Utagawa Hiroshige (Ando Hiroshige) Furniture

Hiroshige Utagawa "One Hundred Famous Views of Edo Kameido" Condition vertical width /114.5cm width /30.3Cm (actual paper) vertica...

This is an exclusive handprinted limited edition cyanotype. "Misty Sailboat Journey" is a handmade cyanotype print portraying a daytime sailboat journey...

An antique Japanese Edo period diptych woodblock print from the early to mid 19th century, signed by Utagawa Kuniyoshi. Immerse yourself in the Japanese Edo period artistry with this antique 19th-century diptych woodblock print. Signed by the artist, this captivating piece is a striking depiction of a tranquil interior scene, rendered in a soothing color palette of blue, pink, and black tones. This print comprises two panels, assembled under glass in a custom frame to form a cohesive narrative. The scene captures a specific moment in time, presenting a man surrounded by four women and a child, beautifully adorned in traditional Japanese garments. The intricate details of their clothing are a testament to the artisan's skill, bringing an element of authenticity and depth to the scene. On the left, three women sit in a state of relaxed conversation, while another stands, graciously offering a tray. Adding intrigue, two additional women can be spotted peeking through a slightly open window, one cleverly concealing her face behind a fan. A child, smaller in stature, sits attentively in front of the man, further enhancing the scene's narrative quality. A signature from the artist adds an additional layer of authenticity, making this piece a must-have for collectors of antique Japanese art...

Artist: Utagawa Hiroshige (1797 - 1858) Series: Pictures of Famous Places in the Sixty-odd Provinces Number: 44 Oki Province: Takuhi Shrine Medium: Woodblock Print Date: 1853 (Kaei 6), 12th month Number of Prints: 70/70 (inc. Title Page) Format: Vertical Oban Size (H x W): 14" x 9.25" print only. Publisher: Koshimuraya Heisuke (Koshihei) Blockcutter's mark: Hori Ko-Sen Signature: Hiroshige hitsu Additional marks: Censor's seals: aratame, Ox 12 Displayed with mat and gilt wood frame. Reference: For an identical print, see the collection of MIA (Minneapolis Institute of Art) Accession Number P.75.51.398; MFA...

"Grave of Santa Anna's Leg" Original Woodblock Print, Signed Artist's Proof Boldly colored woodblock print by Carol Summers (American, 1925-2016). This piece is a segment of a grave, with a headstone that has a skull and cross. There are two bright green plants flanking the headstone. Below the headstone and plants, there is a large arched blue shape, with a crescent moon and stars. A red leg, bent at the knee, cuts across the blue arch. Signed "Carol Summers" along the right edge of the blue shape. Numbered and titled "A/P Grave of Sant Anna's Leg" along the left edge of the blue shape. Presented in a silver colored aluminum frame. Frame size: 32.245"H x 27.25"W Paper size: 29.75"H x 24.5"W Carol Summers (1925-2016) has worked as an artist throughout the second half of the 20th century and into the first years of the next, outliving most of his mid-century modernist peers. Initially trained as a painter, Summers was drawn to color woodcuts around 1950 and it became his specialty thereafter. Over the years he has developed a process and style that is both innovative and readily recognizable. His art is known for it’s large scale, saturated fields of bold color, semi-abstract treatment of landscapes from around the world and a luminescent quality achieved through a printmaking process he invented. In a career that has extended over half a century, Summers has hand-pulled approximately 245 woodcuts in editions that have typically run from 25 to 100 in number. His talent was both inherited and learned. Born in 1925 in Kingston, a small town in upstate New York, Summers was raised in nearby Woodstock with his older sister, Mary. His parents were both artists who had met in art school in St. Louis. During the Great Depression, when Carol was growing up, his father supported the family as a medical illustrator until he could return to painting. His mother was a watercolorist and also quite knowledgeable about the different kinds of papers used for various kinds of painting. Many years later, Summers would paint or print on thinly textured paper originally collected by his mother. From 1948 to 1951, Carol Summers trained in the classical fine and studio arts at Bard College and at the Art Students League of New York. He studied painting with Steven Hirsh and printmaking with Louis Schanker. He admired the shapes and colors favored by early modernists Paul Klee (Sw: 1879-1940) and Matt Phillips (Am: b.1927- ). After graduating, Summers quit working as a part-time carpenter and cabinetmaker (which had supported his schooling and living expenses) to focus fulltime on art. That same year, an early abstract, Bridge No. 1 was selected for a Purchase Prize in a competition sponsored by the Brooklyn Museum. In 1952, his work (Cathedral, Construction and Icarus) was shown the first time at the Museum of Modern Art in New York City in an exhibition of American woodcuts...

Wonderful tropical Woodcut print of Palm Tree on island. Signed "Wessels" with a KW chop in a box above and 2012 lower edge. Presented in speckled pain...

Utagawa Hiroshige (1797–1858) One Hundred Famous Views of Edo - Koume Embankment mounted on a cardboard Artist: Utagawa Hiroshige is recognized as a master of the ukiyo-e woodblock ...

A Classic image by renowned Japanese printmaker Utagawa Toyonobu from his newly selected history of Toyotomi Hideyoshi series. A very good impres...

Kameyama is one of only two snow scenes in the Fifty-three Stations of thevTōkaidō Road series, and is greatly admired. It portrays a bright, clear day following a snowfall. Blue sha...

Two Actors - Japanese Woodblock by Toyohara Chikanobu (豊原周延, 1838–1912), better known to his contemporaries as Yōshū Chikanobu (楊洲周延). Colorful and expressive court scene. Two actors...

Stunning and rare, this beautiful and panoramic Japanese woodblock triptych print was produced in the 1850s in a now famed collaboration between renowned artists Utagawa (Ando) Hiroshige and Utagawa (Toyokuni III) Kunisada. Hiroshige was the leading landscape print artist and Kunisada the leading actor and figure print artists of their era. The print has all the correct artist's (Hiroshige's red rectangular seal), publisher and date seals and stamps. It was originally purchased from the Franell Gallery which was located in the Okura Hotel in Tokyo in the late 1960s and 1970s and owned by American artist and writer Frances Blakemore...

Tomio Kinoshita (1923 – 2014) Big Boys, 1960 Woodblock print Image size: 32.75 high by 22 inches wide (83 by 56 cm) Paper size: 35.5 high by 23.75 inches wide (90 by 60.3 cm) Signed: in pencil lower right, Tomio Kinoshita Titled: in pencil at lower left Edition: 30/50 Condition: Very good The woodblock for this large print was carved in 1958, just three years after Kinoshita’s began creating woodblocks. This print was signed and dated in 1960, but not numbered; prints were also pulled from this block in the 1970s, so it must have been one of more popular images. One of his students has written, “As time progressed further, the postwar era saw improvements in nutrition, and children became taller and heavier than in the past, but their lack of physical exercise and severely inferior physical abilities became a social problem; this is ironically depicted in Big Boys.” In 1963, Kinoshita told him that he had just finished pulling a print of this image in response to a request from Unichi Hiratsuka...