Kitao MASANOBU (1761-1816)
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Shows a couple caught in a downpour, the man shielding his companion with an umbrella. They are on the shore of Lake Biwa, northeast of Kyoto. In the distance can be seen the famous ancient pine tree in the grounds of the Karasaki Shrine. An unsigned (few of Masanobu’s prints are signed or have publisher’s seals) chuban set Furyu Omi hakkei, “Fashionable Eight Views of Omi,” this being night rain at Karasaki. Wrote under the name Santo Kyoden. Was also a painter, and illustrator of his own novels while owning a tobacco accessory shop. Published c. 1783. Rare.
Fine impression and colour. Small backing paper at top two corners, otherwise fine condition.
Status: Available
Tsukioka YOSHITOSHI (1839-1892)
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Shows Sagami Jiro Taira no Masakado on horseback attacking an opponent and having cut his sword in two. From a set Yoshitoshi musha burui, “Yoshitoshi’s Courageous Warriors.” Published by Kobayashi Tetsujiro, 1883.
Very fine impression: This is the first edition with three-colour cartouche and small red seals in left margin. There are late editions of this set. It was republished by Tsunajima Kamekichi in 1886. Fine colour. Slight soil bottom edge, otherwise very good condition. Signed Taiso Yoshitoshi ga.
Status: Available
Kikugawa EIZAN (1787-1867)
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The geisha Hinaogi of the Daikokuya preparing to play the koto. She is adjusting the tsume (plectra) on her fingers that were used to pluck the strings. The title is enigmatic: It reads Ka getsu kai, “Harbinger of Moon and Flower” and if the character for “moon” is omitted it reads “oiran” (the highest ranking courtesan). Published by Enomotoya Kichibei, c. early 1830s. There is in fact a later copy of this print by Kunisada.
Fine impression. Excellent colour. Very good condition. Signed Eizan hitsu.
Status: Available
Utagawa YOSHITSURU (Fl. c. 1840-50)
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A fine original drawing by Yoshitsuru who was a pupil of Kuniyoshi. Sumi and slight colour on thin paper lightly adhered to a card, 13.25 x 10 in; 33.5 x 25.5 cms. The head drawn in great detail. Probably for an unpublished set of warrior prints. Shows a bajutsu samurai attacking an enemy on horseback.
In good condition apart from minor defects associated with a drawing’s survival. Signed Isseisai Yoshitsuru ga.
Status: Available
Utagawa HIROSHIGE (1797-1858)
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Horikiri no hana shobu, “Iris Garden at Horikiri” from Meisho Edo hyakkei, “Hundred Famous Views of Edo.” Published by Uoya Eikichi, 1856-58 (this being 1857). Horikiri village on the Arakawa River, north of Edo, was famous for growing irises, chrysanthemums, morning glory and azaleas for the Edo market. One of the most popular prints from the set. Provenance: Purchased from me in 2008.
Fine early impression. Fine colour and condition. Signed Hiroshige ga.
Status: Available
Utagawa HIROSHIGE (1797-1858)
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Harima Tatsuyama, “Mount Tatsu [Dragon] in Harima [Province]” from a set of twenty prints Sankai mitate zumo, “Wrestling Matches Between Mountains and Sea.” A fanciful and imaginative title lacking in other Hiroshige sets. Comprises of ten prints of mountains and ten prints of harbours. A fine snow scene. Published by Yamadaya Shojiro, 1858. The title is in a wrestling umpire’s fan (gunbai).
Fine impression of the first edition: Later printings have a solid red in the title cartouche instead of variegated colour and lack other subtleties. Fine colour with oxidation. Very slight discoloration in top right margin and imperceptible centre fold, otherwise very good condition. Signed Hiroshige ga.
Status: Available
Kawanabe KYOSAI (1831-1889)
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A fine original Kyosai painting, full colour on silk, 47.5 x 16.5 in; 121 x 42 cms. Shows Emma, the King of Hell, walking with and holding an umbrella above a courtesan while a ghoulish oni looks on wearing a costume of gunnera leaves. Emma-O is the Japanese Buddhist version of Yama, the Hindu god of death. It was he who assigned people after death to one of the states of reincarnation. He is shown with the headdress, robes and holding the staff of a Chinese judge. The preparatory drawing for this painting is illustrated in Kawanabe Kyosai, In Honour of 100TH Anniversary of His Death, published by Ukiyoe Ota Kinen Bijutsuken, 1989, no. 61, p. 60. Kyosai was a draughtsman of great dexterity with a wild, often bizarre, imagination. Loved sake, sometimes painting under its influence. At an early stage studied under Kuniyoshi, then Maemura Towa and later Kano Chinshin before becoming an independent painter at 27. Adept at highly finished paintings but also produced a large corpus of spontaneous paintings.
