{"title":"All Prints","description":null,"products":[{"product_id":"dancing-figure-kaoru-kawano","title":"Dancing Figure - Kaoru Kawano","description":"\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Kaoru Kawano (1916–1965)\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e Dancing Figure (Camellia), also known as \u003cem\u003eCamellia Festival (Tsubaki Matsuri)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eDesign Date:\u003c\/strong\u003e c. 1950s\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eMedium:\u003c\/strong\u003e Genuine Japanese color woodblock print\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vertical format\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003ePaper Size:\u003c\/strong\u003e Approximately 16.5 × 11.25 inches\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThis genuine Japanese color woodblock print is Kaoru Kawano’s \u003cem\u003eDancing Figure (Camellia)\u003c\/em\u003e, also known as \u003cem\u003eCamellia Festival\u003c\/em\u003e. The design dates to approximately the 1950s and is a characteristic example of Kawano’s distinctive approach to the postwar Japanese \u003cem\u003esōsaku-hanga\u003c\/em\u003e movement. Catalogued impressions identify the subject as a dancing woman in a yellow kimono with a red camellia in her hair. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eDancing Figure (Camellia)\u003c\/em\u003e depicts an elegantly stylized woman caught in a graceful turning pose. Her brilliant yellow kimono forms a sweeping curve against the deep green-black background, while a partially opened fan appears behind her. A single vivid red camellia accents her elaborate hair. Kawano reduces the woman's face to a few delicate features, allowing the strong silhouette, textured wood grain, and contrasting blocks of color to carry the composition. The result feels distinctly modern while retaining the elegance and restraint of traditional Japanese figure prints.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eInscriptions \u0026amp; Marks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eTitle:\u003c\/strong\u003e \u003cem\u003eDancing Figure (Camellia)\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eAlternate Title:\u003c\/strong\u003e \u003cem\u003eCamellia Festival (Tsubaki Matsuri)\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eArtist:\u003c\/strong\u003e Kaoru Kawano (河野薫)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eArtist Seal:\u003c\/strong\u003e Red Kawano seal within the image at lower right\u003c\/li\u003e\n\u003cli\u003e\n\u003cmeta charset=\"UTF-8\"\u003e \u003cstrong\u003eWatermark:\u003c\/strong\u003e\u003cspan\u003e Circular watermark\/impressed paper mark visible in the lower margin on verso. \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eDesign Date:\u003c\/strong\u003e c. 1950s\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTechnique:\u003c\/strong\u003e Color woodblock print\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePrinting:\u003c\/strong\u003e Kawano was known for self-carved and self-printed impressions of this design; signed limited-edition examples are documented in editions of 300. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very Good. Full margins with light overall toning consistent with age. Colors remain strong, particularly the rich yellow of the kimono, red camellia, and deep green background. The sheet retains attractive deckled edges. Tape marks on top verso. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Artist:\u003c\/strong\u003e Kaoru Kawano (1916–1965) was an important Japanese printmaker associated with the \u003cem\u003esōsaku-hanga\u003c\/em\u003e, or “creative print,” movement. Born in Hokkaido, Kawano studied at the Kawabata Art School and developed an immediately recognizable style built around simplified forms, expressive wood grain, bold areas of color, and quiet, introspective figures. Unlike the collaborative system traditionally used for ukiyo-e and much \u003cem\u003eshin-hanga\u003c\/em\u003e, \u003cem\u003esōsaku-hanga\u003c\/em\u003e artists emphasized the artist’s direct involvement in designing, carving, and printing their own works. Kawano became internationally known after World War II, particularly for his images of children, women, birds, and animals.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Print:\u003c\/strong\u003e \u003cem\u003eDancing Figure (Camellia)\u003c\/em\u003e is an especially strong example of Kawano’s combination of traditional Japanese subject matter with mid-century modern design. The woman's kimono, fan, floral hair ornament, and dance pose recall traditional \u003cem\u003ebijin-ga\u003c\/em\u003e, yet Kawano treats the figure almost as an abstract arrangement of shapes. The dramatic yellow silhouette against the dark field and the visible texture of the woodblock give the print the graphic simplicity associated with his mature work. Documented lifetime impressions were self-carved and self-printed, with some issued as pencil-signed and numbered editions of 300; posthumous impressions of the design are also known.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":63088715104627,"sku":null,"price":600.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1008\/3549\/2211\/files\/YGP00264.jpg?v=1784157373"},{"product_id":"fumees-de-santal-manchoukuo-paul-jacoulet","title":"Fumées de Santal, Manchoukuo – Paul Jacoulet","description":"\u003cdiv class=\"n6owBd awi2gc\"\u003e\n\u003cmeta charset=\"UTF-8\"\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Paul Jacoulet (1902–1960)\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e Fumées de Santal, Mandchoukuo (Sandalwood Smoke, Manchuria)\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e 1948\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eMedium:\u003c\/strong\u003e Genuine Japanese color woodblock print with mica and embossing\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Dai-ōban yoko-e (large horizontal format)\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003ePaper Size:\u003c\/strong\u003e Approximately 14.25 × 18.5 inches\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThis original Japanese woodblock print is Paul Jacoulet’s \u003cem\u003eFumées de Santal, Mandchoukuo\u003c\/em\u003e (\u003cem\u003eSandalwood Smoke, Manchuria\u003c\/em\u003e), published in December 1948. The print was produced in a limited edition, with numbered impressions documented on the verso; \u003cstrong\u003e81\/250\u003c\/strong\u003e. \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eFumées de Santal\u003c\/em\u003e depicts an elegantly dressed Manchurian woman reclining languidly across a stone balustrade as smoke rises from an elaborate incense burner below. Her richly patterned robe dominates the composition, contrasting with the cool gray background and pale architectural forms surrounding her. Jacoulet uses an unusually restrained palette while lavishing attention on the woman's clothing, jewelry, and elaborate floral headdress. The drifting sandalwood smoke and her half-closed eyes give the scene a dreamy, almost suspended quality.\u003c\/p\u003e\n\u003cp\u003eThe print is particularly notable for its sophisticated printing techniques. Jacoulet used embossing (\u003cem\u003ekarazuri\u003c\/em\u003e or gaufrage) extensively in the woman's robe and the sandalwood smoke, along with mica in the gray background and metallic accents in her clothing and ornaments. These subtle effects are much easier to appreciate in person than in a photograph and are characteristic of the elaborate craftsmanship found in Jacoulet's finest prints. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eInscriptions \u0026amp; Marks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eTitle: \u003cem\u003eFumées de Santal, Mandchoukuo\u003c\/em\u003e — “Sandalwood Smoke, Manchuria”\u003c\/li\u003e\n\u003cli\u003eArtist: Paul Jacoulet\u003c\/li\u003e\n\u003cli\u003eDate: December 1948\u003c\/li\u003e\n\u003cli\u003eSignature: “Paul Jacoulet” within the image at lower right\u003c\/li\u003e\n\u003cli\u003eArtist seal: Red \u003cem\u003emitsu-tomoe\u003c\/em\u003e seal beneath the signature\u003c\/li\u003e\n\u003cli\u003eWatermark: \u003cspan\u003ePaul Jacoulet watermark visible in the paper\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003eCarver: Kentarō Maeda\u003c\/li\u003e\n\u003cli\u003ePrinter: Tetsunosuke Honda\u003c\/li\u003e\n\u003cli\u003eEdition: 81\/250\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Excellent. Full margins with light overall toning consistent with age. Colors remain strong and well balanced, with the delicate gray background, metallic details, and embossed elements retaining good definition. Puncture holes in top corners. Deckled edges remain visible. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Artist:\u003c\/strong\u003e Paul Jacoulet (1902–1960) was a French-born artist who spent most of his life in Japan and became one of the most distinctive figures in twentieth-century Japanese woodblock printmaking. Working with highly skilled Japanese carvers and printers, Jacoulet produced technically elaborate prints characterized by precise linework, unusual pigments, mica, metallics, and extensive embossing. His subjects frequently came from Japan, Korea, China, Micronesia, and other parts of East Asia and the Pacific. His combination of traditional Japanese printmaking techniques with his highly individual style makes his work immediately recognizable, and his prints are now held in major museum collections internationally.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Print:\u003c\/strong\u003e \u003cem\u003eFumées de Santal\u003c\/em\u003e is one of Jacoulet's best-known horizontal compositions and a particularly strong example of his postwar work. Published on December 25, 1948, the design combines a carefully posed figure with some of the elaborate printing techniques for which Jacoulet became famous. The woman's richly embossed robe, shimmering mica, metallic ornamentation, and subtly raised sandalwood smoke turn what initially appears to be a relatively restrained composition into a technically complex print. The \u003cem\u003emitsu-tomoe\u003c\/em\u003e seal seen beneath Jacoulet's signature is also unusual: this is documented as the only Jacoulet design on which he used this particular seal.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":63104459571571,"sku":null,"price":6500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1008\/3549\/2211\/files\/YGP00267_63274bbe-9717-49f8-bf43-34972208de8a.jpg?v=1784157589"},{"product_id":"tiger-toshi-yoshida","title":"Tiger - Toshi Yoshida","description":"\u003cdiv class=\"\"\u003e\n\u003csection class=\"text-token-text-primary w-full focus:outline-none has-data-writing-block:pointer-events-none [\u0026amp;:has([data-writing-block])\u0026gt;*]:pointer-events-auto R6Vx5W_threadScrollVars scroll-mb-[calc(var(--scroll-root-safe-area-inset-bottom,0px)+var(--thread-response-height))] scroll-mt-(--sticky-padding-top)\" dir=\"auto\"\u003e\n\u003cdiv class=\"text-base my-auto mx-auto pt-12 [--thread-content-margin:var(--thread-content-margin-xs,calc(var(--spacing)*4))] @w-sm\/main:[--thread-content-margin:var(--thread-content-margin-sm,calc(var(--spacing)*6))] @w-lg\/main:[--thread-content-margin:var(--thread-content-margin-lg,calc(var(--spacing)*16))] px-(--thread-content-margin)\"\u003e\n\u003cdiv class=\"[--thread-content-max-width:40rem] @w-lg\/main:[--thread-content-max-width:48rem] mx-auto max-w-(--thread-content-max-width) flex-1 group\/turn-messages focus-visible:outline-hidden relative flex w-full min-w-0 flex-col\"\u003e\n\u003cdiv class=\"flex max-w-full flex-col gap-4 grow\"\u003e\n\u003cdiv dir=\"auto\" class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal outline-none keyboard-focused:focus-ring [.text-message+\u0026amp;]:mt-1\"\u003e\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden items-end rtl:items-start\"\u003e\n\u003cdiv class=\"corner-superellipse\/0.98 relative min-w-0 overflow-hidden rounded-[22px] px-4 py-2.5 leading-6 user-message-bubble-color max-w-(--user-chat-width,70%)\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/section\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"\"\u003e\n\u003csection class=\"text-token-text-primary w-full focus:outline-none has-data-writing-block:pointer-events-none [\u0026amp;:has([data-writing-block])\u0026gt;*]:pointer-events-auto R6Vx5W_threadScrollVars scroll-mb-[calc(var(--scroll-root-safe-area-inset-bottom,0px)+var(--thread-response-height))] scroll-mt-[calc(var(--header-height)+min(200px,max(70px,20svh)))]\" dir=\"auto\"\u003e\n\u003cdiv class=\"text-base my-auto mx-auto pb-8 [--thread-content-margin:var(--thread-content-margin-xs,calc(var(--spacing)*4))] @w-sm\/main:[--thread-content-margin:var(--thread-content-margin-sm,calc(var(--spacing)*6))] @w-lg\/main:[--thread-content-margin:var(--thread-content-margin-lg,calc(var(--spacing)*16))] px-(--thread-content-margin)\"\u003e\n\u003cdiv class=\"[--thread-content-max-width:40rem] @w-lg\/main:[--thread-content-max-width:48rem] mx-auto max-w-(--thread-content-max-width) flex-1 group\/turn-messages focus-visible:outline-hidden relative flex w-full min-w-0 flex-col agent-turn\"\u003e\n\u003cdiv class=\"flex max-w-full flex-col gap-4 grow\"\u003e\n\u003cdiv dir=\"auto\" class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal outline-none keyboard-focused:focus-ring [.text-message+\u0026amp;]:mt-1\" tabindex=\"0\"\u003e\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden\"\u003e\n\u003cdiv class=\"safari-katex-mathml markdown prose dark:prose-invert wrap-break-word w-full light markdown-new-styling\"\u003e\n\u003cp\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Tōshi Yoshida (1911–1995)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e Tiger\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDesign Date:\u003c\/strong\u003e 1987\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMedium:\u003c\/strong\u003e Genuine Japanese color woodblock print\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vertical format\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaper Size:\u003c\/strong\u003e Approximately 11.5 × 8.75 inches\u003c\/p\u003e\n\u003cp\u003eThis genuine Japanese color woodblock print is Tōshi Yoshida’s \u003cem\u003eTiger\u003c\/em\u003e, created in 1987.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTiger\u003c\/em\u003e presents the animal head-on, crouched low with its enormous front paws extended toward the viewer. Yoshida removes nearly all background detail, concentrating attention on the tiger’s powerful form, striped coat, and intense yellow eyes. Fine black linework creates the texture of the fur, while the restrained orange, gray, and black palette gives the image an almost illustrative quality. The direct gaze and compressed pose create a striking combination of stillness and tension, capturing the tiger at a moment that feels both calm and potentially explosive.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eInscriptions \u0026amp; Marks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eTitle: \u003cem\u003eTiger\u003c\/em\u003e, block-printed in English in the lower left margin\u003c\/li\u003e\n\u003cli\u003eArtist: Tōshi Yoshida\u003c\/li\u003e\n\u003cli\u003eSignature: “Toshi Yoshida,” pencil signed in English in the lower right margin\u003c\/li\u003e\n\u003cli\u003eArtist seal: Red Yoshida seal within the image at lower right\u003c\/li\u003e\n\u003cli\u003eDesign Date: 1987\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very Good. Light overall toning consistent with age, with slightly more pronounced toning along the margins. Minor handling wear and faint scattered surface marks. A few light horizontal creases or pressure marks are visible around the tiger’s face and whiskers. Colors remain strong, with vivid yellow eyes and good definition throughout the fine black linework. Full margins. Please review the photographs carefully, as they form part of the condition description.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Artist:\u003c\/strong\u003e Tōshi Yoshida (1911–1995) was one of the most important Japanese woodblock artists of the twentieth century and the eldest son of renowned shin-hanga master Hiroshi Yoshida. Raised within the Yoshida family studio, he learned drawing, painting, carving, and traditional woodblock printing from an early age. Although his early work naturally reflected his father’s influence, Tōshi went on to develop a remarkably varied and independent career that included landscapes, city scenes, abstract compositions, and wildlife. His animal prints became an especially important part of his later work, combining close observation with the precision and craftsmanship of traditional Japanese woodblock printing.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Print:\u003c\/strong\u003e \u003cem\u003eTiger\u003c\/em\u003e belongs to the later period of Tōshi Yoshida’s career, when animals had become one of his most recognizable subjects. Yoshida had a lifelong interest in wildlife and traveled extensively, producing prints of animals ranging from birds and domestic cats to lions, leopards, and other large mammals. In these later works, he often stripped away elaborate settings to concentrate on the character and physical presence of the animal itself. \u003cem\u003eTiger\u003c\/em\u003e is a particularly direct example of this approach: the empty background and frontal composition leave almost nothing between the viewer and the animal’s penetrating gaze.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/section\u003e\n\u003c\/div\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":63104474055027,"sku":null,"price":800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1008\/3549\/2211\/files\/YGP00274_7c15f2d5-9a3c-43c1-9730-5d65e1cc0e06.jpg?v=1784159783"},{"product_id":"the-moon-s-four-strings-tsukioka-yoshitoshi","title":"The Moon’s Four Strings — Tsukioka Yoshitoshi","description":"\u003cdiv class=\"n6owBd awi2gc\"\u003e\n\u003cmeta charset=\"UTF-8\"\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eArtist\u003c\/strong\u003e\u003cbr\u003eTsukioka Yoshitoshi (1839–1892)\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTitle\u003c\/strong\u003e\u003cbr\u003eThe Moon’s Four Strings: Semimaru\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSeries\u003c\/strong\u003e\u003cbr\u003eOne Hundred Aspects of the Moon (\u003cem\u003eTsuki Hyakushi\u003c\/em\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDesign Date\u003c\/strong\u003e\u003cbr\u003e1886\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMedium\u003c\/strong\u003e\u003cbr\u003eOriginal Japanese color woodblock print (nishiki-e)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFormat\u003c\/strong\u003e\u003cbr\u003eŌban tate-e (vertical format)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaper Size\u003c\/strong\u003e\u003cbr\u003eApproximately 14 × 9.5 inches\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDescription\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis original 19th-century Japanese woodblock print is from Yoshitoshi’s celebrated late masterpiece, \u003cem\u003eOne Hundred Aspects of the Moon\u003c\/em\u003e, published by Akiyama Buemon beginning in 1885.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Moon’s Four Strings: Semimaru\u003c\/em\u003e depicts the legendary blind musician and poet Semimaru seated beneath a pine tree, playing the biwa, a traditional four-stringed Japanese lute. According to legend, Semimaru was a gifted musician who lived in seclusion near Osaka’s Ausaka Barrier and became associated with stories of music, poetry, and solitude. Yoshitoshi places him beneath a brilliant full moon, absorbed in his instrument while the surrounding grasses and weathered landscape reinforce the sense of isolation. The image is characteristic of Yoshitoshi’s later work, where dramatic action gives way to quieter, more psychological scenes drawn from Japanese history and legend.