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Mama no Momiji Tekona no Yashiro Tsugihashi, ” The Red Maples of Mama at Tekona Shrine” from Meisho Edo hyakkei, the “One Hundred Views of Edo” published by Uoei between 1856 and 1858 ( this being Snake 1, 1857 ). Shows russet-coloured leaves between the boughs of an old maple. In the distance ponds and rice fields stretching to the distant Tsukuba hills. One of the finest designs from the set. Ex Illing collection. This impression illustrated in Richard Illing, Japanese Prints, Phaidon, 1976, no. 93.

Fine impression of the first edition. Fine colour. Left margin shaved towards top but retaining black border, otherwise fine condition. Signed Hiroshige ga.

Status: Sold

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Motoyama from the Sixty-nine Stations of the Kisokaido. The set was started by Eisen and published by Hoeido in 1835, but in 1837 Hiroshige took over and completed the series with the publisher Iseiri ( Kinjudo ). Shows two loggers relaxing on a tree that they have felled beneath another trunk that leans awkwardly across the path supported by a trestle making for a dramatic composition. These mountain areas supplied the timber for Edo.

Fine, early impression. Fine colour and very good condition. Signed Hiroshige ga.

Status: Sold

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Kashiwabara from the Sixty-nine Stations of the Kisokaido. The set was started by Eisen and published by Hoeido in 1835, but in 1837 Hiroshige took over and completed the series with the publisher Iseiri ( Kinjudo ). An evening scene showing porters outside the famous Kameya or Turtle shop. Besides the medicines and herbs, the shop also sold refreshments.

Very fine impression of the first edition. Fine colour. Very good condition. Signed Hiroshige ga.

Status: Sold

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Eitaibashi no zue, “Eitai Bridge” from an Edo meisho set published by Senichi, c 1840-42. An extremely rare set, obviously not popular as examples are only known in fine impression. ( Not listed in Edward Strange’s monograph on Hiroshige. ) Illustrated in colour, Tamba, The Art of Hiroshige, no. 36. Aiban.

Very fine impression. Fine colour. Minor backed wormage top right corner. Very full margins. Signed Hiroshige ga.

Status: Sold

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Evening Rain at Karasaki, Karasaki no yau, the finest design from the set: Omi hakkei no uchi, “Eight Views in Omi Province.” The series of eight prints was published by Hoeido and Eikyudo, c. 1834-5. When first published it was advertised as a “work in black and white, lightly coloured, “ and Hiroshige was never to surpass the ethereal quality that these figureless landscapes possess. The theme “Eight Views” was borrowed from Chinese poetry and each print conveys pictorially the poem written in the square label at the top right. Beside it, in a red label, is the series title. The designs for the set are known in various states and there are variations in colouring and gradation. This is particularly relevant to this design and there is dispute as to which is the earliest state. In fact the first printing appears to be the Yan Buhl impression illustrated in Hiroshige, Hotei publishing, 2008, no. 48, p. 54: the kiwame seal on this example is higher than on all other printings ( presuming no remargining, which does not appear to be the case ); the break on the top of the right rigging of the tallest boat, far right, is not evident, and the gradation on the pine is across the top and down towards the bottom right. Many of these great designs seemed to inspire the publishers and/or printers to experiment with different colour schemes and gradation. ( As with the Kuniyoshi Nichiren in snow on this website. ) Later states had gradation completely across top of pine; down left side only; or with gradation from the bottom up, and a green version is also known. The later editions also had the area around the Hoeido seal cleared so that the rain did not intrude. The old pine no longer exists and was replaced with another. One of the finest 19th century landscapes. An almost abstract composition which transcends the usual views of the countryside that the curious Edo public bought and the views of the capital purchased as souvenirs, to reach a completely different aesthetic.

Fine, early impression with the gradation at top of pine and down towards right. Very good colour. Minor restoration, otherwise very good condition. Signed Hiroshige ga.