In very good condition. Signed Seisai Kyosai with Kyosai seal.
Status: Available
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Kawanabe KYOSAI (1831-1889)
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A fine original Kyosai painting, full colour on paper, 51.5 x 21.5 in; 131 x 54.5 cms. Shows Otafuku being carried across a river on the back of a blue oni. They look down with consternation at a red oni who has fallen into the water spilling his basket of mushrooms. The face of the blue oni takes on the appearance of Hyottoko, the male pairing of Otafuku. Known as the Goddess of Mirth, Otafuku is often shown with the Seven Gods of Good Fortune. There are various theories as to her origins and her face, in the form of a mask, has become ubiquitous. Kyosai was a draughtsman of great dexterity with a wild, often bizarre, imagination. Loved sake, sometimes painting under its influence. At an early stage studied under Kuniyoshi, then Maemura Towa and later Kano Chinshin before becoming an independent painter at 27. Adept at highly finished paintings but also produced a large corpus of spontaneous paintings.
In very good condition. Provenance: The inside of the lid on the box is signed and sealed by Mano Gyotei (Kyotei) who was Kyosai’s pupil and guarantees the painting. Sealed Kyosai.
Status: Available
Totoya HOKKEI (1780-1850)
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An original painting by Hokkei, full colour on silk, 41.5 x 19.25 in; 105.5 x 49 cms. Hokkei was one of the earliest and best pupils of Hokusai. Probably best known for his large output of surimono, but also produced illustrated books and paintings. Shows a beauty fulling cloth beside the Kinuta River, Settsu Province. She gazes at the full moon and a flight of geese. On each side of the stream is Japanese bush clover, associated in Japan with autumnal melancholy and unrequited love.
Signed Hokkei ga with Hokkei seal.
Status: Available
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Kitagawa UTAMARO (1753-1806)
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A beauty with a child on her back. Amagoi Komachi from a set Furyu nana Komachi, “Fashionable Seven Komachi.” Events from the life of Ono no Komachi, one of the six best waka poets of the Heian period. Published by Iseya Soemon, c. 1805.
Very good impression. Fine colour. Slight trimming, otherwise very good condition. Signed Utamaro hitsu.
Status: Available
Utagawa HIROSHIGE (1797-1858)
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Bingo, Abuto, Kannondo, “Bingo [Province], Abuto Kannon Temple” from Rokujuyoshu meisho zu, “Famous Views of the Sixty-odd Provinces” published by Koshimuraya Heisuke in 1853-56 (this being 1853). The spectacular position of this small Buddhist temple is at the tip of Cape Abusagi overlooking the Seto Island Sea. This is the first edition with the added cloud top left and extra bokashi. The red signature and title labels are double-printed to give a more saturated colour (also found on early impressions of the Thirty-six Views of Fuji set). Provenance: Purchased from me in 1982.
Fine impression, colour and condition. Signed Hiroshige ga.
Status: Available
Utagawa HIROSHIGE (1797-1858)
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Suruga, Miho no Matsubara, “Pine Beach of Miho in Suruga [Province]” from Fuji sanjurokkei, “Thirty-six Views of Fuji” published by Tsutaya Kichizo, 1858. A striking design with the yellow sky and one of the best prints from the set. The Miho peninsula has a seven-kilometre seashore lined with pine trees.
Fine early impression and colour with the red signature and title labels double-printed to give a more saturated colour. Fine condition. Signed Hiroshige ga.
Status: Available
Utagawa HIROSHIGE (1797-1858)
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Tango, Ama no hashidate, “Tango [Province], Ama no hashidata” from Rokujuyoshu meisho zu, “Famous Views of the Sixty-odd Provinces” published by Koshimuraya Heisuke in 1853-56 (this being 1853). Shows the “Heaven’s Bridge” peninsula of pine trees extending into Miyazu Bay. One of the Nihon sankei, “Three Famous Views of Japan.”
ga.