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTranslation \u0026amp; Inscriptions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eSeries:\u003c\/strong\u003e One Hundred Aspects of the Moon (月百姿, \u003cem\u003eTsuki Hyakushi\u003c\/em\u003e)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTitle:\u003c\/strong\u003e The Moon’s Four Strings (月の四緒, \u003cem\u003eTsuki no yotsu no o\u003c\/em\u003e)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSubject:\u003c\/strong\u003e Semimaru (蝉丸)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eArtist:\u003c\/strong\u003e Tsukioka Yoshitoshi\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePublisher:\u003c\/strong\u003e Akiyama Buemon\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eDate:\u003c\/strong\u003e 1886\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCondition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGood.\u003c\/strong\u003e Moderate overall toning consistent with age, with more pronounced toning along the margins. Scattered foxing and surface soiling are present, particularly along the margins, with general handling wear and light creasing. Minor edge wear is visible. Colors remain well preserved, with good detail throughout the image.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Artist\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eTsukioka Yoshitoshi (1839–1892) was one of the great masters of late ukiyo-e and is often regarded as the last major artist of the traditional Japanese woodblock print era. A student of Utagawa Kuniyoshi, Yoshitoshi worked during Japan’s dramatic transition from the Edo period into the modern Meiji era. His subjects ranged from warriors and supernatural tales to literature, history, poetry, and intimate psychological portraits. His later work became increasingly refined and atmospheric, culminating in \u003cem\u003eOne Hundred Aspects of the Moon\u003c\/em\u003e, the series for which he is perhaps best known today.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Series\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eOne Hundred Aspects of the Moon\u003c\/em\u003e (\u003cem\u003eTsuki Hyakushi\u003c\/em\u003e) was Yoshitoshi’s most ambitious and celebrated late series. Published between 1885 and 1892, its 100 designs draw from Japanese and Chinese history, literature, mythology, theater, and folklore, with the moon serving as the connecting theme. Sometimes the moon dominates the composition; elsewhere its presence is more subtle, allowing Yoshitoshi to explore ideas of memory, solitude, poetry, heroism, and the supernatural. The series was enormously popular when first published and is now regarded as one of the great achievements of Meiji-period printmaking.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":63107525149043,"sku":null,"price":1000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1008\/3549\/2211\/files\/YGP00276_567ebcc3-02a8-43af-ba56-b57bfc759bf9.jpg?v=1784232006"},{"product_id":"supper-wagon-toshi-yoshida","title":"Supper Wagon - Toshi Yoshida","description":"\u003cdiv class=\"n6owBd awi2gc\"\u003e\n\u003cmeta charset=\"UTF-8\"\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eArtist\u003c\/strong\u003e\u003cbr\u003eTōshi Yoshida (1911–1995)\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTitle\u003c\/strong\u003e\u003cbr\u003eSupper Wagon (\u003cem\u003eYataimise\u003c\/em\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSeries\u003c\/strong\u003e\u003cbr\u003eTokyo at Night (\u003cem\u003eYoru no Tokyo\u003c\/em\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDesign Date\u003c\/strong\u003e\u003cbr\u003e1938 (Shōwa 13) - posthumous print, date unknown\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMedium\u003c\/strong\u003e\u003cbr\u003eOriginal Japanese color woodblock print\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFormat\u003c\/strong\u003e\u003cbr\u003eChūban yoko-e (horizontal format)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaper Size\u003c\/strong\u003e\u003cbr\u003eApproximately 7.5 × 10.625 inches\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDescription\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis original Japanese woodblock print was designed by \u003cstrong\u003eTōshi Yoshida in 1938\u003c\/strong\u003e as part of his early \u003cem\u003eTokyo at Night\u003c\/em\u003eseries. The design is held in the collections of both the Fukuoka Art Museum and Edo-Tokyo Museum. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSupper Wagon\u003c\/em\u003e captures a quiet Tokyo street at night, where customers gather around brightly curtained food stalls selling inexpensive dishes such as sushi, beef, udon, tonkatsu, and sake. A woman carrying a child pauses nearby while a dog waits beside one of the stalls. Yoshida uses muted blues, grays, and warm yellows to capture the subdued glow of the shops after dark. Rather than depicting Tokyo as a grand modern metropolis, he focuses on an ordinary neighborhood moment—the small restaurants, street vendors, and people that gave the city its character.\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eTranslation \u0026amp; Inscriptions\u003c\/strong\u003e\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eSeries:\u003c\/strong\u003e Tokyo at Night (\u003cem\u003eYoru no Tokyo\u003c\/em\u003e)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTitle:\u003c\/strong\u003e Supper Wagon\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eDesign Date:\u003c\/strong\u003e Shōwa 13 (昭和十三年) — 1938\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSignature:\u003c\/strong\u003e Block-signed “Toshi Yoshida” in English in the lower right margin\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eEnglish Title:\u003c\/strong\u003e “Supper Waggon,” block-printed in the lower left margin\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eArtist Seal:\u003c\/strong\u003e Yoshida (吉田), lower right within the image\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCondition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVery Good.\u003c\/strong\u003e Full margins with light overall toning consistent with age. Minor scattered foxing and surface soiling are visible in the margins, with light handling wear. Colors remain strong and well preserved. Block-printed title and artist signature remain clearly visible in the lower margin. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Artist\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eTōshi Yoshida (1911–1995) was a major twentieth-century Japanese woodblock artist and the eldest son of renowned shin-hanga master Hiroshi Yoshida. Trained within the Yoshida family's printmaking tradition, Tōshi began producing woodblocks at an early age and developed a career that bridged the shin-hanga movement of his father's generation with the increasingly experimental Japanese printmaking of the postwar period. His work ranged from atmospheric Japanese landscapes and city scenes to abstract compositions and highly detailed images of wildlife. Although inevitably influenced by his famous father, Tōshi ultimately developed an independent style and became an important printmaker in his own right.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSupper Wagon\u003c\/em\u003e, created in 1938 when Tōshi was only 27, shows his early interest in depicting contemporary urban Japan rather than the monumental landscapes for which his father was best known. The nighttime setting, subdued palette, artificial light, and intimate street-level viewpoint connect the print to the shin-hanga tradition while giving it a distinctly modern character. \u003c\/p\u003e\n\u003cbr\u003e\u003c!--TgQPHd||[]--\u003e\n\u003c\/div\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":63109734367603,"sku":null,"price":500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1008\/3549\/2211\/files\/YGP00298_509f7156-5c68-4589-9a4c-3dc41847f116.jpg?v=1784304375"},{"product_id":"vieil-aino-chikabumi-hokkaido-paul-jacoulet","title":"Vieil Aino, Chikabumi, Hokkaido - Paul Jacoulet","description":"\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eArtist\u003c\/strong\u003e\u003cbr\u003ePaul Jacoulet (1902–1960)\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTitle\u003c\/strong\u003e\u003cbr\u003eOld Ainu Man, Chikabumi, Hokkaido, Japan (\u003cem\u003eVieil Aïno, Chikabumi, Hokkaido, Japon\u003c\/em\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDate\u003c\/strong\u003e\u003cbr\u003e1950\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMedium\u003c\/strong\u003e\u003cbr\u003eOriginal Japanese color woodblock print with mica and embossing\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFormat\u003c\/strong\u003e\u003cbr\u003eDai-ōban\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaper Size\u003c\/strong\u003e\u003cbr\u003eApproximately 17.125 × 13.625 inches\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDescription\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis original Japanese woodblock print was designed by \u003cstrong\u003ePaul Jacoulet in 1950\u003c\/strong\u003e and depicts an elderly Ainu man from Chikabumi in Hokkaido, northern Japan. Jacoulet presents his sitter at close range, giving extraordinary attention to his flowing white hair and beard, weathered face, and boldly patterned robe. The restrained palette and shimmering dark mica background give the portrait a quiet monumentality, while extensive embossing adds texture and dimension to the man's hair and beard. The result is an unusually intimate and dignified portrait and a striking example of the technical sophistication of Jacoulet's postwar work. Museum collections identify the subject as an Ainu man from Chikabumi, Hokkaido. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eInscriptions \u0026amp; Edition Details\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eTitle:\u003c\/strong\u003e \u003cem\u003eVieil Aïno, Chikabumi, Hokkaido, Japon\u003c\/em\u003e — \"Old Ainu Man, Chikabumi, Hokkaido, Japan\"\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eArtist:\u003c\/strong\u003e Paul Jacoulet\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eDate:\u003c\/strong\u003e 1950\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eEdition:\u003c\/strong\u003e Edition of 350 but number is missing on the verso\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSignature:\u003c\/strong\u003e Pencil signed by Paul Jacoulet\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCarver:\u003c\/strong\u003e Maeda Kentarō\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePrinter:\u003c\/strong\u003e Honda Tetsunosuke\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSpecial Techniques:\u003c\/strong\u003e Mica embellishment and detailed embossing\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eReference:\u003c\/strong\u003e Richard Miles, \u003cem\u003eThe Prints of Paul Jacoulet\u003c\/em\u003e, no. 108\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCondition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFair.\u003c\/strong\u003e Moderate overall toning and discoloration consistent with age, with more pronounced toning and scattered foxing along the margins. Light handling wear and occasional creasing are present, with minor edge and corner wear. The image remains strong, with the mica background and detailed embossing of the hair and beard still visible. Inscriptions are present in the lower margin. Pencil signature is faded. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Artist\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003ePaul Jacoulet (1902–1960) was a French-born artist who spent most of his life in Japan and became one of the most distinctive figures in twentieth-century Japanese woodblock printmaking. Working within the traditional collaborative system of Japanese print production, Jacoulet created technically elaborate portraits distinguished by rich color, unusual pigments, mica, embossing, and exceptionally fine carving and printing. His subjects frequently came from Japan, Korea, China, and the Pacific islands, reflecting his extensive travels and interest in the people and traditional cultures of the region. Today his prints are held by major museum collections in Japan, Europe, and the United States.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Print\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eJacoulet created companion portraits of an \u003cstrong\u003eOld Ainu Man\u003c\/strong\u003e and \u003cstrong\u003eOld Ainu Woman\u003c\/strong\u003e at Chikabumi, Hokkaido, in 1950. Chikabumi, near Asahikawa, was home to an important Ainu community, and Jacoulet's portraits focus closely on the individuals rather than treating them as figures within a larger landscape. This design is particularly notable for its sophisticated printing: the slate-gray background incorporates mica, while the man's enormous beard is rendered with extensive embossing that gives the paper a sculptural quality. A catalogued Heritage impression measures 18¾ × 14 inches and carries an edition seal of 350 on the verso.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":63109745541491,"sku":null,"price":600.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1008\/3549\/2211\/files\/YGP00270_08003512-f206-4c67-93eb-98b7cb7ffdca.jpg?v=1784304637"},{"product_id":"minakuchi-the-famous-pines-at-the-foot-of-mount-hiramatsu-utagawa-hiroshige","title":"Minakuchi: The Famous Pines at the Foot of Mount Hiramatsu - Utagawa Hiroshige","description":"\u003cdiv class=\"n6owBd awi2gc\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"n6owBd awi2gc\"\u003e\n\u003cmeta charset=\"UTF-8\"\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eArtist\u003c\/strong\u003e\u003cbr\u003eUtagawa Hiroshige (1797–1858)\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTitle\u003c\/strong\u003e\u003cbr\u003eMinakuchi: Famous Kanpyō (Dried Gourd Strips)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSeries\u003c\/strong\u003e\u003cbr\u003ePictures of Famous Places of the Fifty-three Stations (\u003cem\u003eGojūsan Tsugi Meisho Zue\u003c\/em\u003e), commonly known as the \u003cstrong\u003eUpright Tōkaidō\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDesign Date\u003c\/strong\u003e\u003cbr\u003e1855\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMedium\u003c\/strong\u003e\u003cbr\u003eOriginal Japanese color woodblock print (nishiki-e)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFormat\u003c\/strong\u003e\u003cbr\u003eŌban tate-e (vertical format)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaper Size\u003c\/strong\u003e\u003cbr\u003eApproximately 14.25 × 9.875 inches\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDescription\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis original 19th-century Japanese woodblock print is the 51st station from Hiroshige's celebrated \u003cstrong\u003eUpright Tōkaidō\u003c\/strong\u003e series, published by Tsutaya Kichizō in 1855.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eMinakuchi: Famous Kanpyō (Dried Gourd Strips)\u003c\/em\u003e depicts travelers passing through the rolling hills surrounding the post town of Minakuchi. A winding stream and dense grove of trees lead the eye toward a rustic thatched farmhouse, where bundles of harvested gourds are stacked outside. The subtitle references Minakuchi's local specialty—\u003cstrong\u003ekanpyō\u003c\/strong\u003e, thin strips of dried gourd used in Japanese cooking—which Hiroshige subtly incorporates into this quiet rural scene. Rather than focusing on dramatic landmarks, the print celebrates the charm of everyday life along the Tōkaidō, capturing a peaceful moment in the countryside with warmth and simplicity.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTranslation \u0026amp; Inscriptions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eSeries:\u003c\/strong\u003e Pictures of Famous Places of the Fifty-three Stations (五十三次名所圖會)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eStation:\u003c\/strong\u003e Minakuchi (水口)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTitle:\u003c\/strong\u003e Famous Kanpyō (名物干瓢)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eArtist Signature:\u003c\/strong\u003e Hiroshige hitsu (廣重筆) — \"Drawn by Hiroshige\"\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePublisher:\u003c\/strong\u003e Tsutaya Kichizō (蔦屋吉蔵)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCondition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGood.\u003c\/strong\u003e Light to moderate age toning throughout with scattered handling wear consistent with age. Minor edge wear and occasional creasing along the margins, with light corner wear. Colors remain fresh with attractive bokashi (color gradation). Dry adhesive residue is present on the verso from previous album backing. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Artist\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eUtagawa Hiroshige (1797–1858) was one of the greatest masters of Japanese woodblock printmaking and the artist most closely associated with landscape ukiyo-e. Best known for his poetic depictions of travel, changing seasons, and the quiet beauty of everyday life, Hiroshige transformed familiar places into deeply atmospheric works of art through his masterful use of composition, color, and weather. His celebrated series, including \u003cem\u003eThe Fifty-three Stations of the Tōkaidō\u003c\/em\u003e and \u003cem\u003eOne Hundred Famous Views of Edo\u003c\/em\u003e, became some of the most influential prints ever produced in Japan, inspiring generations of artists both in Japan and abroad. Today, his work is held in the world's leading museums and remains among the most admired and widely collected examples of Japanese printmaking.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Series\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003ePictures of Famous Places of the Fifty-three Stations\u003c\/em\u003e (\u003cem\u003eGojūsan Tsugi Meisho Zue\u003c\/em\u003e), commonly known as the \u003cstrong\u003eUpright Tōkaidō\u003c\/strong\u003e, was designed late in Hiroshige's career, more than two decades after the enormous success of his original Hōeidō \u003cem\u003eFifty-three Stations of the Tōkaidō\u003c\/em\u003e. By this point, Hiroshige had become Japan's foremost landscape print artist and had spent years revisiting the famous highway connecting Edo (Tokyo) and Kyoto through increasingly inventive series.\u003c\/p\u003e\n\u003cp\u003eRather than repeating his earlier compositions, Hiroshige reimagined the route in a bold vertical format. The taller designs allowed him to emphasize towering mountains, dramatic weather, expansive skies, and striking perspectives, creating prints that feel more immersive and expressive than many of his earlier landscapes. While the original Hōeidō series focused on the experiences of travelers along the road, the Upright Tōkaidō places greater emphasis on atmosphere, landscape, and the unique character of each station. Today, the series is admired as one of the finest examples of Hiroshige's mature style.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":63109751144819,"sku":null,"price":1500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1008\/3549\/2211\/files\/YGP00294_5101768e-d49d-4941-814e-f436e51bd654.jpg?v=1784305607"},{"product_id":"yoshida-great-bridge-on-the-toyo-river-utagawa-hiroshige","title":"Yoshida: Great Bridge on the Toyo River - Utagawa Hiroshige","description":"\u003cdiv class=\"n6owBd awi2gc\"\u003e\n\u003cmeta charset=\"UTF-8\"\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eArtist\u003c\/strong\u003e\u003cbr\u003eUtagawa Hiroshige (1797–1858)\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTitle\u003c\/strong\u003e\u003cbr\u003eYoshida: Great Bridge over the Toyokawa River\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSeries\u003c\/strong\u003e\u003cbr\u003ePictures of Famous Places of the Fifty-three Stations (\u003cem\u003eGojūsan Tsugi Meisho Zue\u003c\/em\u003e), commonly known as the \u003cstrong\u003eUpright Tōkaidō\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDesign Date\u003c\/strong\u003e\u003cbr\u003e1855\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMedium\u003c\/strong\u003e\u003cbr\u003eOriginal Japanese color woodblock print (nishiki-e)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFormat\u003c\/strong\u003e\u003cbr\u003eŌban tate-e (vertical format)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaper Size\u003c\/strong\u003e\u003cbr\u003eApproximately 14.25 × 9.875 inches\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDescription\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis original 19th-century Japanese woodblock print is the 35th station from Hiroshige's celebrated \u003cstrong\u003eUpright Tōkaidō\u003c\/strong\u003e series, published by Tsutaya Kichizō in 1855.