Toyohara Chikanobu Landscape Prints

Japanese Woodblock print of a Biensennyo-ko a powder face women. Behind the women is a framed cityscape. The print is possibly from the series "Eight Favorite Things in the Modern World". The woodblock print is printed on rice paper. The print is not framed. Artist Biography: Keisai Eisen...

Edo Meisho woodblock print of a famous Japanese coastal dock. This woodblock is most likely apart of the series "One Hundred Famous Views of Edo." The woodblock print is printed on r...

An ink on paper, Nishiki-e and Yoko-e woodblock landscape showing a view of the sun rising over a snow-laden town and a procession heading towards a castle. Signed in Kanji lower rig...

Utagawa Hiroshige II (1829-1869), 'Kintai Bridge at Iwakuni in Suo Province' (Suo iwakuni kintai-bashi), from the series 'One Hundred Views of Famous Pla...

Tokyo: Yokoyama Ryohachi, 1892 Woodcut in ink with embossing and hand-coloring in watercolor on handmade mulberry paper, 14 1/2 x 9 7/8 inches (368 x 251 mm), ōban tate-e, the full ...

Shichirigahama, Sagami Province. A beauty in the foreground waves to her young companions, who run towards her on the beach. The beauty at left wears a western-style golden ring. We ...

Artist: Utagawa Hiroshige (1797-1858) Japanese Title: The Moon Crossing Bridge at Arashiyama in Yamashiro Province Medium: Original Woodblock Print Year: 1853 - 1856 Dimensions: Framed 16" x 23", Unframed 8.5" x 13" Hiroshige Utagawa grew up in a samurai family in Edo where both him and his father were in the fire service before being orphaned. Hiroshige’s first formal art teacher was Rinsai. Though Hiroshige tried to join Toyokuni Utagawa's studio, he was turned away. In 1811, young Hiroshige entered an apprenticeship with the celebrated Toyohiro Utagawa. After only a year, he was bestowed with the artist name Hiroshige. He gave up his role in the fire department to focus entirely on painting and print design. He studied painting, intrigued by the Shijo school. Hiroshige’s artistic genius wasn’t recognized until 1832 when he became a master of the ukiyo-e woodblock printing tradition, creating 8000 prints in saturated color. His series of woodblock prints of the Tokaido road connecting Edo to Kyoto was his breakthrough series known as The 53 Stations of the Tokaido (1832-1833). His most renowned series was known as 100 Famous Views of Edo...

Mid-Century coloured woodblock print of 'ploughing the fields' by 20th century Japanese artist Ini Kumo. The print is hand-signed in pencil, dated 1966 and numbered 130/700 to the bottom right and presented under glass in a black wooden frame. A beautiful woodblock printed image of a Japanese farmer in traditional attire ploughing the land with his ox. It is early evening and as the sun goes down it casts long shadows in front of the two figures. Perhaps the farmer is on his way back to the houses grouped in the distance already in shadow. The artist has carefully picked out areas of vibrant green and blue to give energy and colour to the image which contrast against the black of the ox. A thoroughly enchanting image. Ini Kumo is a recognised Sõsaku-hanga artist. His work is included in the Metropolitan Museum of Art in New York. Sōsaku-hanga (創作版画, "creative prints") was an art movement of woodblock printing which was conceived in early 20th-century Japan. It stressed the artist as the sole creator motivated by a desire for self-expression, and advocated principles of art that is "self-drawn" (自画 jiga), "self-carved" (自刻 jikoku) and "self-printed" (自摺 jizuri). As opposed to the parallel shin-hanga ("new prints") movement that maintained the traditional ukiyo-e collaborative system where the artist, carver, printer, and publisher engaged in division of labor. The birth of the sōsaku-hanga movement was signaled by Kanae Yamamoto...

Paris: Cadart & Luquet, 1865 Etching and engraving on Chine-collé mounted to watermarked Aqua-Fortistes cream laid paper 14 1/2 x 10 5/8 inches (367 x 268 mm), full margins. In very...

A boy kneels on a grass slope, trying to tempt an unseen animal. Paris: Cadart & Luquet, 1865 Etching and engraving on Chine-collé mounted to watermarked Aqua-Fortistes cream laid ...

The Battle of Dan-no-ura in Yashima, Nagato Province in the First Year of the Bunji Era (1185) Tokyo c. 1830 Woodblock print (nishiki-e) with ink and hand-coloring in watercolor on handmade mulberry paper, 14 7/16 x 9 15/16 inches (367 x 252 mm), ōban tate-e, the full sheet. In good condition with some handling creases. Colors are fresh and extremely vibrant. The right panel from the triptych by Yoshitora depicting one of Japan's most storied naval battles. An impression of this work may be found in the permanent collection of the Honolulu Museum of Art. The great naval battle of Dan-no-ura in 1185 was the final climax in a long series of bitter wars between two powerful families in feudal Japan...

Etching and drypoint on chine collé laid down to cream wove paper, 12 5/8 x 8 5/8 inches (318 x 217 mm), full margins. Signed, titled, and numbered 68/100 in pencil, lower margin. Th...