Japanese Prints Ukiyo E

soon take over Nobunaga's position as the most powerful man in Japan. Arguably, Hideyoshi achieved this

. Pinhole. Top print has left colour impression on top edge of bottom print. Trimmed edges. This print

the samurai in feudal Japan.

the oni Shuten-dōji, a Japanese demon of folklore. After a series of mysterious disappearances near Mt

onnagata dressed as geisha by a riverside. The importance of design and imagery throughout Japanese culture

been depicted in the world of ukiyo-e.

. Entering Japan from the West, the then expensive and exotic pigment sparked a wealth of inspiration for

and exaggerated to suit kabuki plays and ukiyo-e. In the battle of Kurikara, the Minamoto clan got the

cm One of the last great masters of ukiyo-e, Kunichika was inspired by the plays, actors and customs

the emperor from the shogunate, the military rulers of Japan. In his landscape prints, Kiyochika

: Toheki-do Date: 1815 Size: 20.9 x 25.2 cm Condition report: Small tear on right side of the print. Pages

upper centre of right page. This print is from the Hokusai Manga (sketches) series published in 15

the Japanese epic The Tale of Heike. As shown in the print, Yoshitsune's prowess in combat was present

art, and, in fact has been represented as such in other ukiyo-e artworks. Both the strongest entities

: Residual mark from glue on the top left of the print. Pinhole on the right of the print. Vertical fold in

of woodblock prints by Hokusai. After that, the artist focused on Japanese traditional paintings

production of woodblock prints by Hokusai. After that, the artist focused on Japanese traditional paintings

Condition report: Pinhole and minute stain on the top. Backing. Margins slightly trimmed. This print shows

print from Yoshitoshi's series 'Thirty-Two Aspects of Customs and Manners', which chronologically

day Tokyo) was relatively new. Japan's history was arguably dominated by Kyoto, which was considered

, winning him the war and establishing his dynasty. Chikanobu's triptych in the yakusha-e style shows

Condition: Light wear and minor pigment spots on the margins. As with many of Hiroshige II's prints, those

, some creases and worn-out corners, small paper fibre on the surface. This print is from the Hokusai

. Particularly skilful in urushi-e, he produced charming, delicate works. Although he used many revolutionary

antlers and a crescent moon ornament, his totem and amulet. The armour has been printed with a jet black

slightly smudged. Top edge slightly worn. Summer in Japan is the season for fireworks (hanabi) and many

marks on the right, ink stain at the bottom. This print is from the Hokusai Manga (sketches) series

Artist: Chikanobu Yoshu (1838-1912) Title: June - Sannō Festival Series: Customs of Edo Throughout Twelve Months Publisher: Yokoyama Ryohachi Date: 1889 Dimensions: (L) 24.7 x 35.5 ...

Artist: Kuniyoshi Utagawa (1798-1861) Title: Story of Tamiya Botaro Publisher: Ningyoya Takichi Date: c. 1847-1852 Size: (L) 34.8 x 23.8, (C) 34.8 x 25.3, (R) 34.8 x 24.3 cm Conditio...

as "Utamaro of the Taisho era". Meanwhile he also exerted himself to the project of Ukiyo-e

the viewer. Woodblock print series revolving around Japan's most famous mountain has been created by

Western arts in Meiji period Japan (1868-1912), seemingly pushed woodblock print artists to explore more

35.9 cm Condition: Small pinhole on top right of print. Tape remaining from previous mount. Trimmed

Père Tanguy (1887). When Japanese woodblock prints began to circulate around Europe in the late

. Paper residue from previous backing. In this print Minamoto no Yorimitsu (948 – 1021), a regent of the

on the left side and minor creases on the top side of print. The print is of Horibe Yasubei

: 25.2 x 37.2 cm Condition: Stamp on back of print. Minor stain centre right. As night approaches, a

mounting on the back. This print is from the series of 'One Hundred Poems Narrated by the Nurse', which

major production of woodblock prints by Hokusai. After that, the artist focused on Japanese traditional

pinholes bottom right corner. Several restored holes and small holes on edges. This print shows a young

: 36.5 x 26.5 cm (with margins: 39.5 x 27.0 cm) The print shows a courtesan leisurely smoking as she

. Some stains and ink stains. Foxing in the centre-left of print. Yoshitoshi's last woodblock series

stain on top of the right page. This print is from the series one hundred views of Mount Fuji

constant state of nerves after the move to Fukuhara, and there were many strange apparitions. This print

) 36.2 x 25.3 cm Condition report: Vertical crease on right side of prints. Restoration on left print

Japanese medieval legend, the demon slayer often figures in the decorations of the spring Boy's Day

panel. Tear on the right side of the left print. Residue from previous backing. Size: (R) 25 x 36.8 (C

many of Hiroshige II's prints, those comprising the series 'One Hundred Famous Views in the Various

in Japan those days. The characters were also outlaws and brigands, seen as men of honour who would

back. Size: 36.2 x 24.7 cm In this print, Hiroshige II beautifully utilises a gradation of very

pigment on centre left. Unique to Eisen's oeuvre and often overlooked for his beauty prints, landscapes

, the Buddha of healing and medicine, which was carved around 1780. In this print, the mountain itself

print. Due to the nature of this scene, people were not permitted to leave or enter whilst it was being

leading up to his resignation as a print artist. 'Washday' is an example of Kiyonaga's high period work

. This print shows Osome and Hisamatsu, the daughter of a wealthy pawn-broker and an apprentice to the

on the bottom margin, posthumously printed by the Hashiguchi family Date: ca. 1950-52 Dimensions

colour is the word 'aoi', used interchangeably to refer to both green and blue in the Japanese language