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eYoshida: Great Bridge over the Toyokawa River\u003c\/em\u003e depicts travelers crossing the impressive bridge spanning the Toyokawa River as boats glide quietly through the water below. Beyond the pine-lined riverbank, Yoshida Castle rises above the trees, while the mountains in the distance frame the landscape beneath a glowing evening sky. Hiroshige contrasts the activity on the bridge with the calm waters below, creating a composition that captures both the movement of travelers and the quiet beauty of the surrounding countryside.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTranslation \u0026amp; Inscriptions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eSeries:\u003c\/strong\u003e Pictures of Famous Places of the Fifty-three Stations (五十三次名所圖會)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eStation:\u003c\/strong\u003e Yoshida (吉田)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTitle:\u003c\/strong\u003e Great Bridge over the Toyokawa River (豊川大橋)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eArtist Signature:\u003c\/strong\u003e Hiroshige hitsu (廣重筆) — \"Drawn by Hiroshige\"\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePublisher:\u003c\/strong\u003e Tsutaya Kichizō (蔦屋吉蔵)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCondition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGood.\u003c\/strong\u003e Light to moderate age toning throughout with scattered handling wear consistent with age. Minor edge wear and occasional creasing along the margins, with light corner wear. Colors remain fresh with attractive bokashi (color gradation), particularly in the sky and water. \u003cspan\u003eDry adhesive residue is present on the verso from previous album backing.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Artist\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eUtagawa Hiroshige (1797–1858) was one of the greatest masters of Japanese woodblock printmaking and the artist most closely associated with landscape ukiyo-e. Best known for his poetic depictions of travel, changing seasons, and the quiet beauty of everyday life, Hiroshige transformed familiar places into deeply atmospheric works of art through his masterful use of composition, color, and weather. His celebrated series, including \u003cem\u003eThe Fifty-three Stations of the Tōkaidō\u003c\/em\u003e and \u003cem\u003eOne Hundred Famous Views of Edo\u003c\/em\u003e, became some of the most influential prints ever produced in Japan, inspiring generations of artists both in Japan and abroad. Today, his work is held in the world's leading museums and remains among the most admired and widely collected examples of Japanese printmaking.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Series\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003ePictures of Famous Places of the Fifty-three Stations\u003c\/em\u003e (\u003cem\u003eGojūsan Tsugi Meisho Zue\u003c\/em\u003e), commonly known as the \u003cstrong\u003eUpright Tōkaidō\u003c\/strong\u003e, was designed late in Hiroshige's career, more than two decades after the enormous success of his original Hōeidō \u003cem\u003eFifty-three Stations of the Tōkaidō\u003c\/em\u003e. By this point, Hiroshige had become Japan's foremost landscape print artist and had spent years revisiting the famous highway connecting Edo (Tokyo) and Kyoto through increasingly inventive series.\u003c\/p\u003e\n\u003cp\u003eRather than repeating his earlier compositions, Hiroshige reimagined the route in a bold vertical format. The taller designs allowed him to emphasize towering mountains, dramatic weather, expansive skies, and striking perspectives, creating prints that feel more immersive and expressive than many of his earlier landscapes. While the original Hōeidō series focused on the experiences of travelers along the road, the Upright Tōkaidō places greater emphasis on atmosphere, landscape, and the unique character of each station. Today, the series is admired as one of the finest examples of Hiroshige's mature style.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":63109857444211,"sku":null,"price":1500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1008\/3549\/2211\/files\/YGP00292_8266d861-f26b-415d-b347-8e218c2238f3.jpg?v=1784308031"},{"product_id":"hiratsuka-ferry-on-the-banyu-river-and-distant-view-of-mount-oyama-utagawa-hiroshige","title":"Hiratsuka: Ferry on the Banyu River and Distant View of Mount Oyama - Utagawa Hiroshige","description":"\u003cdiv class=\"n6owBd awi2gc\"\u003e\n\u003cmeta charset=\"UTF-8\"\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eArtist\u003c\/strong\u003e\u003cbr\u003eUtagawa Hiroshige (1797–1858)\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTitle\u003c\/strong\u003e\u003cbr\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cstrong\u003eHiratsuka: Ferry Crossing on the Banyu (Babairi) River, with a Distant View of Mount Ōyama \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSeries\u003c\/strong\u003e\u003cbr\u003ePictures of Famous Places of the Fifty-three Stations (\u003cem\u003eGojūsan Tsugi Meisho Zue\u003c\/em\u003e), commonly known as the \u003cstrong\u003eUpright Tōkaidō\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDesign Date\u003c\/strong\u003e\u003cbr\u003e1855\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMedium\u003c\/strong\u003e\u003cbr\u003eOriginal Japanese color woodblock print (nishiki-e)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFormat\u003c\/strong\u003e\u003cbr\u003eŌban tate-e (vertical format)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaper Size\u003c\/strong\u003e\u003cbr\u003eApproximately 14.25 × 9.875 inches\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDescription\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis original 19th-century Japanese woodblock print is the 8th station from Hiroshige's celebrated \u003cstrong\u003eUpright Tōkaidō\u003c\/strong\u003e series, published by Tsutaya Kichizō in 1855.\u003c\/p\u003e\n\u003cp\u003eThe station of \u003cstrong\u003eHiratsuka\u003c\/strong\u003e is depicted as a peaceful waterside landscape beneath the watchful presence of Mount Ōyama. Small boats drift across the calm river while travelers and fishermen go about their daily routines. A broad mountain range stretches across the middle distance, balancing the snow-capped peak of Fuji beyond. Rather than emphasizing the bustle of travel, Hiroshige captures a quieter moment, using expansive water, soft color gradations, and layered scenery to evoke the calm beauty of the Tōkaidō. The result is a composition that feels serene, spacious, and timeless.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTranslation \u0026amp; Inscriptions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eSeries:\u003c\/strong\u003e Pictures of Famous Places of the Fifty-three Stations (五十三次名所圖會)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eStation:\u003c\/strong\u003e Hiratsuka (平塚)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eArtist Signature:\u003c\/strong\u003e Hiroshige hitsu (廣重筆) — \"Drawn by Hiroshige\"\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePublisher:\u003c\/strong\u003e Tsutaya Kichizō (蔦屋吉蔵)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCondition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGood.\u003c\/strong\u003e Light to moderate age toning throughout with scattered handling wear consistent with age. Minor edge wear and small creases are present along the margins, with slight corner wear. Colors remain fresh and well preserved, with attractive bokashi (color gradation). Pencil notation appears in the upper margin. \u003cspan\u003eDry adhesive residue is present on the verso from previous album backing.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Artist\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eUtagawa Hiroshige (1797–1858) was one of the greatest masters of Japanese woodblock printmaking and the artist most closely associated with landscape ukiyo-e. Best known for his poetic depictions of travel, changing seasons, and the quiet beauty of everyday life, Hiroshige transformed familiar places into deeply atmospheric works of art through his masterful use of composition, color, and weather. His celebrated series, including \u003cem\u003eThe Fifty-three Stations of the Tōkaidō\u003c\/em\u003e and \u003cem\u003eOne Hundred Famous Views of Edo\u003c\/em\u003e, became some of the most influential prints ever produced in Japan, inspiring generations of artists both in Japan and abroad. Today, his work is held in the world's leading museums and remains among the most admired and widely collected examples of Japanese printmaking.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Series\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003ePictures of Famous Places of the Fifty-three Stations\u003c\/em\u003e (\u003cem\u003eGojūsan Tsugi Meisho Zue\u003c\/em\u003e), commonly known as the \u003cstrong\u003eUpright Tōkaidō\u003c\/strong\u003e, was designed late in Hiroshige's career, more than two decades after the enormous success of his original Hōeidō \u003cem\u003eFifty-three Stations of the Tōkaidō\u003c\/em\u003e. By this point, Hiroshige had become Japan's foremost landscape print artist and had spent years revisiting the famous highway connecting Edo (Tokyo) and Kyoto through increasingly inventive series.\u003c\/p\u003e\n\u003cp\u003eRather than repeating his earlier compositions, Hiroshige reimagined the route in a bold vertical format. The taller designs allowed him to emphasize towering mountains, dramatic weather, expansive skies, and striking perspectives, creating prints that feel more immersive and expressive than many of his earlier landscapes. While the original Hōeidō series focused on the experiences of travelers along the road, the Upright Tōkaidō places greater emphasis on atmosphere, landscape, and the unique character of each station. Today, the series is admired as one of the finest examples of Hiroshige's mature style.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":63109911511411,"sku":null,"price":1500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1008\/3549\/2211\/files\/YGP00290_3c5b8d75-4f89-43aa-96f7-8c11612fbbce.jpg?v=1784310178"},{"product_id":"nihonbashi-view-of-dawn-clouds-utagawa-hiroshige","title":"Nihonbashi: View of Dawn Clouds - Utagawa Hiroshige","description":"\u003cdiv class=\"n6owBd awi2gc\"\u003e\n\u003cmeta charset=\"UTF-8\"\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eArtist\u003c\/strong\u003e\u003cbr\u003eUtagawa Hiroshige (1797–1858)\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTitle\u003c\/strong\u003e\u003cbr\u003eNihonbashi: View of Dawn Clouds\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSeries\u003c\/strong\u003e\u003cbr\u003ePictures of Famous Places of the Fifty-three Stations (\u003cem\u003eGojūsan Tsugi Meisho Zue\u003c\/em\u003e), commonly known as the Upright Tōkaidō\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDesign Date\u003c\/strong\u003e\u003cbr\u003e1855\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMedium\u003c\/strong\u003e\u003cbr\u003eOriginal Japanese color woodblock print (nishiki-e)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFormat\u003c\/strong\u003e\u003cbr\u003eŌban tate-e (vertical format)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaper Size\u003c\/strong\u003e\u003cbr\u003e14.25 × 9.875 inches\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDescription\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis original 19th-century Japanese woodblock print is the first design in Hiroshige's celebrated Upright Tōkaidō series, published by Tsutaya Kichizō in 1855.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eNihonbashi: View of Dawn Clouds\u003c\/em\u003e depicts the official starting point of the Tōkaidō Road as another day begins in Edo. Merchants, travelers, and laborers crowd the famous bridge while boats move through the busy canals below. In the distance, Mount Fuji rises above the horizon, lending a sense of calm to an otherwise lively scene. Hiroshige balances the energy of the marketplace with the quiet permanence of the landscape, creating a composition that feels both vibrant and contemplative.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTranslation \u0026amp; Inscriptions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e• \u003cstrong\u003eSeries:\u003c\/strong\u003e Pictures of Famous Places of the Fifty-three Stations (五十三次名所圖會)\u003cbr\u003e• \u003cstrong\u003eTitle:\u003c\/strong\u003e Nihonbashi: View of Dawn Clouds (日本橋 曙之雲)\u003cbr\u003e• \u003cstrong\u003eArtist Signature:\u003c\/strong\u003e Hiroshige hitsu (廣重筆) — \"Drawn by Hiroshige\"\u003cbr\u003e• \u003cstrong\u003ePublisher:\u003c\/strong\u003e Tsutaya Kichizō (蔦屋吉蔵)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCondition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFair.\u003c\/strong\u003e Noticeable edge wear, including creasing, small losses, and tears along the margins and at the corners. Lower edge with a larger loss at center. Moderate overall toning and surface soiling consistent with age, along with scattered foxing and general handling wear. Colors remain reasonably strong despite the condition issues. Dry adhesive residue is present on the verso from previous album backing.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Artist\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eUtagawa Hiroshige (1797–1858) was one of the greatest masters of Japanese woodblock printmaking and the artist most closely associated with landscape ukiyo-e. Best known for his poetic depictions of travel, changing seasons, and the quiet beauty of everyday life, Hiroshige transformed familiar places into deeply atmospheric works of art through his masterful use of composition, color, and weather. His celebrated series, including \u003cem\u003eThe Fifty-three Stations of the Tōkaidō\u003c\/em\u003e and \u003cem\u003eOne Hundred Famous Views of Edo\u003c\/em\u003e, became some of the most influential prints ever produced in Japan, inspiring generations of artists both in Japan and abroad. Today, his work is held in the world's leading museums and remains among the most admired and widely collected examples of Japanese printmaking.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Series\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003ePictures of Famous Places of the Fifty-three Stations\u003c\/em\u003e (\u003cem\u003eGojūsan Tsugi Meisho Zue\u003c\/em\u003e), commonly known as the Upright Tōkaidō, was designed late in Hiroshige's career, more than two decades after the enormous success of his original Hōeidō \u003cem\u003eFifty-three Stations of the Tōkaidō\u003c\/em\u003e. By this point, Hiroshige had become Japan's foremost landscape print artist and had spent years revisiting the famous highway connecting Edo (Tokyo) and Kyoto through increasingly inventive series.\u003c\/p\u003e\n\u003cp\u003eRather than repeating his earlier compositions, Hiroshige reimagined the route in a bold vertical format. The taller designs allowed him to emphasize towering mountains, dramatic weather, expansive skies, and striking perspectives, creating prints that feel more immersive and expressive than many of his earlier landscapes. While the original Hōeidō series focused on the experiences of travelers along the road, the Upright Tōkaidō places greater emphasis on atmosphere, landscape, and the unique character of each station. Today, the series is admired as one of the finest examples of Hiroshige's mature style.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":63109995299187,"sku":null,"price":1000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1008\/3549\/2211\/files\/YGP00288_074e098e-c4d4-43fa-847c-f2aff53dcc60.jpg?v=1784314700"},{"product_id":"kameyama-wind-rain-and-thunder-utagawa-hiroshige","title":"Kameyama: Wind, Rain, and Thunder - Utagawa Hiroshige","description":"\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eArtist\u003c\/strong\u003e\u003cbr\u003eUtagawa Hiroshige (1797–1858)\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTitle\u003c\/strong\u003e\u003cbr\u003eKameyama: Wind, Rain, and Thunder\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSeries\u003c\/strong\u003e\u003cbr\u003ePictures of Famous Places of the Fifty-three Stations (\u003cem\u003eGojūsan Tsugi Meisho Zue\u003c\/em\u003e), commonly known as the \u003cstrong\u003eUpright Tōkaidō\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDesign Date\u003c\/strong\u003e\u003cbr\u003e1855\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMedium\u003c\/strong\u003e\u003cbr\u003eOriginal Japanese color woodblock print (nishiki-e)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFormat\u003c\/strong\u003e\u003cbr\u003eŌban tate-e (vertical format)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaper Size\u003c\/strong\u003e\u003cbr\u003eApproximately 14.25 × 9.875 inches\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDescription\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis original 19th-century Japanese woodblock print depicts \u003cstrong\u003eKameyama, the 46th station along the Tōkaidō Road\u003c\/strong\u003e, from Hiroshige's celebrated \u003cstrong\u003eUpright Tōkaidō\u003c\/strong\u003e series, published by Tsutaya Kichizō in 1855.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eKameyama: Wind, Rain, and Thunder\u003c\/em\u003e is one of the most dramatic designs in the series. A fierce storm sweeps across the landscape as travelers hunch beneath straw raincoats and push forward against the driving wind. Sheets of rain cut diagonally across the composition while flashes of lightning illuminate the darkening sky. Through the trees, Kameyama Castle emerges in the distance, lending a sense of destination amid the chaos of the storm. Hiroshige's masterful use of weather transforms an ordinary stretch of road into a vivid study of nature's power and the resilience of those who traveled it.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTranslation \u0026amp; Inscriptions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eSeries:\u003c\/strong\u003e Pictures of Famous Places of the Fifty-three Stations (五十三次名所圖會)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eStation:\u003c\/strong\u003e Kameyama (亀山)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTitle:\u003c\/strong\u003e Wind, Rain, and Thunder (風雨雷鳴)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eArtist Signature:\u003c\/strong\u003e Hiroshige hitsu (廣重筆) — \"Drawn by Hiroshige\"\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePublisher:\u003c\/strong\u003e Tsutaya Kichizō (蔦屋吉蔵)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCondition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGood.\u003c\/strong\u003e Light to moderate age toning throughout with scattered handling wear consistent with age. Minor edge wear and occasional creasing along the margins, with light corner wear. Colors remain well preserved, with attractive bokashi (color gradation) and a strong impression. Dry adhesive residue is present on the verso from previous album backing. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Artist\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eUtagawa Hiroshige (1797–1858) was one of the greatest masters of Japanese woodblock printmaking and the artist most closely associated with landscape ukiyo-e. Best known for his poetic depictions of travel, changing seasons, and the quiet beauty of everyday life, Hiroshige transformed familiar places into deeply atmospheric works of art through his masterful use of composition, color, and weather. His celebrated series, including \u003cem\u003eThe Fifty-three Stations of the Tōkaidō\u003c\/em\u003e and \u003cem\u003eOne Hundred Famous Views of Edo\u003c\/em\u003e, became some of the most influential prints ever produced in Japan, inspiring generations of artists both in Japan and abroad. Today, his work is held in the world's leading museums and remains among the most admired and widely collected examples of Japanese printmaking.