Very good impression and colour. (The success of this print depends entirely on the bokashi clouds wiped across the design: Impressions vary depending on the dexterity of the printer.) Margins trimmed, otherwise very good condition. Signed Hiroshige ga.
Status: Available
Utagawa HIROSHIGE (1797-1858)
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Tokaido hidari Fuji, “Fuji Seen from the left on the Tokaido [Road]” from Fuji sanjurokkei, “Thirty-six Views of Fuji” published by Tsutaya Kichizo, 1858. Shows travellers on the Tokaido Road at Oiso with workers in rice paddies beyond.
Fine early impression and colour with the red signature and title labels double-printed to give a more saturated colour. Bottom margin trimmed close, otherwise fine condition. Signed Hiroshige ga.
Status: Available
Utagawa HIROSHIGE (1797-1858)
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Seki from a Tokaido set published by Maruya Seijiro, 1850-51, hence it is often referred to as the Marusei Tokaido. Also known as the Reisho Tokaido because the title “Tokaido” is written in formal script. Below is the station number 48. Seki was located where the two highways of Tokaido and Ise-ji meet. Seki means “barrier checkpoint.” Figures pass beneath a torii gate on a snowy hillside.
Fine impression and colour. Minor edge soil, otherwise very good condition. Signed Hiroshige ga.
Status: Available
Utagawa HIROSHIGE (1797-1858)
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The Kinuta (or Toi) river in Settsu Province from Shokoku Mu Tamagawa, “Six Crystal Rivers in Various Provinces.” Published by Maruya Kyushiro, 1857. Shows two women fulling cloth beneath a full moon. An autumnal night activity. Kinuta is the name given to the mallet used to beat the cloth.
Fine impression and colour. Small repair top left corner and slight edge soil, otherwise good condition. Signed Hiroshige ga.
Status: Available
Utagawa KUNIYOSHI (1797-1861)
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A dramatic shini-e (“memorial picture”) of the kabuki actor Nakamura Utaemon IV. Unsigned, as is usual with this sort of print, but the attribution to Kuniyoshi is certain: An original Kuniyoshi preparatory drawing for this print exists in the Rijksmuseum, Leiden (3513-663). Utaemon is shown in the role of Taira Kiyomori, the leader of the Taira Clan, seen here dressed as a monk. The print gives the date of his death as 17/2/1852. The tanka poem, above, is by Kuniyoshi’s friend the poet Umeya Kakuju (Murota Matabei).
Fine impression and colour. Slight trimming and centre fold, otherwise very good condition.
Status: Available
Utagawa KUNIYOSHI (1797-1861)
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A fine chuban design showing Keyamura Rokusuke (aka Kida Magobee Muneharu), a famous farmer turned samurai and sumo wrestler of incredible strength, doing penance for seven days under the waterfall at Hikosan Gongen praying for his mother. Two Tengu watch from above. Waterfalls were one of the go-to-places to perform filial piety as they were considered to purify the soul in Shinto/Buddhist culture. From a set Honcho nijushiko, “Twenty-four Paragons of Filial Piety of our Country.” Published by Murataya Tetsu, 1843-6.
Fine impression and colour. Small nick out of top, otherwise very good condition. The signature Ichiyusai Kuniyoshi ga is on the extreme left edge and is often trimmed.
Status: Available
Utagawa KUNIYOSHI (1797-1861)
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The general Morozumi Masakiyo, Lord of Bungo and a retainer of the Takeda Clan (Shingen of Kai Province) in a battle with the Uesugi Clan (Kenshin of Echigo Province), the wars taking place between 1553 and 1563. From a set Koetsu yusho den, “Stories of Courageous Generals of the Provinces of Echigo and Kai.” Masakiyo is shown committing suicide by inserting his sword into his mouth while being blown up by a land-mine. As with so much in Japan, the land-mine originated in China from early times. Published by Sumiyoshiya Masagoro, c. 1848-9. One of the “three great deaths” of these wars. A fine design.
Fine impression and colour with extensive sprayed pigment around the exploding mine. Trimmed slightly on the right, otherwise very good condition. Signed Ichiyusai Kuniyoshi ga.
