspire respect even in defeat. At the Battle of Kawasaki in 1057 he actually routed the Minamoto, pursuing them through a blizzard. The war ground on for five more years before Yoshiie and allied forces stormed the Abe fortress at Kuriyagawa in 1062, driving Sadato out. The most celebrated moment of the entire conflict — preserved in the chronicle Mutsu Waki — is what happened during the pursuit. Yoshiie called after the fleeing Sadato: Koromo no tate wa hokorobinikeri ("The warps of Koromo Castle have come undone" — a wordplay on the word for robe). Sadato turned, loosened his reins, and replied: Toshi o heishi ito no midare no kurushisa ni ("Over the years the threads have become tangled, and this pains me"). Hearing the perfect verse, Yoshiie put down his arrow and let him go. That exchange became one of the founding legends of Japanese warrior culture: proof that the true samurai was not merely a soldier but a man of feeling and refinement, capable of beauty even in the moment of destruction. Later generations of ukiyo-e artists — Kuniyoshi, Yoshitoshi, Chikanobu — all returned to this subject. The night-raid scene here, violent and atmospheric, is the counterpoint to that famous poetic exchange: the chaos before the grace. Sadahide — The Utagawa Master Who Saw the World Changing Utagawa Sadahide (1807–c.1878–79), born Hashimoto Kenjirō in Shimōsa Province (modern Chiba Prefecture), was one of Utagawa Kunisada's most accomplished pupils — ranked fourth on the stone monument Kunisada erected in his master's memory in 1828, at only twenty-one years of age. He began his career with bijin-ga (beautiful women) but moved decisively into landscapes and musha-e (warrior prints) through the 1830s and 1840s, a period in which this triptych was produced. His battle compositions of this era — dense, atmospheric, narratively layered — represent one strand of the Utagawa school at its late-Edo peak. What makes Sadahide unusual among his contemporaries is the second act of his career. From the late 1850s, as Japan broke open to the world after two centuries of isolation, Sadahide pivoted to become the leading chronicler of the foreign presence at Yokohama. His Yokohama-e — meticulous, curious, non-sensational images of Western merchants, ships, and customs — are among the most important visual documents of the Meiji transition. So respected was he internationally that his prints were selected for exhibition by the Tokugawa shogunate's delegation to the Paris International Exposition of 1867. The warrior print offered here comes from the earlier, less familiar Sadahide — the battle-composition specialist, working in the tradition of Kuniyoshi, before the world of Yokohama redefined his reputation entirely. His work from this period is held in the collections of the Art Institute of Chicago, the Metropolitan Museum of Art, the British Museum, and the Museum of Fine Arts in Boston.
Estimation:€1,000
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