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Series\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003ePictures of Famous Places of the Fifty-three Stations\u003c\/em\u003e (\u003cem\u003eGojūsan Tsugi Meisho Zue\u003c\/em\u003e), commonly known as the \u003cstrong\u003eUpright Tōkaidō\u003c\/strong\u003e, was designed late in Hiroshige's career, more than two decades after the enormous success of his original Hōeidō \u003cem\u003eThe Fifty-three Stations of the Tōkaidō\u003c\/em\u003e. By this point, Hiroshige had become Japan's foremost landscape print artist and had spent years revisiting the famous highway connecting Edo (Tokyo) and Kyoto through increasingly inventive series.\u003c\/p\u003e\n\u003cp\u003eRather than repeating his earlier compositions, Hiroshige reimagined the route in a bold vertical format. The taller designs allowed him to emphasize towering mountains, dramatic weather, expansive skies, and striking perspectives, creating prints that feel more immersive and expressive than many of his earlier landscapes. While the original Hōeidō series focused on the experiences of travelers along the road, the Upright Tōkaidō places greater emphasis on atmosphere, landscape, and the unique character of each station. Today, the series is admired as one of the finest examples of Hiroshige's mature style.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":63890888786291,"sku":null,"price":1500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1008\/3549\/2211\/files\/YGP00286_7a183d71-db61-4c75-ab8d-9e629c567b52.jpg?v=1786036934"},{"product_id":"kawasaki-distant-view-of-the-rokugo-river-utagawa-hiroshige","title":"Kawasaki: Distant View of the Rokugō River - Utagawa Hiroshige","description":"\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eArtist\u003c\/strong\u003e\u003cbr\u003eUtagawa Hiroshige (1797–1858)\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTitle\u003c\/strong\u003e\u003cbr\u003eKawasaki: Distant View of the Rokugō River\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSeries\u003c\/strong\u003e\u003cbr\u003ePictures of Famous Places of the Fifty-three Stations (\u003cem\u003eGojūsan Tsugi Meisho Zue\u003c\/em\u003e), commonly known as the \u003cstrong\u003eUpright Tōkaidō\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDesign Date\u003c\/strong\u003e\u003cbr\u003e1855\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMedium\u003c\/strong\u003e\u003cbr\u003eOriginal Japanese color woodblock print (nishiki-e)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFormat\u003c\/strong\u003e\u003cbr\u003eŌban tate-e (vertical format)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaper Size\u003c\/strong\u003e\u003cbr\u003eApproximately 14.25 × 9.875 inches\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDescription\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis original 19th-century Japanese woodblock print depicts \u003cstrong\u003eKawasaki, the 2nd station along the Tōkaidō Road\u003c\/strong\u003e, from Hiroshige's celebrated \u003cstrong\u003eUpright Tōkaidō\u003c\/strong\u003e series, published by Tsutaya Kichizō in 1855.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eKawasaki: Distant View of the Rokugō River\u003c\/em\u003e presents a sweeping panorama of the broad Rokugō River, with Mount Fuji rising majestically above the distant landscape. Boats navigate the calm waters while a graceful wooden bridge carries travelers across the river below. Villages, fields, and stands of pine trees spread across the foreground, creating a layered composition that draws the eye naturally toward Japan's most iconic mountain. Hiroshige balances the vastness of the landscape with intimate scenes of daily life, capturing both the grandeur of nature and the quiet rhythm of travel along the Tōkaidō.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTranslation \u0026amp; Inscriptions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eSeries:\u003c\/strong\u003e Pictures of Famous Places of the Fifty-three Stations (五十三次名所圖會)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eStation:\u003c\/strong\u003e Kawasaki (川崎)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTitle:\u003c\/strong\u003e Distant View of the Rokugō River (六郷川遠望)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eArtist Signature:\u003c\/strong\u003e Hiroshige hitsu (廣重筆) — \"Drawn by Hiroshige\"\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePublisher:\u003c\/strong\u003e Tsutaya Kichizō (蔦屋吉蔵)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCondition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGood.\u003c\/strong\u003e Light to moderate age toning throughout with scattered handling wear consistent with age. Minor edge wear and occasional creasing along the margins, with light corner wear. Colors remain fresh with attractive bokashi (color gradation), particularly in the sky and water. Dry adhesive residue is present on the verso from previous album backing. Please review the photographs carefully, as they form part of the condition description.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Artist\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eUtagawa Hiroshige (1797–1858) was one of the greatest masters of Japanese woodblock printmaking and the artist most closely associated with landscape ukiyo-e. Best known for his poetic depictions of travel, changing seasons, and the quiet beauty of everyday life, Hiroshige transformed familiar places into deeply atmospheric works of art through his masterful use of composition, color, and weather. His celebrated series, including \u003cem\u003eThe Fifty-three Stations of the Tōkaidō\u003c\/em\u003e and \u003cem\u003eOne Hundred Famous Views of Edo\u003c\/em\u003e, became some of the most influential prints ever produced in Japan, inspiring generations of artists both in Japan and abroad. Today, his work is held in the world's leading museums and remains among the most admired and widely collected examples of Japanese printmaking.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Series\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003ePictures of Famous Places of the Fifty-three Stations\u003c\/em\u003e (\u003cem\u003eGojūsan Tsugi Meisho Zue\u003c\/em\u003e), commonly known as the \u003cstrong\u003eUpright Tōkaidō\u003c\/strong\u003e, was designed late in Hiroshige's career, more than two decades after the enormous success of his original Hōeidō \u003cem\u003eThe Fifty-three Stations of the Tōkaidō\u003c\/em\u003e. By this point, Hiroshige had become Japan's foremost landscape print artist and had spent years revisiting the famous highway connecting Edo (Tokyo) and Kyoto through increasingly inventive series.\u003c\/p\u003e\n\u003cp\u003eRather than repeating his earlier compositions, Hiroshige reimagined the route in a bold vertical format. The taller designs allowed him to emphasize towering mountains, dramatic weather, expansive skies, and striking perspectives, creating prints that feel more immersive and expressive than many of his earlier landscapes. While the original Hōeidō series focused on the experiences of travelers along the road, the Upright Tōkaidō places greater emphasis on atmosphere, landscape, and the unique character of each station. Today, the series is admired as one of the finest examples of Hiroshige's mature style.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":63890896093555,"sku":null,"price":1500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1008\/3549\/2211\/files\/YGP00284_62fcbd94-bd91-4710-a9a9-dcf5b963cd90.jpg?v=1786037126"},{"product_id":"kawasaki-tsurumi-river-and-namamugi-village-utagawa-hiroshige","title":"Kawasaki: Tsurumi River and Namamugi Village - Utagawa Hiroshige","description":"\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eArtist\u003c\/strong\u003e\u003cbr\u003eUtagawa Hiroshige (1797–1858)\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTitle\u003c\/strong\u003e\u003cbr\u003eKawasaki: Tsurumi River and Namamugi Village\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSeries\u003c\/strong\u003e\u003cbr\u003ePictures of Famous Places of the Fifty-three Stations (\u003cem\u003eGojūsan Tsugi Meisho Zue\u003c\/em\u003e), commonly known as the \u003cstrong\u003eUpright Tōkaidō\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDesign Date\u003c\/strong\u003e\u003cbr\u003e1855\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMedium\u003c\/strong\u003e\u003cbr\u003eOriginal Japanese color woodblock print (nishiki-e)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFormat\u003c\/strong\u003e\u003cbr\u003eŌban tate-e (vertical format)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaper Size\u003c\/strong\u003e\u003cbr\u003eApproximately 14.25 × 9.875 inches\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDescription\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis original 19th-century Japanese woodblock print depicts \u003cstrong\u003eKawasaki, the 3rd station along the Tōkaidō Road\u003c\/strong\u003e, from Hiroshige's celebrated \u003cstrong\u003eUpright Tōkaidō\u003c\/strong\u003e series, published by Tsutaya Kichizō in 1855.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eKawasaki: Tsurumi River and Namamugi Village\u003c\/em\u003e presents a tranquil view of the Tsurumi River winding through the countryside, with graceful willow trees lining its banks and Mount Fuji rising above the distant hills. Travelers pause along the roadside while small villages nestle quietly beside the water, emphasizing the peaceful rhythm of daily life just beyond Edo. Rather than focusing on bustling travel, Hiroshige creates a serene, layered landscape in which river, village, and mountain blend into a harmonious composition. The expansive sky and distant view of Fuji give the print a remarkable sense of depth and calm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTranslation \u0026amp; Inscriptions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eSeries:\u003c\/strong\u003e Pictures of Famous Places of the Fifty-three Stations (五十三次名所圖會)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eStation:\u003c\/strong\u003e Kawasaki (川崎)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTitle:\u003c\/strong\u003e Tsurumi River and Namamugi Village (鶴見川 生麦の里) \u003cspan class=\"\"\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eArtist Signature:\u003c\/strong\u003e Hiroshige hitsu (廣重筆) — \"Drawn by Hiroshige\"\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePublisher:\u003c\/strong\u003e Tsutaya Kichizō (蔦屋吉蔵)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCondition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGood.\u003c\/strong\u003e Light to moderate age toning throughout with scattered handling wear consistent with age. Minor edge wear and occasional creasing along the margins, with light corner wear. Colors remain fresh with attractive bokashi (color gradation). Dry adhesive residue is present on the verso from previous album backing. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Artist\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eUtagawa Hiroshige (1797–1858) was one of the greatest masters of Japanese woodblock printmaking and the artist most closely associated with landscape ukiyo-e. Best known for his poetic depictions of travel, changing seasons, and the quiet beauty of everyday life, Hiroshige transformed familiar places into deeply atmospheric works of art through his masterful use of composition, color, and weather. His celebrated series, including \u003cem\u003eThe Fifty-three Stations of the Tōkaidō\u003c\/em\u003e and \u003cem\u003eOne Hundred Famous Views of Edo\u003c\/em\u003e, became some of the most influential prints ever produced in Japan, inspiring generations of artists both in Japan and abroad. Today, his work is held in the world's leading museums and remains among the most admired and widely collected examples of Japanese printmaking.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Series\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003ePictures of Famous Places of the Fifty-three Stations\u003c\/em\u003e (\u003cem\u003eGojūsan Tsugi Meisho Zue\u003c\/em\u003e), commonly known as the \u003cstrong\u003eUpright Tōkaidō\u003c\/strong\u003e, was designed late in Hiroshige's career, more than two decades after the enormous success of his original Hōeidō \u003cem\u003eThe Fifty-three Stations of the Tōkaidō\u003c\/em\u003e. By this point, Hiroshige had become Japan's foremost landscape print artist and had spent years revisiting the famous highway connecting Edo (Tokyo) and Kyoto through increasingly inventive series.\u003c\/p\u003e\n\u003cp\u003eRather than repeating his earlier compositions, Hiroshige reimagined the route in a bold vertical format. The taller designs allowed him to emphasize towering mountains, dramatic weather, expansive skies, and striking perspectives, creating prints that feel more immersive and expressive than many of his earlier landscapes. While the original Hōeidō series focused on the experiences of travelers along the road, the Upright Tōkaidō places greater emphasis on atmosphere, landscape, and the unique character of each station. Today, the series is admired as one of the finest examples of Hiroshige's mature style.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":63890928206195,"sku":null,"price":1500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1008\/3549\/2211\/files\/YGP00282_70f58187-63c4-45a3-b351-c8f429f2cafc.jpg?v=1786037325"},{"product_id":"seki-famous-oiwake-junction-utagawa-hiroshige","title":"Seki: Famous Oiwake Junction - Utagawa Hiroshige","description":"\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eArtist\u003c\/strong\u003e\u003cbr\u003eUtagawa Hiroshige (1797–1858)\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTitle\u003c\/strong\u003e\u003cbr\u003eSeki: Famous Oiwake Junction\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSeries\u003c\/strong\u003e\u003cbr\u003ePictures of Famous Places of the Fifty-three Stations (\u003cem\u003eGojūsan Tsugi Meisho Zue\u003c\/em\u003e), commonly known as the \u003cstrong\u003eUpright Tōkaidō\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDesign Date\u003c\/strong\u003e\u003cbr\u003e1855\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMedium\u003c\/strong\u003e\u003cbr\u003eOriginal Japanese color woodblock print (nishiki-e)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFormat\u003c\/strong\u003e\u003cbr\u003eŌban tate-e (vertical format)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaper Size\u003c\/strong\u003e\u003cbr\u003eApproximately 14.25 × 9.875 inches\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDescription\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis original 19th-century Japanese woodblock print depicts \u003cstrong\u003eSeki, the 47th station along the Tōkaidō Road\u003c\/strong\u003e, from Hiroshige's celebrated \u003cstrong\u003eUpright Tōkaidō\u003c\/strong\u003e series, published by Tsutaya Kichizō in 1855.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSeki: Famous Oiwake Junction\u003c\/em\u003e portrays one of the most important crossroads in Edo-period Japan, where the Tōkaidō and the road to the Ise Grand Shrine separated. Travelers, merchants, and porters pass beneath a large torii gate as they make their way through the lively post town. In the distance, soft layers of mist settle around the mountains while a flock of birds drifts across the sky, creating a striking contrast between the quiet landscape and the activity below. Hiroshige masterfully balances the bustle of the town with the serenity of the surrounding countryside, capturing both the practical importance and the enduring beauty of this celebrated stop along the Tōkaidō.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTranslation \u0026amp; Inscriptions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eSeries:\u003c\/strong\u003e Pictures of Famous Places of the Fifty-three Stations (五十三次名所圖會)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eStation:\u003c\/strong\u003e Seki (関)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTitle:\u003c\/strong\u003e Famous Oiwake Junction (名物追分)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eArtist Signature:\u003c\/strong\u003e Hiroshige hitsu (廣重筆) — \"Drawn by Hiroshige\"\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePublisher:\u003c\/strong\u003e Tsutaya Kichizō (蔦屋吉蔵)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCondition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFair.\u003c\/strong\u003e Light to moderate age toning throughout with scattered handling wear consistent with age. Minor edge wear and occasional creasing along the margins, with light corner wear and a tear on the lower left. Colors remain fresh with attractive bokashi (color gradation). Dry adhesive residue is present on the verso from previous album backing. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Artist\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eUtagawa Hiroshige (1797–1858) was one of the greatest masters of Japanese woodblock printmaking and the artist most closely associated with landscape ukiyo-e. Best known for his poetic depictions of travel, changing seasons, and the quiet beauty of everyday life, Hiroshige transformed familiar places into deeply atmospheric works of art through his masterful use of composition, color, and weather. His celebrated series, including \u003cem\u003eThe Fifty-three Stations of the Tōkaidō\u003c\/em\u003e and \u003cem\u003eOne Hundred Famous Views of Edo\u003c\/em\u003e, became some of the most influential prints ever produced in Japan, inspiring generations of artists both in Japan and abroad. Today, his work is held in the world's leading museums and remains among the most admired and widely collected examples of Japanese printmaking.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Series\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003ePictures of Famous Places of the Fifty-three Stations\u003c\/em\u003e (\u003cem\u003eGojūsan Tsugi Meisho Zue\u003c\/em\u003e), commonly known as the \u003cstrong\u003eUpright Tōkaidō\u003c\/strong\u003e, was designed late in Hiroshige's career, more than two decades after the enormous success of his original Hōeidō \u003cem\u003eThe Fifty-three Stations of the Tōkaidō\u003c\/em\u003e. By this point, Hiroshige had become Japan's foremost landscape print artist and had spent years revisiting the famous highway connecting Edo (Tokyo) and Kyoto through increasingly inventive series.\u003c\/p\u003e\n\u003cp\u003eRather than repeating his earlier compositions, Hiroshige reimagined the route in a bold vertical format. The taller designs allowed him to emphasize towering mountains, dramatic weather, expansive skies, and striking perspectives, creating prints that feel more immersive and expressive than many of his earlier landscapes. While the original Hōeidō series focused on the experiences of travelers along the road, the Upright Tōkaidō places greater emphasis on atmosphere, landscape, and the unique character of each station. Today, the series is admired as one of the finest examples of Hiroshige's mature style.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":63890936660339,"sku":null,"price":1000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1008\/3549\/2211\/files\/YGP00280_749f6a8e-91c0-4a12-a9f1-1cc45d1ac0e8.jpg?v=1786037569"},{"product_id":"tsuchiyama-crossing-the-suzuka-river-utagawa-hiroshige","title":"Tsuchiyama: Crossing the Suzuka River - Utagawa Hiroshige","description":"\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eArtist\u003c\/strong\u003e\u003cbr\u003eUtagawa Hiroshige (1797–1858)\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTitle\u003c\/strong\u003e\u003cbr\u003eTsuchiyama: Crossing the Suzuka River\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSeries\u003c\/strong\u003e\u003cbr\u003ePictures of Famous Places of the Fifty-three Stations (\u003cem\u003eGojūsan Tsugi Meisho Zue\u003c\/em\u003e), commonly known as the \u003cstrong\u003eUpright Tōkaidō\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDesign Date\u003c\/strong\u003e\u003cbr\u003e1855\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMedium\u003c\/strong\u003e\u003cbr\u003eOriginal Japanese color woodblock print (nishiki-e)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFormat\u003c\/strong\u003e\u003cbr\u003eŌban tate-e (vertical format)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaper Size\u003c\/strong\u003e\u003cbr\u003eApproximately 14.25 × 9.875 inches\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDescription\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis original 19th-century Japanese woodblock print depicts \u003cstrong\u003eTsuchiyama, the 50th station along the Tōkaidō Road\u003c\/strong\u003e, from Hiroshige's celebrated \u003cstrong\u003eUpright Tōkaidō\u003c\/strong\u003e series, published by Tsutaya Kichizō in 1855.