Status: Available
Tsukioka YOSHITOSHI (1839-1892)
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Shows Endo Morito about to murder Kesa Gozen’s husband in his bedroom. Morito became enamoured of Kesa Gozen although she was married to a palace guard. She eventually succumbs to his advances on the condition that he kills her husband. However, she takes the place of her husband in bed and is subsequently killed by him. Full of remorse Morito changes his name to Mongaku and does penance under the Nachi Falls. A famous scene much depicted in Japanese art. From a set Yoshitoshi musha burui, “Yoshitoshi’s Courageous Warriors.” Published by Kobayashi Tetsujiro, 1883.
Fine impression: This is the first edition with three-colour cartouche and small red seals in left margin. There are late editions of this set. It was republished by Tsunajima Kamekichi in 1886. Fine colour and condition. Signed Taiso Yoshitoshi ga.
Status: Available
Tsukioka YOSHITOSHI (1839-1892)
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Shows Kon Sosho (Chin. Gongsun Sheng), a famous character from the Chinese popular novel Tales of the Water Margin (Jap. Suikoden). A Taoist sorcerer known as “Dragon in the Clouds” he was able to conjure up wind and rain, as here, where he is seen standing on a rocky promontory summoning up the Storm Dragon from the sea. From the set Wakan hyaku monogatari, “One Hundred Ghost Stories of China and Japan,” published by Daikin, 1865.
Fine impression and colour. Small backed wormhole in top right corner and has original album backing, otherwise very good condition. Signed Ikkaisai Yoshitoshi ga.
Status: Available
Utagawa KUNISADA (1786-1865)
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Momotaro, “Peach Boy” with two of his companions: the talking dog and monkey battling an oni on Onigashima. Momotaro invokes a storm with thunder and lightning using Raijin’s drums. The story relates how an old childless couple discovered the child in a peach floating down a river. They adopted him and he evolved into a child of enormous strength. Published by Kawaguchiya Uhei, 1818-20. Very Rare.
Very good impression and colour. Backed, centre fold and slight trimming. Signed Gototei Kunisada ga.
Status: Available
Utagawa YOSHIHARU (1828-1888)
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Shows Hakujisso Hakusho (Chin. Bai Sheng) subduing a giant bird with a bamboo pole. From a set Suikoden goketsu kagami, “Mirror of Heroes of the Suikoden” published by Yamaguchiya Tobei, 1856. This is the first edition with gradation on the bird’s beak and elsewhere and the signature cartouche printed in red. Later editions lack these refinements.
Very fine impression. Fine colour. Slightly trimmed, otherwise very good condition. Signed Ichibaisai Yoshiharu ga.
Status: Available
Tsukioka YOSHITOSHI (1839-1892)
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A triptych Goketsu kijutsu kurabe, “A competition Among Powerful Magicians.” Published by Masadaya, 1869. A compilation of well known sorcerers, wizards and magicians. From right to left: Iwafuji Tsubone, Senkanja Yoshitora, Orochimaru, Otomo Wakanahime, Madamaru, Sumizu Kanja Yoshitaka, Mori Soiken, Kusunoki Goma-hime.
Good impression, colour. Slight toning, otherwise good condition. Signed Ikkaisai Yoshitoshi hitsu, Ikkaisai Yoshitoshi ga, Oju Ikkaisai Yoshitoshi ga.
Status: Available
Tsukioka YOSHITOSHI (1839-1892)
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Looking Itchy: the appearance of a kept woman of the Kaei era [1848-1854]. Shows a beauty emerging from a mosquito net that has apparently not been entirely successful. From a set Thirty-two Aspects of Women published by Tsunashima Kamekichi, 1888. The set depicts women of different backgrounds and occupations from the Kansei era through to the Meiji era with punning allusions to their situation or mood.
Very fine impression with strong blind-printing on the fall. Fine colour and condition. Full size. Signed Hiroshige ga.
Status: Available
Utagawa KUNIYOSHI (1797-1861)
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A large original drawing, sumi on thin paper, 15 x 20 in; 38 x 51 cms. Shows a large group of actors in front of a theatre. Most likely two sheets for an intended triptych. There appears to be the publisher’s seal Kiya Sojuro brushed-in at the bottom who was active c 1851-1904. Provenance: Ex collection Dr. Julius Kurth (1870-1949), an eminent scholar who wrote extensively on Japanese and Chinese art. Sold “as is” with all imperfections.