Status: Sold

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Gyotoku kihan, “Returning Sails at Gyotoku “ from the series Edo kinko hakkei no uchi, “Eight Views of the Environs of Edo. “ A very fine early set published by Kikakudo, c. 1837 – 8. The first private edition of this set was commissioned by the contemporary poet Taihaido and these prints have Taihaido kaihan, “Prints inaugurated by Taihaido “ in the left margin and three or four poems. They were probably for the poetry club and are excessively rare. The commercial edition is also rare and they are invariably fine impressions with one or two poems.

Very fine impression. Fine colour. Left margin remargined but retaining black border, otherwise very good condition. Signed Hiroshige ga.

Status: Sold

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Heavy snow and visitors to the Shiba Jingu Palace from an oban set Edo Meisho of approx. 45 prints published by Yamada-ya, 1853 – 1858, half being published in 1853. This design published 1858. A rare snow scene.

Fine impression and colour. Slight centre fold, otherwise good condition. Signed Hiroshige ga.

Status: Sold

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A chutanzaku print showing Asakusa, Kinryuzan [ Temple ] in snow from a rare set of Famous Views of the Eastern Capital. For others – probably from the same set – see Kobijutsu, Special Edition, Hiroshige, number 3, 1983, nos. 193, 195, 197, 198 and 199. No publisher’s seal, c.1840-41. See Hiroshige’s 1856 oban version of the same subject from the 100 Views of Edo on this website.

Very good impression and colour. Very good condition. Signed Hiroshige ga.

Status: Sold

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Evening Bell at Miidera Temple, Mii no bansho, from the set: Omi hakkei no uchi, “Eight Views in Omi Province.” The series of eight prints was published by Hoeido and Eikyudo, c.1834-5. When first published it was advertised as a “work in black and white, lightly coloured,” and Hiroshige was never to surpass the ethereal quality that these figureless landscapes possess. The theme “Eight Views” was borrowed from Chinese poetry and each print conveys pictorially the poem written in the square label at the top right. Beside it, in a red label, is the series title. The designs for the set are known in various states and there are variations in colouring and gradation.

Very good impression. Fine colour. Imperceptible centre fold, otherwise fine condition. A lovely example on thick hosho of this design. Beautiful colouring without the brown gradation at base which detracts from some impressions. Signed Hiroshige ga.

Status: Sold

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Weather Clearing at Awazu, Awazu no seiran, from the set: Omi hakkei no uchi, “Eight Views in Omi Province.” The series of eight prints was published by Hoeido and Eikyudo, c.1834-5. When first published it was advertised as a “work in black and white, lightly coloured,” and Hiroshige was never to surpass the ethereal quality that these figureless landscapes possess. The theme “Eight Views” was borrowed from Chinese poetry and each print conveys pictorially the poem written in the square label at the top right. Beside it, in a red label, is the series title. The designs for the set are known in various states and there are variations in colouring and gradation.

Very good impression. Some slight fading, otherwise very good condition. Seal of Wakai Kenzaburo ( 1834-1908 ) bottom left corner. Wakai was a dealer and collector in Paris and Hayashi became his assistant. When Wakai retired in 1886 Hayashi went on to become the most successful dealer in France. Signed Hiroshige ga.

Status: Sold

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Awa no naruto no fuha, “Rough Seas at the Whirlpools of Awa.” The best design from the Famous Places in the Sixty-odd Provinces published by Koshimuraya Heisuke, 1853 – 6 ( this design Hare 9 [ 1855 ] ). The area of water between Awa Province on the Island of Shikoku and the smaller island of Awaji where the waters of the Inland Sea and the Pacific Ocean meet was notorious for its whirlpools. ( See the triptych design of the same subject published two years later on this website. ) A famous design and justly popular.

Good impression with woodgrain showing on rocks and sky. The earliest impression I have seen was the Walter Amstutz copy ( ex Popper ), lot 207, Sothebys, 1991. Examination of that example shows that the narrow area of sea immediately below the distant hills differs and was obviously recut on all but this earliest state. Likewise, later impressions appear to have a different block for the sky as they do not show the distinctive woodgrain. Slight fading and marks, otherwise good condition. Signed Hiroshige ga.

