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Hiroshige IIKintai Bridge at Iwakuni in Suo Province (Suo iwakuni kintai-bashi), 18591859
1859
$12,000
£9,056.07
€10,367.83
CA$16,923.98
A$18,580.42
CHF 9,693.44
MX$224,848.92
NOK 121,492.27
SEK 114,477.66
DKK 77,393.09
About the Item
Utagawa Hiroshige II (1829-1869), 'Kintai Bridge at Iwakuni in Suo Province' (Suo iwakuni kintai-bashi), from the series 'One Hundred Views of Famous Places in the Provinces' (Shokoku meisho hyakkei). woodblock print, 1859.
A fine, early impression, with rich, fresh colors, mica in the snow, and pronounced woodgrain, on cream Japan paper; the full sheet, in original condition, uncleaned and without repairs.
Signed Hiroshige ga, with publisher's seal Uoei of Uoya Eikichi, censor's and date seal Goat 11 aratame (1859).
Oban tate-e; image size 14 3/4 x 9 15/16 inches (506 x 375 mm).
The Kintai-bashi (Bridge of the Brocade Sash) crosses the Nishikawa (Brocade River) in Iwakuni. It was built in 1673 with five arches supported by wood pilings under the arches near the shore and four massive stone pilings engineered to withstand annual flooding that had destroyed earlier bridges with wood pilings. The original survived until 1950, when it was destroyed by a typhoon—the beloved bridge was reconstructed in 1953 by Iwakuni City.
The Kintai-bashi's graceful form, poetic name, and acclaimed feat of engineering made it one of the most famous bridges in Japan's provinces. Twenty-five years earlier, Katsushika Hokusai (1760-1849) included the bridge in his series, 'Unusual Views of Famous Bridges in the Provinces', depicting figures crossing the looping span during a rain shower.
Exhibited:
'Near and Far: Landscapes by Japanese Artists', The Clark Center for Japanese Art and Culture, Hanford, California, January 6 - April 20, 2013
Other impressions of this celebrated work are held in the collections of the Art Institute of Chicago, Asian Art Museum, British Museum, Clark Art Institute, Fine Arts Museums of San Francisco, Harvard Art Museums, and the Museum of Fine Arts Boston.
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“I do not paint subjective impressions. My work is based on reality...I can not falsify...(but) I can simplify…I make mental impressions of the light and color at the time of sketching. While coloring the sketch, I am already imagining the effects in a woodblock print.” — Kawase Hasui
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