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a black and white drawing of two women in kimono robesdrawing of a group of people sitting around a table in a rooman ink drawing of a woman and a man in oriental clothingan ink drawing of a landscape with trees and bushesa drawing of a group of people standing around a tablefour sketches of figures in oriental clothing, including a woman and a man
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81 - BEIBEI KYÔDAN, “The Story of the Sisters Benizara and Kakeza…
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Estimate €8,000 - €12,000
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BEIBEI KYÔDAN, “The Story of the Sisters Benizara and Kakezara”, a six-volume yomihon-style novel written by Kyokutei Bakin (Takizawa Okikuni, 1767–1848) and illustrated by Hokusai, published in 1815. Six shita-e, sumi ink on usugami by Hokusai. DIM. 19.3 x 27.3 cm (7 5/8 x 10 3/4 in.) - 19.3 x 27.4 cm (7 5/8 x 10 13/16 in.) Three of these six preparatory drawings were published. This novel tells the story of the half-sisters Benizara and Kakezara, inspired by a folk legend and a classic tale, *Ochikubo monogatari* (The Tale of the Lower Room), the Japanese equivalent of *Cinderella*. Kakezara, virtuous and gentle, is mistreated by her stepmother Katamohi and Katamohi’s daughter, Benizara, who subject her to harsh trials. She overcomes these trials and is noticed by a nobleman who marries her, whilst the two wicked women are punished, illustrating the Buddhist concept of karma. Beibei Kyôdan, vol. 1, ff. 3v–4r “A Chinese man seeking refuge in Japan offers different bouquets to a Chinese woman and a Japanese woman”. Published in: Orientations, ill. 4, p. 87. BAFJ, ill. 8, pp. 36–37. Bernard Rousseau notes regarding this drawing that, although certain unfinished motifs leave no doubt that it is a shita-e, the more careful linework than usual allows one to imagine what a hanshita-e might have looked like. Beibei Kyôdan, vol. 1, f, 6v, illustrating poem 3889 from the Man’yōshū: “On that rainy night when, alone, I encountered that man, as pale as a wandering soul—the memory of that strange night still comes back to me with dread.” The figure brandishing a severed head appears in vol. 4, ff. 6v–7r, in the same illustration as the two suicide scenes. Beibei Kyôdan, vol. 4, ff. 6v–7r for the two suicide scenes (seppuku and jigai). These are the suicides of the female character Ariginu and the male character Yoboshichi. In the margin is a quotation from a poetic annotation by the poetess Higo, lady-in-waiting to Princess Reishi (11th century) On the left, three laughing porters, not found. Beibei kyôdan, vol. 5A, ff. 27v–28r “Smoking nonchalantly, Tenmoku Hôin forbids Kakezara from approaching the bound Watatori” Published in: Orientations, ill. 5, p. 87. BAFJ, ill. 9, pp. 36–37. According to Bernard Rousseau, this is the first known depiction in a drawing of the character who later became emblematic of Hokusai, notably featuring double nostrils, rounded triangular eyes and a strangely shaped body, which would subsequently be dubbed “ Homo-hokusaiensis ". "His appearance is like the turning of a page. Soon Hokusai would abandon the creation of these illustrated popular novels to devote himself to more contemporary themes". (BAFJ, p. 36) Beibei Kyôdan, vol. 5B, ff 13v–14r Double-page spread depicting the encounter, at a crossroads, between Benizara and her mother Katamohi—accompanied by servants—and the distinguished figure whom they had offended and to whom they are offering their apologies. Beibei Kyôdan, vol. 5B (= vol. 6), ff 23v–24r “Buddhist ceremony to drive away ghosts” Published in: Orientations, ill. 6, p. 88. BAFJ, ill. 10, p. 36. Bernard Rousseau notes in his commentary that the *Beibei Kyôdan* was published in three editions (1815, an unknown date, and 1858). The engraved illustration based on this drawing varied slightly in each edition, specifically regarding the child at the top right-hand corner, whose expression was undoubtedly inappropriate in the first edition. He was replaced by a cartouche in the second edition and omitted entirely in the third. “Rediscovering the original drawing finally reveals Hokusai’s true intention, the engraver’s – extremely rare – error, and the publishers’ efforts to rectify it.” (BAFJ, p. 38) The three successive prints can be found in the catalogue of the exhibition *Katsushika Hokusai ten*, Edo-Tokyo Museum, Tokyo, 1995, pl. III, 44–45–46, pp. 84–85 (in Japanese). The catalogue entry explains that the plates for the original edition were destroyed in 1839 in a major fire. This makes an original edition all the more rare, and this drawing, featuring the child, particularly interesting.
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About the sale THE BERNARD ROUSSEAU COLLECTION – DRAWINGS BY HOKUSAI, PAINTINGS FROM JAPAN AND CHINA
Auction location
Auction time 10/22/2026 at 3:30 PM
Pictures credits: Contact the Auction House
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