Status: Sold

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A rare tanzaku from a Toto Meisho set showing Nihonbashi in snow. Edo Castle and Mount Fuji in the background forming a clever zig-zag composition. Published by Shogendo c. 1837-8. Illustrated in colour in Tsuneo Tamba, The Art of Hiroshige, pl. 32.

Very good impression and colour. Small repaired wormage top right edge, otherwise good condition. Signed Hiroshige ga.

Status: Sold

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Horikiri no hana shobu, “Flowering Irises at Horikiri” from Meisho Edo hyakkei, the “One Hundred Views of Edo” published by Uoei between 1856 and 1858 ( this being 1857 ). The village of Horikiri, situated up the Sumida River from Edo, was famous for growing irises, azaleas, morning glory and chrysanthemums. Large foreground images, such as the blooms here, was a popular compositional device used by Hiroshige and impressed and was picked-up by many French artists of the late 19th century. One of Hiroshige’s most popular prints.

Very good impression with strong woodgrain still evident in the sky and right iris. Fine colour and condition. Later editions have the right iris printed with solid colour. Signed Hiroshige ga.

Status: Sold

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The one hundred thousand tsubo [ an area of measure ] plain, Suzaki, Fukagawa, from Meisho Edo hyakkei, the “One Hundred Views of Edo” published by Uoei between 1856 and 1858 ( this being 1857 ). An eagle hovers over the snowy coastal plain at Suzaki with Mount Tsukuba and the Chiba mountains in the distance. This and the other similar designs from the set with large foreground objects were of particular interest to the Post Impressionists, and indeed, this design was considered by many collectors at the turn of the 19th century to be the finest print from the set. It is still judged to be one of the major designs.

Very good impression. Fine colour. Imperceptible centre fold, otherwise very good condition. Signed Hiroshige ga.

Status: Sold

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An extremely rare print with title: Genji monogatari Suma no maki, “The Suma Chapter from the Tale of Genji. “ Published by Maruya Seijiro, c 1832-4. Shows the salt water gatherers Matsukaze “Pine Wind”and Murasame “Drops of Rain” at Suma Beach. In the summer house is the courtier Yukihira who was banished to this lonely place in Settsu. This is the first edition: republished without clouds and title slip at right. ( See Tsuneo Tamba, The Art of Hiroshige, 1965, no. 131, p. 62. )

Good impression; very good colour. Centre fold. Signed Hiroshige ga.

Status: Sold

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A vertical diptych showing a deep gorge covered in snow and the Fuji River which flowed to the left of Mount Fuji and eventually entered Suruga Bay. One of Hiroshige’s major designs and rare ( Strange: “One of the great landscapes of the nineteenth century.” ) Published by Sanoya Kihei, c 1840-2. It is not generally known that there are two distinct states of this print with a different block used for the sky and the two peaks top left with different outlines: See here and J. Hillier, Gale Catalogue of Japanese Paintings and Prints, Routledge, 1970, no. 280 and ( alternative ): Matthi Forrer, Hiroshige, Prestel, 1997, ( Baur collection, Geneva ), no. 118. Both appear to be similar impressions.

Very good impression, colour and condition. Full size. Signed Hiroshige hitsu.

Status: Sold

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Awa no naruto no fuha, “ Rough Seas at the Whirlpools of Awa.” The best design from the Famous Places in the Sixty-Odd Provinces published by Koshimuraya Heisuke, 1853 – 6 ( this design Hare 9 [ 1855 ] ). The area of water between Awa Province on the Island of Shikoku and the smaller island of Awaji where the waters of the Inland Sea and the Pacific Ocean meet was notorious for its whirlpools. ( See the triptych design of same subject published two years later on this website. ) A famous design and justly popular. An unidentified collector’s seal bottom left corner ( F.E. or T.E. ? ).