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTsuchiyama: Crossing the Suzuka River\u003c\/em\u003e portrays travelers making their way along the banks of the Suzuka River after descending from the rugged Suzuka Mountains. A small Shinto shrine stands quietly within a grove of towering cedars across the river, while a procession of travelers carrying banners and parasols animates the foreground. Rather than emphasizing the hardships of the journey, Hiroshige presents a peaceful moment of arrival, balancing the dense forest, gently flowing water, and distant mountains in a composition that evokes both the spiritual and natural beauty of this celebrated stop along the Tōkaidō.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTranslation \u0026amp; Inscriptions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eSeries:\u003c\/strong\u003e Pictures of Famous Places of the Fifty-three Stations (五十三次名所圖會)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eStation:\u003c\/strong\u003e Tsuchiyama (土山)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTitle:\u003c\/strong\u003e Crossing the Suzuka River (鈴鹿を越る鈴鹿川)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eArtist Signature:\u003c\/strong\u003e Hiroshige hitsu (廣重筆) — \"Drawn by Hiroshige\"\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePublisher:\u003c\/strong\u003e Tsutaya Kichizō (蔦屋吉蔵)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCondition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFair.\u003c\/strong\u003e Light to moderate age toning throughout with scattered handling wear consistent with age. Minor edge wear and occasional creasing along the margins, with light corner wear and a tear on the lower left. Colors remain fresh with attractive bokashi (color gradation). Dry adhesive residue is present on the verso from previous album backing. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Artist\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eUtagawa Hiroshige (1797–1858) was one of the greatest masters of Japanese woodblock printmaking and the artist most closely associated with landscape ukiyo-e. Best known for his poetic depictions of travel, changing seasons, and the quiet beauty of everyday life, Hiroshige transformed familiar places into deeply atmospheric works of art through his masterful use of composition, color, and weather. His celebrated series, including \u003cem\u003eThe Fifty-three Stations of the Tōkaidō\u003c\/em\u003e and \u003cem\u003eOne Hundred Famous Views of Edo\u003c\/em\u003e, became some of the most influential prints ever produced in Japan, inspiring generations of artists both in Japan and abroad. Today, his work is held in the world's leading museums and remains among the most admired and widely collected examples of Japanese printmaking.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Series\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003ePictures of Famous Places of the Fifty-three Stations\u003c\/em\u003e (\u003cem\u003eGojūsan Tsugi Meisho Zue\u003c\/em\u003e), commonly known as the \u003cstrong\u003eUpright Tōkaidō\u003c\/strong\u003e, was designed late in Hiroshige's career, more than two decades after the enormous success of his original Hōeidō \u003cem\u003eThe Fifty-three Stations of the Tōkaidō\u003c\/em\u003e. By this point, Hiroshige had become Japan's foremost landscape print artist and had spent years revisiting the famous highway connecting Edo (Tokyo) and Kyoto through increasingly inventive series.\u003c\/p\u003e\n\u003cp\u003eRather than repeating his earlier compositions, Hiroshige reimagined the route in a bold vertical format. The taller designs allowed him to emphasize towering mountains, dramatic weather, expansive skies, and striking perspectives, creating prints that feel more immersive and expressive than many of his earlier landscapes. While the original Hōeidō series focused on the experiences of travelers along the road, the Upright Tōkaidō places greater emphasis on atmosphere, landscape, and the unique character of each station. Today, the series is admired as one of the finest examples of Hiroshige's mature style.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":63890940756339,"sku":null,"price":800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1008\/3549\/2211\/files\/YGP00278_3dd89727-768b-4d77-859b-3d31b5f55f13.jpg?v=1786037713"},{"product_id":"mount-fuji-seen-from-nashigahara-ito-takashi","title":"Mount Fuji Seen from Nashigahara - Itō Takashi","description":"\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Itō Takashi (1894–1982)\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e Mount Fuji Seen from Nashigahara\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e February 1959\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eMedium:\u003c\/strong\u003e Genuine Japanese color woodblock print\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Ōban yoko-e (horizontal format)\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003ePaper Size:\u003c\/strong\u003e 15.5 X 10.25 in\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThis original Japanese color woodblock print is Itō Takashi’s \u003cem\u003eMount Fuji Seen from Nashigahara\u003c\/em\u003e, dated February 1959.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eMount Fuji Seen from Nashigahara\u003c\/em\u003e presents Mount Fuji rising beyond a quiet, snow-covered forest. Tall, dark tree trunks dominate the foreground, creating a natural screen through which the mountain gradually comes into view. Scattered evergreens and touches of yellow and rust-colored foliage break up the snowy landscape, while Fuji is rendered in soft shades of blue, white, and pale pink against a muted winter sky. \u003c\/p\u003e\n\u003cp\u003eRather than presenting Mount Fuji as an isolated monument, Itō places the viewer deep within the landscape. The strong vertical rhythm of the trees contrasts with the broad mass of Fuji in the distance, creating a striking sense of depth and making the mountain seem to emerge between the trunks. The restrained palette and stillness of the scene are characteristic of Itō’s atmospheric approach to landscape.\u003c\/p\u003e\n\u003cp\u003eThis print is similar to, yet distinct from View of Mount Fugi from Yamanaka. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eInscriptions \u0026amp; Marks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eTitle:\u003c\/strong\u003e \u003cem\u003eMount Fuji Seen from Nashigahara\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eArtist:\u003c\/strong\u003e Itō Takashi\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eDate:\u003c\/strong\u003e February 1959\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSignature:\u003c\/strong\u003e Takashi, lower left\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eArtist Seal:\u003c\/strong\u003e Red seal beneath the signature\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTechnique:\u003c\/strong\u003e Japanese color woodblock print\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very Good. Light overall toning consistent with age. Colors remain strong and attractive, particularly the subtle pink and lavender tones of the sky, the dark forest foreground, and the blues of distant Mount Fuji. Please review the photographs carefully, as they form part of the condition description.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Artist:\u003c\/strong\u003e Itō Takashi (1894–1982) was a Japanese landscape artist associated with the shin-hanga movement and is particularly admired for his atmospheric depictions of mountains, forests, temples, and rural Japan. He worked extensively with the influential publisher Watanabe Shōzaburō and produced a relatively small body of woodblock designs compared with artists such as Kawase Hasui and Yoshida Hiroshi. His landscapes are distinguished by their quiet mood, carefully constructed depth, and sensitivity to changing light, weather, and season. Itō frequently used trees, buildings, mist, and other foreground elements to frame distant views, giving his landscapes an unusually immersive quality.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Print:\u003c\/strong\u003e \u003cem\u003eMount Fuji Seen from Nashigahara\u003c\/em\u003e dates from late in Itō Takashi’s career and is a particularly strong example of his mature landscape style. Created in 1959, the print approaches one of the most familiar subjects in Japanese art from an unusual viewpoint. Instead of placing Fuji prominently in an open landscape, Itō partially obscures the mountain behind a dense stand of trees. The viewer encounters Fuji almost incidentally, glimpsed through the forest in the distance. The combination of snow, bare trunks, scattered color, and the softly illuminated mountain gives the scene the quiet, contemplative atmosphere for which Itō’s landscapes are particularly admired.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":63938764833139,"sku":null,"price":800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1008\/3549\/2211\/files\/YGP00300_b1268dd4-51b6-49aa-a54c-f57ebb7bdb31.jpg?v=1786228935"},{"product_id":"cheoneunsa-temple-mount-chiri-korea-hasui-kawase","title":"Cheoneunsa Temple, Mount Chiri, Korea - Hasui Kawase","description":"\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Kawase Hasui (1883–1957)\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e Cheoneunsa Temple, Mount Chiri, Korea (\u003cem\u003eChōsen Chiizan Sen'inji\u003c\/em\u003e)\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eJapanese Title:\u003c\/strong\u003e 朝鮮智異山泉隠寺\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eSeries:\u003c\/strong\u003e Selected Korean Landscapes, Continued (\u003cem\u003eZoku Chōsen Fūkei\u003c\/em\u003e)\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eDesign Date:\u003c\/strong\u003e 1940 (Shōwa 15)\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003ePublisher:\u003c\/strong\u003e Watanabe Shōzaburō\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eMedium:\u003c\/strong\u003e Genuine Japanese color woodblock print\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Ōban tate-e\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003ePaper Size:\u003c\/strong\u003e Approximately 15.5 × 10.75 inches\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThis original Japanese woodblock print is Kawase Hasui’s \u003cem\u003eCheoneunsa Temple, Mount Chiri, Korea\u003c\/em\u003e, from the 1940 series \u003cem\u003eSelected Korean Landscapes, Continued\u003c\/em\u003e, published by Watanabe Shōzaburō. \u003c\/p\u003e\n\u003cp\u003eHasui places the viewer within the deep shadows of the temple complex, looking outward into a small courtyard where several figures dressed in white go about their work. Heavy wooden beams, rough stone walls, buckets, tools, and the circular cover of a well fill the foreground. Beyond them, the courtyard catches the light, drawing the eye through the dark architectural framework toward the figures and buildings in the distance.\u003c\/p\u003e\n\u003cp\u003eThe composition is particularly striking for its dramatic handling of light and depth. Instead of presenting the temple as a conventional architectural view, Hasui places us inside it. The nearly black beams and walls create a natural frame around the brighter courtyard, while the small figures give the scene an intimate, lived-in quality. The restrained browns, grays, and muted earth tones make this one of Hasui’s quieter and more unusual architectural compositions.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eInscriptions \u0026amp; Marks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eTitle:\u003c\/strong\u003e \u003cem\u003eCheoneunsa Temple, Mount Chiri, Korea\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eJapanese Title:\u003c\/strong\u003e 朝鮮智異山泉隠寺\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSeries:\u003c\/strong\u003e \u003cem\u003eZoku Chōsen Fūkei\u003c\/em\u003e (Selected Korean Landscapes, Continued)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eArtist:\u003c\/strong\u003e Kawase Hasui\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eDate:\u003c\/strong\u003e 1940 (Shōwa 15)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSignature:\u003c\/strong\u003e Hasui, lower right\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eArtist Seal:\u003c\/strong\u003e Red seal beneath signature\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePublisher:\u003c\/strong\u003e Watanabe Shōzaburō\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eReference:\u003c\/strong\u003e Hara Shobo #445\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Excellent. Full margins with light overall toning consistent with age.Some waviness along the upper edge. Colors remain strong, with particularly good definition in the deep brown and black passages of the shadowed foreground. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Artist:\u003c\/strong\u003e Kawase Hasui (1883–1957) was one of the most important landscape printmakers of the twentieth century and a central figure in the \u003cem\u003eshin-hanga\u003c\/em\u003e movement. Working closely with publisher Watanabe Shōzaburō, Hasui created hundreds of woodblock designs depicting Japan and, occasionally, Korea and other regions he visited. His work is particularly admired for its atmospheric treatment of rain, snow, moonlight, dusk, and quiet architectural settings. Rather than simply recording famous places, Hasui often sought out ordinary streets, temples, waterways, and rural landscapes, transforming them through carefully controlled light, color, and perspective.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Series:\u003c\/strong\u003e \u003cem\u003eSelected Korean Landscapes, Continued\u003c\/em\u003e (\u003cem\u003eZoku Chōsen Fūkei\u003c\/em\u003e) was produced in 1940 and followed Hasui’s earlier Korean landscape designs. The series depicts locations Hasui encountered in Korea during the period of Japanese colonial rule, including temples, gates, historic sites, rivers, and cities. Other designs depict Kaesong, Suwon, Gongju, Gyeongju, and Pyongyang. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eCheoneunsa Temple\u003c\/em\u003e is particularly distinctive within the group because Hasui focuses less on a recognizable monument than on the experience of being inside the temple complex. The dark foreground architecture, utilitarian objects, and figures engaged in everyday activity give the scene an almost documentary intimacy. The National Museum of Modern Art, Tokyo holds an impression of the design, as do the Aichi Prefectural Museum of Art and Hyogo Prefectural Museum of Art.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":63938767028595,"sku":null,"price":1700.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1008\/3549\/2211\/files\/YGP00342.jpg?v=1786230009"},{"product_id":"night-rain-at-shinobazu-pond-shiro-kasamatsu","title":"Night Rain at Shinobazu Pond - Shirō Kasamatsu","description":"\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Shirō Kasamatsu (1898–1991)\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e Night Rain at Shinobazu Pond (\u003cem\u003eYau Shinobazu no Ike\u003c\/em\u003e)\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eJapanese Title:\u003c\/strong\u003e 夜雨 不忍池\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eDesign Date:\u003c\/strong\u003e January 1938\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003ePublisher:\u003c\/strong\u003e Watanabe Shōzaburō\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eMedium:\u003c\/strong\u003e Genuine Japanese color woodblock print\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Ōban tate-e\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003ePaper Size:\u003c\/strong\u003e Approximately 15.25 × 10.25 inches\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThis genuine Japanese color woodblock print is Shirō Kasamatsu’s \u003cem\u003eNight Rain at Shinobazu Pond\u003c\/em\u003e, originally published by Watanabe Shōzaburō in January 1938. The design is a classic example of prewar \u003cem\u003eshin-hanga\u003c\/em\u003e and of Kasamatsu’s particular talent for atmospheric night, rain, and snow scenes. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eNight Rain at Shinobazu Pond\u003c\/em\u003e depicts a solitary figure walking beneath an umbrella on a rainy winter night in Tokyo’s Ueno district. A tall illuminated streetlamp dominates the foreground, while the warm windows and lanterns of buildings beyond provide small points of light in the otherwise cool blue-gray landscape. Rain falls across the entire scene, softening the trees and buildings and almost dissolving the background into the night.\u003c\/p\u003e\n\u003cp\u003eThe reflections in the foreground are particularly effective. Kasamatsu allows the lantern light to break into irregular patches of yellow across the wet pavement, providing almost the only warmth in the composition. The lone pedestrian, receding pathway, dark bridge railing, and oversized streetlamp create a strong sense of depth and solitude. Like some of Hasui’s finest night scenes, it turns an ordinary walk through the city into something quiet and cinematic.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eInscriptions \u0026amp; Marks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eTitle:\u003c\/strong\u003e \u003cem\u003eNight Rain at Shinobazu Pond\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eJapanese Title:\u003c\/strong\u003e 夜雨 不忍池\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eArtist:\u003c\/strong\u003e Shirō Kasamatsu\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eDesign Date:\u003c\/strong\u003e January 1938 (Shōwa 13)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSignature:\u003c\/strong\u003e Shiro, lower left\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eArtist Seal:\u003c\/strong\u003e Red Shiro seal beneath signature\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePublisher:\u003c\/strong\u003e Watanabe Shōzaburō, 6mm seal in margin\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTechnique:\u003c\/strong\u003e Japanese color woodblock print\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very Good. Full margins with light overall toning consistent with age. Minor scattered foxing and surface marks are visible primarily in the margins, along with slight handling wear and waviness along the upper edge. Colors remain strong and atmospheric, with particularly good blue-gray tonal gradations and strong contrast in the illuminated lamps and their reflections. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Artist:\u003c\/strong\u003e Shirō Kasamatsu (1898–1991) was an important twentieth-century Japanese printmaker whose career bridged both the \u003cem\u003eshin-hanga\u003c\/em\u003e and \u003cem\u003esōsaku-hanga\u003c\/em\u003e movements. He studied under Kaburagi Kiyokata, and in 1919 his work attracted the attention of publisher Watanabe Shōzaburō. Kasamatsu went on to design more than fifty prints for Watanabe through the late 1940s. He later worked extensively with the Kyoto publisher Unsōdō and also produced prints that he carved, printed, and published himself. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eKasamatsu was particularly accomplished at depicting snow, rain, evening light, and other atmospheric effects. While his work shares some qualities with Kawase Hasui, Kasamatsu often employed stronger outlines and a somewhat more graphic treatment of form. His prewar Watanabe designs are an important part of his career and place him firmly within the classic period of the \u003cem\u003eshin-hanga\u003c\/em\u003e movement. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Print:\u003c\/strong\u003e \u003cem\u003eNight Rain at Shinobazu Pond\u003c\/em\u003e was designed in 1938 during Kasamatsu’s long collaboration with Watanabe and has become one of his better-known prewar night scenes. Shinobazu Pond lies within Ueno Park in Tokyo, but Kasamatsu largely avoids the recognizable landmarks of the location. Instead, he concentrates on the experience of walking through the neighborhood in rain—the glowing lamps, wet pavement, bare trees, and almost empty path.\u003c\/p\u003e\n\u003cp\u003eThe design was sufficiently successful that Watanabe continued printing it after the war, and both later Shōwa-period and Heisei-period impressions are known.\u003c\/p\u003e\n\u003cp\u003ehttps:\/\/pages.uoregon.edu\/jsmacollections\/home\/artists\/shiro-kasamatsu-1898-1991-\/rainy-night-at-shinobazu-pond.html\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":63938776138099,"sku":null,"price":1000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1008\/3549\/2211\/files\/YGP00340.jpg?v=1786230508"},{"product_id":"the-actor-otani-oniji-iii-as-edobei-after-toshusai-sharaku","title":"The Actor Ōtani Oniji III as Edobei - After Tōshūsai Sharaku","description":"\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e After Tōshūsai Sharaku (active 1794–1795)\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e The Actor Ōtani Oniji III as Edobei\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eOriginal Design Date:\u003c\/strong\u003e 1794\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eImpression:\u003c\/strong\u003e 20th-century Japanese reprint\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eMedium:\u003c\/strong\u003e Japanese color woodblock print\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Ōban tate-e\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003ePaper Size:\u003c\/strong\u003e 12.75 X 8.5 in\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThis Japanese woodblock print is a later reprint of Tōshūsai Sharaku’s celebrated 1794 portrait \u003cem\u003eThe Actor Ōtani Oniji III as Edobei\u003c\/em\u003e, one of the most recognizable actor prints in the history of ukiyo-e. The original is held in major museum collections, including the Tokyo National Museum, where it is designated an Important Cultural Property. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eSharaku depicts the kabuki actor Ōtani Oniji III playing Edobei, a villainous servant in the play \u003cem\u003eKoi Nyōbō Somewake Tazuna\u003c\/em\u003e, performed at the Kawarasaki theater in Edo in May 1794. Edobei leans forward with his hands spread dramatically across his chest, his narrowed eyes, exaggerated eyebrows, and clenched expression immediately communicating the character’s scheming personality. The Tokyo National Museum identifies the moment as Edobei attempting to rob the character Ippei. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThe composition is a classic example of Sharaku’s unconventional approach to actor portraiture. Rather than flattering famous performers, Sharaku exaggerated their distinctive facial features and gestures, creating portraits that feel simultaneously theatrical and psychologically acute. Against the dark mica-style background, Edobei’s pale face and hands become especially dramatic, while the striped costume provides a strong geometric contrast.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eInscriptions \u0026amp; Marks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eTitle:\u003c\/strong\u003e \u003cem\u003eThe Actor Ōtani Oniji III as Edobei\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eArtist of Original Design:\u003c\/strong\u003e Tōshūsai Sharaku\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eOriginal Design Date:\u003c\/strong\u003e May 1794\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSubject:\u003c\/strong\u003e Ōtani Oniji III in the role of Edobei\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePlay:\u003c\/strong\u003e \u003cem\u003eKoi Nyōbō Somewake Tazuna\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eRight inscription:\u003c\/strong\u003e 東洲斎写楽画 複製 — identifying the image as a reproduction after a design by Tōshūsai Sharaku\u003c\/li\u003e\n\u003cli\u003e\n\u003cmeta charset=\"UTF-8\"\u003e \u003cstrong\u003ePublisher:\u003c\/strong\u003e\u003cspan\u003e Yūyūdō (悠々洞)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eImpression:\u003c\/strong\u003e Later Japanese reprint\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTechnique:\u003c\/strong\u003e Color woodblock print\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBackground:\u003c\/strong\u003e Dark gray\/silver-toned ground\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very Good. Full margins with light toning and minor handling wear consistent with age. Small scattered surface marks and minor edge wear are visible, including a small area of discoloration\/marking along the right edge. Colors remain strong, with crisp black linework and good contrast against the gray background. Please review the photographs carefully, as they form part of the condition description.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Artist:\u003c\/strong\u003e Tōshūsai Sharaku is one of the most mysterious and celebrated artists in the history of ukiyo-e. Virtually nothing certain is known about his life. He appeared suddenly in Edo in 1794, produced an extraordinary group of actor portraits, and disappeared from the historical record less than a year later. His surviving output consists largely of kabuki actors portrayed with an unusually direct and sometimes almost caricatural attention to their individual features. Instead of idealizing performers, Sharaku emphasized their expressions, gestures, and physical peculiarities, producing some of the most psychologically compelling portraits of the Edo period.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Print:\u003c\/strong\u003e \u003cem\u003eThe Actor Ōtani Oniji III as Edobei\u003c\/em\u003e was created in 1794 during the remarkable first phase of Sharaku’s extremely brief career. The original was a luxurious \u003cem\u003eōkubi-e\u003c\/em\u003e, or large-head actor portrait, printed with a dark mica background. The actor’s claw-like hands and intense expression have made the composition one of Sharaku’s defining images and one of the most widely reproduced works of Japanese art. The original design dates to the Edo period; \u003cstrong\u003ethis particular sheet is a later Japanese woodblock reprint and is being sold as such\u003c\/strong\u003e, rather than as an original 1794 impression.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":63938778399091,"sku":null,"price":150.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1008\/3549\/2211\/files\/YGP00339.jpg?v=1786230824"},{"product_id":"shono-driving-rain-after-utagawa-hiroshige","title":"Shōno: Driving Rain - After Utagawa Hiroshige","description":"\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e After Utagawa Hiroshige (1797–1858)\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e Shōno: Driving Rain (\u003cem\u003eShōno, Hakuu\u003c\/em\u003e)\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eSeries:\u003c\/strong\u003e The Fifty-three Stations of the Tōkaidō (Hōeidō Tōkaidō)\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eOriginal Design Date:\u003c\/strong\u003e c. 1833–1834\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003ePublisher of Reprint:\u003c\/strong\u003e Yūyūdō (悠々洞)\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eEdition:\u003c\/strong\u003e 20th-century Shōwa-period recarved woodblock edition\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eMedium:\u003c\/strong\u003e Genuine Japanese color woodblock print\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Ōban yoko-e\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003ePaper Size:\u003c\/strong\u003e 12.625 X 8.5 in\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThis genuine Japanese color woodblock print is a 20th-century Yūyūdō reprint of Utagawa Hiroshige's celebrated \u003cem\u003eShōno: Driving Rain\u003c\/em\u003e, from \u003cem\u003eThe Fifty-three Stations of the Tōkaidō\u003c\/em\u003e. The original design dates to around 1833–34 and is one of the best-known compositions from Hiroshige's breakthrough landscape series. Yūyūdō produced high-quality recarved editions of the Tōkaidō designs during the Shōwa period. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eShōno: Driving Rain\u003c\/em\u003e captures travelers caught in a sudden summer downpour on the Tōkaidō road. Sheets of rain cut diagonally across the composition while trees and bamboo bend beneath the force of the storm. Travelers struggle uphill against the weather—some sheltering beneath straw coverings, others carrying a covered palanquin, and another disappearing down the slope beneath an umbrella. Hiroshige's steep diagonal hillside and driving lines of rain give the entire image a remarkable sense of movement.\u003c\/p\u003e\n\u003cp\u003eThe Japanese subtitle \u003cem\u003ehakuu\u003c\/em\u003e refers to a sudden shower or \"white rain,\" a heavy summer downpour that arrives quickly and can obscure the landscape. Hiroshige uses layers of gray to make the distant vegetation disappear into the rain, while the yellow straw raincoats of the travelers stand out sharply against the storm. The design is a classic example of Hiroshige's ability to make weather itself the subject of a landscape. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eInscriptions \u0026amp; Marks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eTitle:\u003c\/strong\u003e \u003cem\u003eShōno: Driving Rain\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eAlternate Titles:\u003c\/strong\u003e \u003cem\u003eShōno: Sudden Shower\u003c\/em\u003e; \u003cem\u003eShōno: White Rain\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eJapanese Subtitle:\u003c\/strong\u003e \u003cem\u003eHakuu\u003c\/em\u003e (白雨)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSeries:\u003c\/strong\u003e \u003cem\u003eThe Fifty-three Stations of the Tōkaidō\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eOriginal Artist:\u003c\/strong\u003e Utagawa Hiroshige\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eOriginal Design Date:\u003c\/strong\u003e c. 1833–1834\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eOriginal Publisher:\u003c\/strong\u003e Takenouchi Magohachi (Hōeidō)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eReprint Publisher:\u003c\/strong\u003e Yūyūdō\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eEdition:\u003c\/strong\u003e 20th-century recarved Japanese woodblock edition\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTechnique:\u003c\/strong\u003e Color woodblock print\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very Good. Full margins with light toning consistent with age. Minor scattered foxing and surface marks are visible in the margins, along with light handling wear. Colors remain strong, with particularly good tonal variation in the gray rain and vegetation and strong yellow accents in the travelers' straw rain gear. Please review the photographs carefully, as they form part of the condition description.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Artist:\u003c\/strong\u003e Utagawa Hiroshige (1797–1858) was one of the greatest masters of Japanese woodblock printmaking and the artist most closely associated with landscape ukiyo-e. Best known for his poetic depictions of travel, changing seasons, weather, and the quiet beauty of everyday life, Hiroshige transformed familiar places into deeply atmospheric works through his masterful use of composition and color. His celebrated series, including \u003cem\u003eThe Fifty-three Stations of the Tōkaidō\u003c\/em\u003e and \u003cem\u003eOne Hundred Famous Views of Edo\u003c\/em\u003e, became some of the most influential prints ever produced in Japan.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Series:\u003c\/strong\u003e \u003cem\u003eThe Fifty-three Stations of the Tōkaidō\u003c\/em\u003e, commonly called the Hōeidō Tōkaidō, was the series that established Hiroshige as one of Japan's leading landscape artists. Published around 1833–34, the series follows the great Tōkaidō highway connecting Edo with Kyoto through 53 post stations, together with the journey's beginning and end. Rather than simply documenting the road, Hiroshige filled the series with changing seasons, weather, local customs, travelers, and moments of everyday life. Its enormous popularity helped establish landscape as one of the defining subjects of nineteenth-century ukiyo-e. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eShōno: Driving Rain\u003c\/em\u003e is generally considered \u003cstrong\u003eone of the masterpieces of the entire series\u003c\/strong\u003e. The composition is unusually dynamic for Hiroshige: nearly everything—the hillside, rain, trees, and figures—pushes diagonally across the sheet. The original design became one of the iconic images of ukiyo-e and is still among Hiroshige's most recognizable works.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout this Edition:\u003c\/strong\u003e This impression is \u003cstrong\u003enot an Edo-period Hōeidō impression\u003c\/strong\u003e. It is a genuine, later Japanese woodblock print produced by Yūyūdō from recarved blocks during the Shōwa period. Yūyūdō published a complete set of Hiroshige's Tōkaidō designs, and examples of this specific \u003cem\u003eShōno\u003c\/em\u003e edition are documented as post-1960 impressions.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":63938784133491,"sku":null,"price":150.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1008\/3549\/2211\/files\/YGP00337.jpg?v=1786231119"},{"product_id":"motoyama-after-utagawa-hiroshige","title":"Nagakubo - After Utagawa Hiroshige","description":"\u003cp class=\"isSelectedEnd\"\u003e\u003cstrong\u003e\u003cspan\u003eArtist:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Utagawa Hiroshige (1797–1858)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cstrong\u003e\u003cspan\u003eTitle:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eNagakubo\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e (長久保)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cstrong\u003e\u003cspan\u003eSeries:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eSixty-Nine Stations of the Kisokaidō\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e (\u003c\/span\u003e\u003cem\u003e\u003cspan\u003eKisokaidō Rokujūkyū Tsugi no Uchi\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cstrong\u003e\u003cspan\u003eStation:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eNo. 28 – Nagakubo\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cstrong\u003e\u003cspan\u003eOriginal Design:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e c. 1835–1838\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cstrong\u003e\u003cspan\u003eMedium:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Color woodblock print\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cstrong\u003e\u003cspan\u003eEdition:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Later Japanese reprint\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cstrong\u003e\u003cspan\u003ePublisher of Reprint:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eDai-ichi Kōgei (第一巧芸版)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cstrong\u003e\u003cspan\u003eSignature:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Hiroshige ga, block-signed within the image\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cstrong\u003e\u003cspan\u003eSize:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e \u003cspan class=\"text-token-text-primary cursor-text rounded-sm\"\u003e12.625 X 8.5 in\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThis Japanese woodblock print reproduces \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eUtagawa Hiroshige’s “Nagakubo,” Station No. 28 from the celebrated \u003c\/span\u003e\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e\u003cspan\u003eSixty-Nine Stations of the Kisokaidō\u003c\/span\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003cspan\u003e. The original design dates to the 1830s and belongs to one of Hiroshige’s most important landscape series.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThe scene depicts travelers arriving at Nagakubo beneath a pale moon. A large pine dominates the composition while figures, horses and dogs gather along the riverbank. Hiroshige renders the distant mountains and bridge in soft gray silhouettes, giving the landscape a remarkably atmospheric sense of depth and evening light.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThis impression is a \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003elater Japanese woodblock reprint rather than a 19th-century impression\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. The left margin bears the red inscription \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e第一巧芸版 (Dai-ichi Kōgei-ban)\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, identifying it as an edition published by \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eDai-ichi Kōgei\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. It was produced through the traditional Japanese woodblock process rather than being a modern photographic reproduction.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cstrong\u003e\u003cspan\u003eInscriptions \u0026amp; Marks:\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003e\u003cspan\u003eNagakubo (長久保)\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e title cartouche at upper left\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan\u003eSeries title \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eKisokaidō Rokujūkyū Tsugi no Uchi\u003c\/span\u003e\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003e\u003cspan\u003eHiroshige ga\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e block signature\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eReproduction of the original publisher\/seal information within the design\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003e\u003cspan\u003eDai-ichi Kōgei (第一巧芸版)\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e reprint mark in the left margin\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eTraditional color woodblock printing\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cstrong\u003e\u003cspan\u003eCondition:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Very good overall vintage condition. Light toning and minor discoloration are visible in the margins, consistent with age. The printed image remains clean and attractive, with strong blues, blacks and greens and good gradation in the sky and water. Please review all photographs carefully, as they form part of the condition description.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cstrong\u003e\u003cspan\u003eAbout the Series:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e The \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eSixty-Nine Stations of the Kisokaidō\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, also known as the \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eSixty-Nine Stations of the Nakasendō\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, was created by \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eKeisai Eisen and Utagawa Hiroshige\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e during the 1830s. The series follows the inland highway connecting Edo and Kyoto and is regarded, alongside Hiroshige’s \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eFifty-Three Stations of the Tōkaidō\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, as one of the great achievements of 19th-century Japanese landscape printmaking.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eAuthenticity:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e This is a \u003c\/span\u003egenuine traditionally produced Japanese woodblock reprint of Hiroshige’s Nagakubo design, published by Dai-ichi Kōgei. It is not being represented as an original Edo-period impression.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":63938790326643,"sku":null,"price":150.