Hamamatsu
Hamamatsu is an original modern artwork realized by Utagawa Hiroshige (1797 – 12 October 1858) in 1855.
Original Woodcut Print Oban Format.
From the series "Gojusantsugi meisho zue" (53 Stations of the Tokaido Road) the sheet Hamamatsu. A daimyo with entourage listening to the whisper of the wind in the pines (Zanza no matsu) on the beach of Hamamatsu.
Signed: Hiroshige hitsu. Publisher: Tsutaya Kichizo. Censorship: Aratame.
Good lifetime impression with blindstamping (spray), visible wood grain (beach), a little bit faded, a little bit creased, a few foxing spots, creases along the margins.
Hamamatsu is a rare original modern artwork realized by Utagawa Hiroshige (1797 – 12 October 1858) in 1855.
Original Woodcut Print Oban Format.
From the series "Gojusantsugi meisho zue" (53 Stations of the Tokaido Road) the sheet Hamamatsu. A daimyo with entourage listening to the whisper of the wind in the pines (Zanza no matsu) on the beach of Hamamatsu.
Signed: Hiroshige hitsu. Publisher: Tsutaya Kichizo. Censorship: Aratame.
Good lifetime impression with blindstamping (spray), visible wood grain (beach), a little bit faded, a little bit creased, a few foxing spots, creases along the margins.
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Utagawa Hiroshige, born Ando Hiroshige (1797 – 12 October 1858), was a Japanese ukiyo-e artist, considered the last great master of that tradition. Hiroshige is best known for his horizontal-format landscape series The Fifty-three Stations of the Tokaido and for his vertical-format landscape series One Hundred Famous Views of Edo. The subjects of his work were atypical of the ukiyo-e genre, whose typical focus was on beautiful women, popular actors, and other scenes of the urban pleasure districts of Japan's Edo period (1603–1868). The popular series Thirty-six Views of Mount Fuji by Hokusai was a strong influence on Hiroshige's choice of subject, though Hiroshige's approach was more poetic and ambient than Hokusai's bolder, more formal prints. Subtle use of color was essential in Hiroshige's prints, often printed with multiple impressions in the same area and with extensive use of bokashi (color gradation), both of which were rather labor-intensive techniques.
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