Status: Available
Nagasawa ROSETSU (1754-1799)
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An original fan painting, sumi on treated paper, 17 x 6.25 in; 43 x 16 cms. Shows two needlefish (family Belonidae).Rosetsu is considered one of the most important artists of the late Edo period but little is known of his short life – he died at forty-five, apart from the fact that he studied and was one of the top disciples of Maruyama Okyo. He is labelled an “eccentric” painter as he defies easy classification. His brushwork is a tour de force and he is known for his expressive depictions of animals. Signed Rosetsu with his Gyo (fish) seal. Framed and glazed with the fan mounted onto Japanese paper. Good condition, apart from the obvious fan folds.
Status: Available
Utagawa KUNIYOSHI (1797-1861)
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The actor Onoye Kikugoro III as the ghost of Oiwa from a production of Yotsuya kaidan at the Morita Theatre, 1836. Probably the most famous Japanese ghost story. It was adapted by the playwright Tsuruya Nanboku IV for his friend Kikugoro in 1825. The left panel of a diptych (the right panel being boring and usually ignored). A scene on Snake Mountain showing Oiwa, disfigured by poison, emerging from a burning lantern to haunt her husband, Tamiya Lemon, who had murdered her father. Published by Kawaguchi-ya Chozo, 1836.
Very good impression, colour and condition. Signed Ichiyusai Kuniyoshi ga.
Status: Available
ANONYMOUS (Late 18th century)
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An Uki-e, “floating picture” painting showing an interior with a puppet performance taking place. A puppeteer manipulates a female puppet in the centre, behind him two gidayu narrators and a shamisen player. A male puppet is being held behind a screen. Ladies behind a screen at right enjoy the drama. In fact, a male individual at the back seems overcome by emotion with a hanky to his face. The architecture is represented using one-point perspective, a style which made its way to Japan in the 1740’s from the West via China. (Interestingly the artist has got the perspective wrong on the screen at right.) This genre of painting – invariably unsigned – always shows interior or semi-interior views with banquets or, as here, puppet performances. Full colour on paper, 17 x 23 in; 43.2 x 58.5 cms. Minor marks, although good condition for this kind of painting.
Status:
Available
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Utagawa HIROSHIGE (1797-1858)
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A vertical diptych showing a multitude of cranes flying up from a cresting wave to a large red sun. In fact this diptych was used by an Edo publisher as end sheets to albums – usually sets of Hiroshige landscapes. Rare: Invariably it is impossible to match the two sheets as the bottom design is always graded blue at the top. Another matching impression is illustrated pl. 143 in Four Hundred Ukiyoe Woodblock Prints From The Museum Of Art, Rhode Island School Of Design, Abby Aldrich Rockefeller Collection Of Japanese Prints, 1990. Another impression is known with a large red seal at a slight angle bottom right. (This may be the first state but rather spoils the design.) Published 5/1858.
Fine impression and colour. Small expertly repaired binding holes, otherwise very good condition. Signed Hiroshige hitsu with Ichiryusai seal.
Status: Sold
Utagawa SADAHIDE (1807-1873)
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An aizuri fan print. Shows two travellers admiring the view of the Tama River and Mt. Koya in Kii Province. Published c 1849. Sadahide produced a considerable number of fan prints and it seems to have been a speciality of his. Rare.
Very good impression and colour. Minor edge soil, otherwise very good condition. Uncut. Signed Gountei Sadahide ga.
Status: Sold
Utagawa SADAHIDE (1807-1873)
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An aizuri fan print. Shows travellers arriving at Inba Marsh in Shimosa Province. This is now an important wetland habitat for wild birds. Published c 1849. Sadahide produced a considerable number of fan prints and it seems to have been a speciality of his. Rare.
Very good impression and colour. Minor edge soil, otherwise very good condition. Uncut. Signed Gountei Sadahide ga.
Status: Sold
Utagawa SADAHIDE (1807-1873)
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An uncut fan print showing Otsu-e pictures. (These were cheaply and quickly produced folk images, beginning in the 17th century, sold at an important road junction at Otsu, a port on Lake Biwa. Hence the nomenclature.) Published by Ibaya Senzaburo, c 1849. . Sadahide produced a considerable number of fan prints and it seems to have been a speciality of his. Rare.
Very good impression and colour. Slight edge soil, otherwise very good condition. Uncut. Signed Sadahide ga (on three of the Otsu-e).