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1008\/3549\/2211\/files\/YGP00335.jpg?v=1786231414"},{"product_id":"hiratsuka-nawate-road-after-utagawa-hiroshige","title":"Hiratsuka: Nawate Road - After Utagawa Hiroshige","description":"\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Utagawa Hiroshige (1797–1858)\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e Hiratsuka: Nawate Road\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eSeries:\u003c\/strong\u003e The Fifty-three Stations of the Tōkaidō (Kyōka Tōkaidō)\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eOriginal Design Date:\u003c\/strong\u003e c. 1840–1842\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eReprint Publisher:\u003c\/strong\u003e Daiichi Kōgei\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eEdition:\u003c\/strong\u003e 20th-century Shōwa-period recarved edition\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eMedium:\u003c\/strong\u003e Genuine Japanese color woodblock print\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Chūban yoko-e\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003ePaper Size:\u003c\/strong\u003e [add exact dimensions]\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThis genuine Japanese woodblock print is a 20th-century Daiichi Kōgei reproduction of Hiroshige’s \u003cem\u003eHiratsuka\u003c\/em\u003e design from the \u003cem\u003eKyōka Tōkaidō\u003c\/em\u003e, one of the many series in which Hiroshige explored the famous highway connecting Edo and Kyoto. The red inscription in the left margin identifies this impression as a later Daiichi Kōgei edition produced from recarved woodblocks rather than an Edo-period impression.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eHiratsuka\u003c\/em\u003e is shown beneath a pale moon, with travelers crossing a long bridge in the distance while a horse, its handler, and a small group of figures occupy the riverbank in the foreground. A large pine tree cuts dramatically through the center of the composition, framing the moon and separating the quiet landscape beyond from the activity along the road. Hiroshige’s use of silhouettes, muted mountains, and bands of blue water gives the scene a particularly calm, atmospheric quality.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eInscriptions \u0026amp; Marks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eArtist: Utagawa Hiroshige\u003c\/li\u003e\n\u003cli\u003eTitle: \u003cem\u003eHiratsuka\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003eSeries: \u003cem\u003eThe Fifty-three Stations of the Tōkaidō\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003eStation number: 8 (seventh post station after Nihonbashi)\u003c\/li\u003e\n\u003cli\u003eReprint publisher: Daiichi Kōgei\u003c\/li\u003e\n\u003cli\u003eRed Daiichi Kōgei edition mark in left margin\u003c\/li\u003e\n\u003cli\u003eHiroshige signature and seal reproduced from the original design\u003c\/li\u003e\n\u003cli\u003eGenuine carved-and-printed Japanese woodblock reproduction\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very Good. Full margins with light overall toning and minor scattered foxing and surface marks consistent with age. Minor handling wear to the margins. Colors remain strong and well preserved, including the blue gradation in the water and the dark black printing of the pine. Please review the photographs carefully, as they form part of the condition description.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Artist:\u003c\/strong\u003e Utagawa Hiroshige (1797–1858) was one of the greatest masters of Japanese woodblock printmaking and the artist most closely associated with landscape ukiyo-e. Best known for his poetic depictions of travel, changing seasons, weather, and the quiet beauty of everyday life, Hiroshige transformed familiar places into deeply atmospheric works through his masterful use of composition and color. His celebrated series, including \u003cem\u003eThe Fifty-three Stations of the Tōkaidō\u003c\/em\u003e and \u003cem\u003eOne Hundred Famous Views of Edo\u003c\/em\u003e, became some of the most influential prints ever produced in Japan.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Series:\u003c\/strong\u003e Hiroshige returned to the Tōkaidō repeatedly throughout his career following the enormous success of his Hōeidō Tōkaidō of 1833–34. The \u003cem\u003eKyōka Tōkaidō\u003c\/em\u003e is distinguished by its smaller horizontal format and the inclusion of \u003cem\u003ekyōka\u003c\/em\u003e, or playful comic verse, alongside views of the stations. These later interpretations allowed Hiroshige to reconsider familiar locations through different compositions, seasons, times of day, and atmospheric effects.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout this Edition:\u003c\/strong\u003e This impression is \u003cstrong\u003enot an Edo-period printing\u003c\/strong\u003e. The red Daiichi Kōgei mark in the margin identifies it as a later Japanese reproduction. Daiichi Kōgei editions were traditionally produced woodblock prints made from newly carved blocks after historic ukiyo-e designs. For a sales listing, I would conservatively describe this as a \u003cstrong\u003e20th-century Shōwa-period Daiichi Kōgei recarved edition\u003c\/strong\u003e rather than assigning it a more specific date without additional documentation.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":63938797699443,"sku":null,"price":150.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1008\/3549\/2211\/files\/YGP00335_75cedb99-ed48-4032-bf9a-195057dddca7.jpg?v=1786231621"},{"product_id":"autumn-moon-over-the-tama-river-utagawa-hiroshige","title":"Autumn Moon over the Tama River - After Utagawa Hiroshige","description":"\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Utagawa Hiroshige (1797–1858)\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e Autumn Moon over the Tama River (\u003cem\u003eTamagawa Shūgetsu\u003c\/em\u003e)\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eSeries:\u003c\/strong\u003e Eight Views in the Environs of Edo (\u003cem\u003eEdo Kinkō Hakkei no Uchi\u003c\/em\u003e)\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eOriginal Design Date:\u003c\/strong\u003e c. 1837–1838\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eOriginal Publisher:\u003c\/strong\u003e Sanoya Kihei (Kikakudō)\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eReprint Publisher:\u003c\/strong\u003e Daiichi Kōgei\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eEdition:\u003c\/strong\u003e 20th-century Shōwa-period recarved edition\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eMedium:\u003c\/strong\u003e Genuine Japanese color woodblock print\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Ōban yoko-e\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003ePaper Size:\u003c\/strong\u003e [add exact dimensions]\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThis genuine Japanese woodblock print is a 20th-century Daiichi Kōgei reproduction of Hiroshige’s \u003cem\u003eAutumn Moon over the Tama River\u003c\/em\u003e, from his celebrated series \u003cem\u003eEight Views in the Environs of Edo\u003c\/em\u003e. The original design was published by Sanoya Kihei around 1837–38. The red \u003cstrong\u003eDaiichi Kōgei-ban\u003c\/strong\u003e inscription in the lower left margin identifies this impression as a later recarved edition rather than an Edo-period printing. The original design and publisher are documented by the Edo-Tokyo Museum and Art Institute of Chicago. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAutumn Moon over the Tama River\u003c\/em\u003e presents one of Hiroshige’s most lyrical views of the landscape surrounding Edo. A full moon hangs above a large willow tree as the Tama River winds quietly through the composition. Small figures gather along the banks while a narrow boat crosses the water, giving scale to the broad, open landscape. The deep blue sky gradually fades toward the horizon, while the moon, distant mountains, reeds, and leaning willow create an unusually peaceful evening scene.\u003c\/p\u003e\n\u003cp\u003eThe poetry across the sky is an important part of the composition. Early impressions of the design were issued with several \u003cem\u003ekyōka\u003c\/em\u003e poems, while later states sometimes contain fewer poems. This reproduction preserves the multiple-poem arrangement associated with early impressions of the design. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eInscriptions \u0026amp; Marks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eArtist: Utagawa Hiroshige\u003c\/li\u003e\n\u003cli\u003eTitle: \u003cem\u003eTamagawa Shūgetsu\u003c\/em\u003e (玉川秋月), “Autumn Moon over the Tama River”\u003c\/li\u003e\n\u003cli\u003eSeries: \u003cem\u003eEdo Kinkō Hakkei no Uchi\u003c\/em\u003e (江戸近郊八景之内), “Eight Views in the Environs of Edo”\u003c\/li\u003e\n\u003cli\u003eOriginal publisher: Sanoya Kihei\u003c\/li\u003e\n\u003cli\u003eReprint publisher: Daiichi Kōgei\u003c\/li\u003e\n\u003cli\u003eRed Daiichi Kōgei edition mark in lower left margin\u003c\/li\u003e\n\u003cli\u003eHiroshige signature and seals reproduced from the original design\u003c\/li\u003e\n\u003cli\u003eMultiple \u003cem\u003ekyōka\u003c\/em\u003e poems reproduced across the upper portion of the composition\u003c\/li\u003e\n\u003cli\u003eGenuine carved-and-printed Japanese woodblock reproduction\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very Good. Full margins with light overall toning and minor scattered foxing and surface marks consistent with age. Minor handling wear to the margins. Colors remain strong, with particularly attractive blue gradation in the sky and water. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Artist:\u003c\/strong\u003e Utagawa Hiroshige (1797–1858) was one of the greatest masters of Japanese woodblock printmaking and the artist most closely associated with landscape ukiyo-e. Best known for his poetic depictions of travel, changing seasons, weather, and the quiet beauty of everyday life, Hiroshige transformed familiar places into deeply atmospheric works through his masterful use of composition and color. His celebrated series, including \u003cem\u003eThe Fifty-three Stations of the Tōkaidō\u003c\/em\u003e and \u003cem\u003eOne Hundred Famous Views of Edo\u003c\/em\u003e, became some of the most influential prints ever produced in Japan.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Series:\u003c\/strong\u003e \u003cem\u003eEight Views in the Environs of Edo\u003c\/em\u003e was published around 1837–38 and is considered one of Hiroshige’s finest early landscape series. Its eight designs adapt the traditional “Eight Views” theme—originally derived from Chinese poetry and painting—to locations around Edo. The series includes scenes associated with autumn moonlight, evening snow, returning sails, descending geese, evening bells, and other atmospheric subjects. The Library of Congress describes the set as one of the outstanding achievements among Hiroshige’s landscape prints. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAutumn Moon over the Tama River\u003c\/em\u003e is one of the best-known designs from the set and is held in major museum collections, including the Art Institute of Chicago and the Edo-Tokyo Museum. The quiet river, enormous sky, and luminous moon show Hiroshige at his best: human activity is present, but small and temporary within a much larger landscape. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout this Edition:\u003c\/strong\u003e This impression is \u003cstrong\u003enot an Edo-period printing\u003c\/strong\u003e. The red Daiichi Kōgei mark in the lower left margin identifies it as a later Japanese reproduction. Daiichi Kōgei editions were genuine woodblock prints produced from newly carved blocks after historic ukiyo-e designs rather than photomechanical reproductions. For a sales listing, I would conservatively describe this as a \u003cstrong\u003e20th-century Shōwa-period Daiichi Kōgei recarved edition\u003c\/strong\u003e unless documentation establishing a more precise publication date is available.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":63938803564915,"sku":null,"price":150.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1008\/3549\/2211\/files\/YGP00333.jpg?v=1786231846"},{"product_id":"sudden-shower-over-shin-ohashi-bridge-and-atake-after-utagawa-hiroshige","title":"Sudden Shower over Shin-Ōhashi Bridge and Atake - After Utagawa Hiroshige","description":"\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Utagawa Hiroshige (1797–1858)\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e Sudden Shower over Shin-Ōhashi Bridge and Atake (\u003cem\u003eŌhashi Atake no Yūdachi\u003c\/em\u003e)\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eSeries:\u003c\/strong\u003e One Hundred Famous Views of Edo (\u003cem\u003eMeisho Edo Hyakkei\u003c\/em\u003e)\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eOriginal Design Date:\u003c\/strong\u003e 1857\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eOriginal Publisher:\u003c\/strong\u003e Uoya Eikichi (Sakanaya Eikichi)\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eReprint Publisher:\u003c\/strong\u003e Daiichi Kōgei\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eEdition:\u003c\/strong\u003e 20th-century Shōwa-period recarved edition\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eMedium:\u003c\/strong\u003e Genuine Japanese color woodblock print\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Ōban tate-e\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003ePaper Size:\u003c\/strong\u003e [add exact dimensions]\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThis genuine Japanese woodblock print is a 20th-century Daiichi Kōgei reproduction of Hiroshige’s \u003cem\u003eSudden Shower over Shin-Ōhashi Bridge and Atake\u003c\/em\u003e, one of the most famous designs from his late masterpiece \u003cem\u003eOne Hundred Famous Views of Edo\u003c\/em\u003e. The original was published by Uoya Eikichi in the ninth month of 1857. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003eThe red \u003cstrong\u003eDaiichi Kōgei-ban\u003c\/strong\u003e inscription in the lower left margin identifies this impression as a later recarved edition rather than an Edo-period printing.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSudden Shower over Shin-Ōhashi Bridge and Atake\u003c\/em\u003e captures the instant a summer downpour sweeps across the Sumida River. Travelers hurry across the bridge, bending beneath umbrellas and straw rain capes, while a lone boatman continues downriver through the storm. Hiroshige renders the rain as long, sharply angled lines cutting across the entire composition, while the distant shore nearly disappears behind the gray curtain of water. The steep diagonal of the bridge gives the image a remarkable sense of movement and makes the viewer feel caught in the storm alongside the figures. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eInscriptions \u0026amp; Marks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eArtist: Utagawa Hiroshige\u003c\/li\u003e\n\u003cli\u003eTitle: \u003cem\u003eŌhashi Atake no Yūdachi\u003c\/em\u003e (大はしあたけの夕立), “Sudden Shower over Shin-Ōhashi Bridge and Atake”\u003c\/li\u003e\n\u003cli\u003eSeries: \u003cem\u003eMeisho Edo Hyakkei\u003c\/em\u003e (名所江戸百景), “One Hundred Famous Views of Edo”\u003c\/li\u003e\n\u003cli\u003eOriginal design date: 1857, ninth month\u003c\/li\u003e\n\u003cli\u003eOriginal publisher: Uoya Eikichi (also known as Sakanaya Eikichi)\u003c\/li\u003e\n\u003cli\u003eReprint publisher: Daiichi Kōgei\u003c\/li\u003e\n\u003cli\u003eRed Daiichi Kōgei edition mark in lower left margin\u003c\/li\u003e\n\u003cli\u003eHiroshige signature reproduced from the original design\u003c\/li\u003e\n\u003cli\u003eGenuine carved-and-printed Japanese woodblock reproduction\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very Good. Full margins with light overall toning and minor scattered surface marks consistent with age. Minor handling wear and light discoloration to the margins. Colors remain strong, with attractive blue gradation in the river and deep gray-black printing in the stormy sky. Please review the photographs carefully, as they form part of the condition description.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Artist:\u003c\/strong\u003e Utagawa Hiroshige (1797–1858) was one of the greatest masters of Japanese woodblock printmaking and the artist most closely associated with landscape ukiyo-e. Best known for his poetic depictions of travel, changing seasons, weather, and the quiet beauty of everyday life, Hiroshige transformed familiar places into deeply atmospheric works through his masterful use of composition and color. His celebrated series, including \u003cem\u003eThe Fifty-three Stations of the Tōkaidō\u003c\/em\u003e and \u003cem\u003eOne Hundred Famous Views of Edo\u003c\/em\u003e, became some of the most influential prints ever produced in Japan.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Series:\u003c\/strong\u003e \u003cem\u003eOne Hundred Famous Views of Edo\u003c\/em\u003e was Hiroshige’s great late-career series, produced between 1856 and 1858. Rather than simply documenting famous locations around Edo, Hiroshige experimented with dramatic cropping, unusual perspectives, exaggerated foreground elements, weather, and seasonal effects. The series ultimately comprised more than one hundred designs and represents some of the most inventive work of Hiroshige’s career.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSudden Shower over Shin-Ōhashi Bridge and Atake\u003c\/em\u003e is among the most celebrated images in the entire series and one of Hiroshige’s best-known works. Its influence extended well beyond Japan: Vincent van Gogh owned and studied Japanese prints and made a painted copy of this composition, \u003cem\u003eJaponaiserie: Bridge in the Rain\u003c\/em\u003e, demonstrating the enormous influence Hiroshige had on European artists during the rise of Japonisme. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout this Edition:\u003c\/strong\u003e This impression is \u003cstrong\u003enot an Edo-period printing\u003c\/strong\u003e. The red \u003cstrong\u003e第一巧藝版 (Daiichi Kōgei-ban)\u003c\/strong\u003einscription in the lower left margin identifies it as a later Japanese reproduction. The Daiichi Kōgei editions were genuine woodblock prints produced from newly carved blocks after historic ukiyo-e designs rather than photomechanical reproductions. For a sales listing, I would conservatively describe this as a \u003cstrong\u003e20th-century Shōwa-period Daiichi Kōgei recarved edition\u003c\/strong\u003e unless documentation establishing a more precise publication date is available.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":63938864513395,"sku":null,"price":200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1008\/3549\/2211\/files\/YGP00331.jpg?v=1786232054"},{"product_id":"asakusa-kinryuzan-temple-after-utagawa-hiroshige","title":"Asakusa Kinryūzan Temple - After Utagawa Hiroshige","description":"\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Utagawa Hiroshige (1797–1858)\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e Asakusa Kinryūzan Temple\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eSeries:\u003c\/strong\u003e One Hundred Famous Views of Edo (\u003cem\u003eMeisho Edo Hyakkei\u003c\/em\u003e)\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eOriginal Design Date:\u003c\/strong\u003e 1856\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eOriginal Publisher:\u003c\/strong\u003e Uoya Eikichi (Sakanaya Eikichi)\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eReprint Publisher:\u003c\/strong\u003e Daiichi Kōgei\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eEdition:\u003c\/strong\u003e 20th-century Shōwa-period recarved edition\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eMedium:\u003c\/strong\u003e Genuine Japanese color woodblock print\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Ōban tate-e\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003ePaper Size:\u003c\/strong\u003e 12.625 X 8.5 in\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThis genuine Japanese woodblock print is a 20th-century Daiichi Kōgei reproduction of Hiroshige’s \u003cem\u003eAsakusa Kinryūzan Temple\u003c\/em\u003e, from his celebrated late series \u003cem\u003eOne Hundred Famous Views of Edo\u003c\/em\u003e. The original design was published in 1856 and depicts the approach to Sensō-ji, one of Edo’s most famous temples, during a winter snowfall. The red \u003cstrong\u003eDaiichi Kōgei-ban\u003c\/strong\u003e inscription in the lower left margin identifies this impression as a later recarved edition rather than an Edo-period printing.