Extremely good, early impression with good woodgrain showing on rocks and sky. The earliest impression I have seen was the Walter Amstutz copy ( ex Popper ), lot 207, Sothebys, 1991. Examination of that example shows that the narrow area of sea immediately below the distant hills differs and was obviously recut on all but this earliest state. Likewise, later impressions appear to have a different block for sky as they do not show the distinctive woodgrain. Margins a little narrow on two sides, but otherwise very good condition and colour. Signed Hiroshige ga.

Status: Sold

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Saruwakacho yoru no kei, “Night View of Saruwaka ( Monkey ) Theatre Street ” from The Hundred Views of Edo published Dragon 9, 1856, by Uoya Eikichi. One of the best prints from the set and a striking design with its deep perspective and shadows. The avenue was where Edo’s kabuki and puppet theatres were rebuilt after a fire in 1841. There were also tea-houses and restaurants. Various editions exist of this print and the easiest way of identifying them is by the block used for the evening sky: The earliest state has a distinctive woodgrain ( see this website also Kobijutsu, Special Issue, Hiroshige, March 1983, no. 414 ). The second state ( as here ) also has a distinctive, but different, woodgrain pattern, while the third and later states lack any prominent woodgrain in the sky ( see Hiroshige, Matthi Forrer, 1997, no. 98 ). The moon is also placed differently on first and subsequent editions together with other small changes in the lanterns and lights.

Fine, early edition with nice bokashi against the moon. Very good colour and condition. This state has sumi graded at the end of the street and emphasised shadows which gives a different feel from the first state. One’s preference is subjective. Signed Hiroshige ga.

Status: Sold

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Shimabara deguchi no yanagi, “The Willow at the Gate of Shimabara” from the set of ten prints: Kyoto meisho no uchi, “Famous Places of Kyoto.” Published c 1834 by Eisendo. Shows the entrance to the walled brothel district of Kyoto with a night reveller being helped home. A courtesan with her attendants on the right. This is the rare first edition from this fine set with Eisendo’s blue seal and a blue kiwame seal in right margin. The second has just the kiwame seal, and the third has no seals.

Fine impression. Imperceptible centre fold. Fine colour and condition. Signed Hiroshige ga.

Status: Sold

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Oyama, Roben no taki from Sankai mitate sumo, “Mountains and Sea Contending Like Wrestlers.” The set of twenty prints – ten of mountains and ten of harbours – has the title in an umpire’s fan used for wrestling matches. The Roben Waterfall was very popular with pilgrims visiting the shrine in summer. How popular can be judged by looking at Kuniyoshi’s triptych of this subject ( see Kuniyoshi, Juzo Suzuki, 1992, plate 12 ). This design is the second best, after the snow scene, from the set. The first edition with variegated cartouche. Published Horse 7 and 8, 1858 by Yamadaya.

Fine impression and colour. Imperceptible centre fold, otherwise very good condition. Signed Hiroshige ga.

Status: Sold

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Ohashi, Atake no yudachi, ” Ohashi, Sudden Shower at Atake” from Edo hyakkei, “One Hundred Views of Edo.” A lovely example of this design which, apart from the Great Wave, is probably the best known Japanese print, and because of this, examples come onto the market often heavily revamped and/or restored and/or very late editions. It was copied by Van Gogh in oils, 1888 ( see Catalogue of the Van Gogh Museum’s collection of Japanese prints, no. 91, p. 99 ). Published Snake Year ( Ansei IV/9 ), October 1857 by Uoya Eikichi. Provenance: Sold by me in 1980.

Not first edition but a careful early impression, with the pillars of the bridge overprinted with light yellow to contrast with the grey of the struts. Numerous states exist of this design and they are well documented. ( Interestingly, the supposed earliest state [ with the silhouettes of two boats on far shore ] has an unattractive colour and gradation scheme – reminiscent of the later editions. This was quickly corrected. ) Fine colour. Slight discolouration in right margin, otherwise fine condition; full size. Signed Hiroshige ga.

Status: Sold