Status: Sold
Ichiryusai HIROSHIGE (1797-1858)
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An uncut fan print with title Shinkiro no zu which has a double meaning of being the Yoshiwara in the deep sea and also a chimera or mirage. The scene enclosed in a (dreaming ?) bivalve shows visitors in a watery Yoshiwara, all with fish heads. Of the utmost rarity: This appears to be the only impression known. There are also what appear to be keying marks on three sides that have not been removed. Published by Shinagawaya Kyusuke with censor seal for 1845.
Very fine impression. Fine colour and condition. Signed Hiroshige giga hitsu.
Status: Sold
Katsushika HOKUSAI (1760-1849)
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An original painting, light colour on paper, 13 x 16.5 in; 33 x 42 cms. Shows a sparrow flying over a flowering plum tree. Light soil and creasing, but in generally good condition. Signed Hokusai suichu hitsu, “Hokusai painted while drunk.” Sealed Katsushika. (One of his better-known seals. He used different versions of it throughout his career.)
Status: Sold
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Tsukioka YOSHITOSHI (1839-1892)
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An original fan painting, sumi on treated paper, 17.5 x 5.5 in; 44.5 x 14 cms. Shows two dogs – possibly Chin. In very good condition: As nearly always, showing the rib folds of the fan. Tipped onto gold-speckled board. Signed and sealed Yoshitoshi.
Status: Sold
Uegaki HORYU (Fl. c 1716-1736)
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An original painting, full colour on paper, 36.5 x 15.5 in; 92.75 x 39.4 cms. Shows a full-length courtesan. It appears there are at least four other Horyu paintings known: Two in the Tokyo National Museum: C0041812 and C0041813; one in the Cleveland Museum of Art; and another in the MFA, Boston, Acc. no. 11.7482. Horyu worked in parallel (and in competition) with the Kaigetsudo atelier. Signed Nihon-e Uegaki Horyu kore o gasu with one Horyu seal; the other unread. The lid of the box is inscribed: Kaigetsudo-ha Uegaki Horyu-hitsu tayu tachi sugata, “A standing figure of a top courtesan brushed by Uegaki Horyu of the Kaigetsudo school.” And on the inside of the lid: Showa hinoto’u uzuki gekan, “Late April of the Fire Rabbit Year [Showa 62/1987].” Appraised by Kimura Suetsuke (a dealer and Ukiyo-e expert). Areas of restoration at bottom and one or two other small areas, but otherwise in very good condition for a painting of this period.
Status: Sold
Utagawa HIROSHIGE (1797-1858)
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The great Sanjo Bridge, Kyoto. Number 55 from the Tokaido: Gojusantsugi published by Marusei, c 1848-49. Also known as the Reisho Tokaido. Shows figures on the bridge including Oharame carrying firewood and ladies with katsugi garments. In the distance is Higashiyama and Mt. Hiei.
Fine impression, colour and condition. Signed Hiroshige ga.
Status: Sold
Ichiyusai HIROSHIGE II (1826-1869)
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Suo Iwakuni Kintaibashi, “The Bridge of the Brocade Sash at Iwakuni in Suo Province.” From an uncompleted set: Shokoku meisho hyakkei, “One Hundred Views of the Provinces.” Published by Uoei between 1859 – 1861 (this being 1859). Shows the beautiful five-arch bridge spanning the Nishiki-gawa under heavy snow. The village of Nishikimi in the foreground. The bridge was built in 1673 using massive stone pilings because earlier bridges had been swept away. It was destroyed in 1950 due to a typhoon but rebuilt in 1953. The best print from the set and probably Hiroshige IIs finest design.
Fine impression of the first edition with mica applied. Fine colour. Minor edge discolouration, otherwise very good condition. Later editions lack the variegated cartouche and the colour-banded publisher’s seal in left margin. Signed Hiroshige ga.
Status: Sold
Utagawa HIROSHIGE (1797-1858)
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Shimotsuke Nikkosan urami no taki, “Back-viewed Waterfall on Mt. Nikko in Shimotsuke [Province}.” From a set of 69 prints [Dai Nihon] Rokujuyoshi meisho zue, “Famous Places in the Sixty-odd Provinces [of Japan]” published by Koshihei between 1853 and 1856, this being 1853. Figures gaze up at the back of the waterfall which thunders over the path. It is also known with variant colour schemes. A fine design.
Very fine impression with strong blind-printing on the fall. Very fine colour. Light album backing, otherwise fine condition. Signed Hiroshige ga.
Status: Sold