\u003c\/p\u003e\n\u003cp\u003eHiroshige frames the snowy temple grounds from beneath the enormous lantern of the Kaminarimon, or Thunder Gate. Only the lower portion of the lantern is visible, looming dramatically into the composition and creating the kind of bold, cropped foreground that became a hallmark of Hiroshige’s late work. Beyond it, visitors make their way through the snow toward the temple complex, with the red gates and five-story pagoda standing out against snow-covered trees and rooftops. The contrast between the massive lantern overhead and the tiny figures below gives the scene both intimacy and monumentality.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eInscriptions \u0026amp; Marks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eArtist: Utagawa Hiroshige\u003c\/li\u003e\n\u003cli\u003eTitle: \u003cem\u003eAsakusa Kinryūzan\u003c\/em\u003e (浅草金龍山)\u003c\/li\u003e\n\u003cli\u003eSeries: \u003cem\u003eMeisho Edo Hyakkei\u003c\/em\u003e (名所江戸百景), “One Hundred Famous Views of Edo”\u003c\/li\u003e\n\u003cli\u003eOriginal design date: 1856\u003c\/li\u003e\n\u003cli\u003eOriginal publisher: Uoya Eikichi\u003c\/li\u003e\n\u003cli\u003eReprint publisher: Daiichi Kōgei\u003c\/li\u003e\n\u003cli\u003eRed Daiichi Kōgei edition mark in lower left margin\u003c\/li\u003e\n\u003cli\u003eHiroshige signature reproduced from the original design\u003c\/li\u003e\n\u003cli\u003eGenuine carved-and-printed Japanese woodblock reproduction\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very Good. Full margins with light overall toning and minor scattered surface marks consistent with age. Minor handling wear and light discoloration to the margins. Colors remain strong and attractive, particularly the deep reds, greens, and blacks against the pale winter landscape. Please review the photographs carefully, as they form part of the condition description.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Artist:\u003c\/strong\u003e Utagawa Hiroshige (1797–1858) was one of the greatest masters of Japanese woodblock printmaking and the artist most closely associated with landscape ukiyo-e. Best known for his poetic depictions of travel, changing seasons, weather, and the quiet beauty of everyday life, Hiroshige transformed familiar places into deeply atmospheric works through his masterful use of composition and color. His celebrated series, including \u003cem\u003eThe Fifty-three Stations of the Tōkaidō\u003c\/em\u003e and \u003cem\u003eOne Hundred Famous Views of Edo\u003c\/em\u003e, became some of the most influential prints ever produced in Japan.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Series:\u003c\/strong\u003e \u003cem\u003eOne Hundred Famous Views of Edo\u003c\/em\u003e was Hiroshige’s great late-career series, produced between 1856 and 1858. Created near the end of his life, the series shows Hiroshige pushing his landscape compositions in increasingly inventive directions. He frequently used extreme foreground elements, dramatic cropping, unusual viewpoints, and striking seasonal and weather effects to transform familiar locations around Edo into highly distinctive images.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAsakusa Kinryūzan Temple\u003c\/em\u003e is a particularly strong example of that late style. Rather than offering a conventional view of Sensō-ji, Hiroshige places the viewer directly beneath the giant lantern of the entrance gate, using it almost as an architectural frame around the snowy scene beyond. The resulting composition feels surprisingly modern and is characteristic of the visual experimentation that made \u003cem\u003eOne Hundred Famous Views of Edo\u003c\/em\u003e so influential on later European artists.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout this Edition:\u003c\/strong\u003e This impression is \u003cstrong\u003enot an Edo-period printing\u003c\/strong\u003e. The red \u003cstrong\u003e第一巧藝版 (Daiichi Kōgei-ban)\u003c\/strong\u003einscription in the lower left margin identifies it as a later Japanese reproduction. Daiichi Kōgei editions were genuine woodblock prints produced from newly carved blocks after historic ukiyo-e designs rather than photomechanical reproductions. For a sales listing, I would conservatively describe this as a \u003cstrong\u003e20th-century Shōwa-period Daiichi Kōgei recarved edition\u003c\/strong\u003e unless documentation establishing a more precise publication date is available.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":63938870477171,"sku":null,"price":200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1008\/3549\/2211\/files\/YGP00328.jpg?v=1786233757"},{"product_id":"hara-mount-fuji-in-the-morning-after-utagawa-hiroshige","title":"Hara: Mount Fuji in the Morning - After Utagawa Hiroshige","description":"\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Utagawa Hiroshige (1797–1858)\u003cbr\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e Hara: Mount Fuji in the Morning\u003cbr\u003e\u003cstrong\u003eSeries:\u003c\/strong\u003e The Fifty-three Stations of the Tōkaidō\u003cbr\u003e\u003cstrong\u003eOriginal Design Date:\u003c\/strong\u003e c. 1833–1834\u003cbr\u003e\u003cstrong\u003eOriginal Publisher:\u003c\/strong\u003e Takenouchi Magohachi (Hōeidō)\u003cbr\u003e\u003cstrong\u003eReprint Publisher:\u003c\/strong\u003e Daiichi Kōgei\u003cbr\u003e\u003cstrong\u003eEdition:\u003c\/strong\u003e 20th-century Shōwa-period recarved edition\u003cbr\u003e\u003cstrong\u003eMedium:\u003c\/strong\u003e Genuine Japanese color woodblock print\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Ōban yoko-e\u003cbr\u003e\u003cstrong\u003ePaper Size:\u003c\/strong\u003e 14.25 X 10.125 in\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThis genuine Japanese woodblock print is a 20th-century Daiichi Kōgei reproduction of Hiroshige’s \u003cem\u003eHara\u003c\/em\u003e, the \u003cstrong\u003ethirteenth station of the Tōkaidō\u003c\/strong\u003e, from his celebrated Hōeidō \u003cem\u003eFifty-three Stations of the Tōkaidō\u003c\/em\u003e. The original design was published around 1833–34 by Takenouchi Magohachi (Hōeidō). The red \u003cstrong\u003eDaiichi Kōgei-ban\u003c\/strong\u003e inscription in the lower left margin identifies this impression as a later recarved edition rather than an Edo-period printing.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eHara\u003c\/em\u003e is dominated by an enormous view of Mount Fuji rising behind the marshlands outside the station. Hiroshige deliberately allows the mountain’s summit to extend beyond the upper border of the image, a simple but remarkably effective device that makes Fuji appear too large to be contained by the picture itself. Three travelers make their way along the road in the foreground while two cranes stand quietly in the marsh. The tiny figures, birds, and distant landscape emphasize the extraordinary scale of the mountain.\u003c\/p\u003e\n\u003cp\u003eThe composition is one of the most recognizable views from Hiroshige’s original Tōkaidō series. Its restrained palette and broad areas of open space give the landscape a calm, monumental quality, while the cropped summit is an early example of the unconventional compositional techniques Hiroshige would continue to develop throughout his career.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eInscriptions \u0026amp; Marks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eArtist: Utagawa Hiroshige\u003c\/li\u003e\n\u003cli\u003eTitle: \u003cem\u003eHara\u003c\/em\u003e (原)\u003c\/li\u003e\n\u003cli\u003eSeries: \u003cem\u003eTōkaidō Gojūsan-tsugi no Uchi\u003c\/em\u003e (東海道五拾三次之内), “The Fifty-three Stations of the Tōkaidō”\u003c\/li\u003e\n\u003cli\u003eStation: Hara, the thirteenth station of the Tōkaidō\u003c\/li\u003e\n\u003cli\u003eOriginal design date: c. 1833–1834\u003c\/li\u003e\n\u003cli\u003eOriginal publisher: Takenouchi Magohachi (Hōeidō)\u003c\/li\u003e\n\u003cli\u003eReprint publisher: Daiichi Kōgei\u003c\/li\u003e\n\u003cli\u003eRed Daiichi Kōgei edition mark in lower left margin\u003c\/li\u003e\n\u003cli\u003eHiroshige signature reproduced from the original design\u003c\/li\u003e\n\u003cli\u003eGenuine carved-and-printed Japanese woodblock reproduction\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good. Full margins with light overall toning and minor scattered surface marks consistent with age. Minor handling wear and light discoloration to the margins. Colors remain strong and attractive, with particularly good blues and strong definition throughout the landscape.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Artist:\u003c\/strong\u003e Utagawa Hiroshige (1797–1858) was one of the greatest masters of Japanese woodblock printmaking and the artist most closely associated with landscape ukiyo-e. Best known for his poetic depictions of travel, changing seasons, weather, and the quiet beauty of everyday life, Hiroshige transformed familiar places into deeply atmospheric works through his masterful use of composition and color. His celebrated series, including \u003cem\u003eThe Fifty-three Stations of the Tōkaidō\u003c\/em\u003e and \u003cem\u003eOne Hundred Famous Views of Edo\u003c\/em\u003e, became some of the most influential prints ever produced in Japan.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Series:\u003c\/strong\u003e \u003cem\u003eThe Fifty-three Stations of the Tōkaidō\u003c\/em\u003e, commonly known as the Hōeidō Tōkaidō, was published around 1833–34 and was the series that established Hiroshige as one of the leading landscape artists of the ukiyo-e tradition. Following the great highway connecting Edo with Kyoto, the series depicts the road’s post stations as well as its starting and ending points, combining recognizable landscapes with travelers, porters, merchants, pilgrims, and scenes of everyday life.\u003c\/p\u003e\n\u003cp\u003eThe series was an enormous success and became the defining project of Hiroshige’s early career. He would return to the Tōkaidō many times, but the Hōeidō edition remains his most famous interpretation of the route. \u003cem\u003eHara\u003c\/em\u003e is particularly memorable for its monumental treatment of Mount Fuji, whose summit famously breaks through the upper border of the composition.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout this Edition:\u003c\/strong\u003e This impression is \u003cstrong\u003enot an Edo-period printing\u003c\/strong\u003e. The red \u003cstrong\u003e第一巧藝版 (Daiichi Kōgei-ban)\u003c\/strong\u003einscription in the lower left margin identifies it as a later Japanese reproduction. Daiichi Kōgei editions were genuine woodblock prints produced from newly carved blocks after historic ukiyo-e designs rather than photomechanical reproductions. For a sales listing, I would conservatively describe this as a \u003cstrong\u003e20th-century Shōwa-period Daiichi Kōgei recarved edition\u003c\/strong\u003e unless documentation establishing a more precise publication date is available.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":63938878374259,"sku":null,"price":100.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1008\/3549\/2211\/files\/YGP00326.jpg?v=1786234026"},{"product_id":"tree-at-evening-red-joichi-hoshi","title":"Tree at Evening (Red) - Joichi Hoshi","description":"\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Joichi Hoshi (1913–1979)\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e \u003cem\u003eTree at Evening (Red)\u003c\/em\u003e \/ \u003cem\u003eEvening Tree (Red)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eMedium:\u003c\/strong\u003e Original color woodblock print\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eEdition:\u003c\/strong\u003e Original signed impression\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e 1970s\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eSignature:\u003c\/strong\u003e Pencil signed \u003cstrong\u003e“Joichi Hoshi”\u003c\/strong\u003e lower right\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eInscription:\u003c\/strong\u003e Japanese title inscribed in pencil lower left\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eArtist’s Seal:\u003c\/strong\u003e Printed seal within image, lower right\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eSize:\u003c\/strong\u003e Small-format print — 9 X 6.5 in\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThis \u003cstrong\u003eoriginal Japanese woodblock print by Joichi Hoshi\u003c\/strong\u003e depicts a solitary tree illuminated against a richly textured golden background. Hoshi’s characteristic layering of gold, ochre, crimson, and dark brown gives the image an almost luminous quality, transforming the simple tree into a monumental and contemplative presence.\u003c\/p\u003e\n\u003cp\u003eThe print is \u003cstrong\u003ehand-signed in pencil by Joichi Hoshi at lower right\u003c\/strong\u003e, with the Japanese title inscribed in pencil at lower left and Hoshi’s seal incorporated into the image. This is an original lifetime impression, not a reproduction.\u003c\/p\u003e\n\u003cp\u003eHoshi became particularly celebrated for his highly individual images of trees during the final decade of his career. Rather than treating them simply as landscape subjects, he isolated individual trees against expanses of metallic color, emphasizing their structure, age, and personality. His sophisticated use of overprinting and metallic pigments gives these works a distinctive surface that can change dramatically depending on the light.\u003c\/p\u003e\n\u003cp\u003eThis smaller-format example has much of the visual character of Hoshi’s larger tree prints in a particularly intimate scale. The warm gold ground and deep reddish foliage create a striking autumnal effect.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eInscriptions \u0026amp; Marks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003ePencil signed \u003cstrong\u003eJoichi Hoshi\u003c\/strong\u003e lower right\u003c\/li\u003e\n\u003cli\u003eJapanese title inscribed in pencil lower left\u003c\/li\u003e\n\u003cli\u003eHoshi artist seal within the image at lower right\u003c\/li\u003e\n\u003cli\u003eOriginal color woodblock print\u003c\/li\u003e\n\u003cli\u003eLifetime impression\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eGood. The sheet shows light toning consistent with age, with some discoloration\/matting around the image area and margins. There is a visible crease or handling mark within the right side of the image and minor surface wear. Colors remain rich, with strong metallic gold and deep red and brown tones. Please review all photographs carefully, as they form part of the condition description.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Artist:\u003c\/strong\u003e Joichi Hoshi (1913–1979) was one of the important Japanese woodblock artists of the postwar period. After studying at the Tokyo University of the Arts, Hoshi developed an immediately recognizable printmaking style characterized by dense textures, metallic pigments, and carefully layered color. Although he worked with a variety of subjects, he is best known for the solitary trees that dominated his work during the 1970s.\u003c\/p\u003e\n\u003cp\u003eHoshi's tree prints are among his most sought-after works. Their combination of traditional Japanese woodblock technique with a distinctly modern, almost abstract approach to color and texture has made his work popular with collectors of both \u003cstrong\u003esōsaku-hanga and postwar Japanese printmaking\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAuthenticity:\u003c\/strong\u003e This is an \u003cstrong\u003eoriginal Joichi Hoshi woodblock print, pencil signed by the artist\u003c\/strong\u003e, rather than a later reproduction or photomechanical print. The visible woodgrain, layered printing, metallic ground, pencil signature and artist’s seal are consistent with Hoshi’s original printed works.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":63938888139123,"sku":null,"price":1100.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1008\/3549\/2211\/files\/YGP00322.jpg?v=1786234309"},{"product_id":"house-at-okutama-shiro-kasamatsu","title":"House at Okutama - Shiro Kasamatsu","description":"\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e\u003cspan\u003e Shiro Kasamatsu (1898–1991)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eHouse at Okutama\u003c\/em\u003e\u003cspan\u003e (\u003c\/span\u003e\u003cem\u003eOkutama no Ie\u003c\/em\u003e\u003cspan\u003e, 奥多摩の家)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e\u003cspan\u003e 1955\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMedium:\u003c\/strong\u003e\u003cspan\u003e Original color woodblock print\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePublisher:\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eUnsodo (芸艸堂), Kyoto\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEdition:\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eLifetime impression\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSignature:\u003c\/strong\u003e\u003cspan\u003e Block-signed Shiro within the image\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMarks:\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eUnsodo publisher seal and carver\/printer seals in the left margin\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003c\/strong\u003e\u003cstrong\u003eSize:\u003c\/strong\u003e 16 X 10.75 in\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThis \u003cstrong\u003eoriginal lifetime woodblock print by Shiro Kasamatsu\u003c\/strong\u003e depicts a traditional rural house in Okutama, the mountainous region west of Tokyo. Kasamatsu builds the composition around the heavy tiled roofs and stone retaining wall, with autumn foliage providing restrained flashes of yellow and red against the atmospheric gray mountains beyond.\u003c\/p\u003e\n\u003cp\u003eThe Japanese title \u003cstrong\u003eOkutama no Ie (奥多摩の家), “House in Okutama,”\u003c\/strong\u003e appears in the upper left margin. This impression belongs to Kasamatsu’s postwar period, when he increasingly produced and published his own woodblock prints rather than working through the publisher Watanabe Shōzaburō.\u003c\/p\u003e\n\u003cp\u003eKasamatsu’s handling of the distant mountains is particularly effective here. Rather than outlining the landscape sharply, he uses a dense, textured gray field that gives the background the appearance of mist or low cloud, while the architectural details of the house remain crisp and graphic in the foreground.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eInscriptions \u0026amp; Marks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eJapanese title \u003cstrong\u003e奥多摩の家 (Okutama no Ie)\u003c\/strong\u003e in the upper left margin\u003c\/li\u003e\n\u003cli\u003eArtist signature within the image\u003c\/li\u003e\n\u003cli\u003eArtist\/publisher seals in the left margin\u003c\/li\u003e\n\u003cli\u003eOriginal Japanese color woodblock print\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good overall. The sheet retains full margins with visible deckled edges. Minor toning, handling wear and small areas of discoloration are consistent with age. Colors remain attractive, including strong yellow, red, gray and earthy brown tones. Please review all photographs carefully, as they form part of the condition description.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Artist:\u003c\/strong\u003e Shiro Kasamatsu (1898–1991) was an important 20th-century Japanese printmaker associated with both the \u003cstrong\u003eshin-hanga and sōsaku-hanga movements\u003c\/strong\u003e. He initially worked with the influential publisher Watanabe Shōzaburō, producing atmospheric landscapes in the shin-hanga tradition. Beginning in the 1950s, Kasamatsu increasingly carved, printed and published his own works, giving him greater control over the entire printmaking process.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":63938899149171,"sku":null,"price":900.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1008\/3549\/2211\/files\/YGP00318.jpg?v=1786234647"}],"url":"https:\/\/blueskyprintshop.com\/collections\/all-prints.oembed?page=2","provider":"Blue Sky Print Shop","version":"1.0","type":"link"}