Hiroshige, Utagawa

拍品描述

Hiroshige, Utagawa Japan (1797 - 1858) 33 - 37 cm x 22 - 25 cm Twenty-eight Ôban tate-e, woodblock prints from the series One Hundred Views from Edo (Meisho Edo hyakkei ). Signed Hiroshige ga. Publisher Uoya Eikichi. Date: 1856 - 1860s. 1) Station No. 1, Nihonbashi, Clearing after Snow (Nihonbashi yukibare) 2) Station No. 2, Kasumigaseki 3) Station No. 3, Hibiya and Soto-Sakurada from Yamashita-chō (Yamashita-chō Hibiya Soto-Sakurada) 4) Station No. 9, Yatsukōji (Sujikai-uchi Yatsukōji) 5) Station No. 14, Gardens of a Temple in Nippori (Nippori ji-in no rinsen) 6) Station No. 17, View from North Asukayama (Asukayama kita no chōbō) 7) Station No. 23, Chiyogaike Pond in Meguro (Meguro Chiyogaike) 8) Station No. 25, The Original Fuji in Meguro (Meguro Moto-Fuji) 9) Station No. 31, Azuma no Mori Shrine and the Entwined Camphor (Azuma no Mori Renri no Azusa) 10) Station No. 32, Yanagishima (Yanagishima) 11) Station No. 33, Towboats along the Yotsugi-dōri Canal (Yotsugi-dōri yōsui hikifune) 12) Station No. 37, Kilns and the Hashiba Ferry on the Sumida River (Sumidagawa Hashiba no watashi kawaragama) 13) Station No. 39, Distant View of Kinryūzan Temple and the Azuma Bridge (Kinryūzan enbō) 14) Station No. 42, Cherry Blossoms on the Banks of the Tama River (Tamagawa tsutsumi no hana) 15) Station No. 60, Asakusa River, Miyato River, Great Riverbank (Asakusagawa Ōkawabata Miyatogawa) 16) Station No. 61, The “Pine of Success” and Oumayagashi on the Asakusa River (Asakusagawa shubi no matsu Oumayagashi) 17) Station No. 62, Komakata Hall and Azuma Bridge (Komakatadō Azumabashi), plus another print, presumably later, with the same motif 18) Station No. 65, Inside Kameidō Tenjin Shrine (Kameidō Tenjin keidai) 19) Station No. 69, Sanjūsangendō Hall in Fukagawa (Fukagawa Sanjūsangendō) 20) Station No. 73, The City Flourishing, the Tanabata Festival (Shichū han'ei Tanabata matsuri) 21) Station No. 80, Kanasugi Bridge and Shibaura (Kanasugibashi Shibaura) 22) Station No. 81, Ushimachi in Takanawa (Takanawa ushimachi) 23) Station No. 88, Takinogawa in Ōji (Ōji Takinogawa) 24) Station No. 104, Koume Embankment (Koumetsutsumi) 25) Station No. 109, Minami Shinagawa and Samezu Coast (Minamishinagawa Samezu kaigan) 26) Station No. 114, Bikuni Bridge in Snow (Bikunihashi setchū) 27) Station No. 117, View from the Hilltop of Yushima Tenjin Shrine (Yushima Tenjin sakaue chōbō) From a private Berlin collection, assembled from the 1980s through the early 2000s In 1856, Hiroshige and his publisher Uoya Eikichi released the artist’s final major project, One Hundred Famous Views of Edo. The series built upon the centuries-old tradition of depicting meisho, celebrated places renowned for their scenic beauty and often associated with literary or historical significance. Comprising 120 single-sheet woodblock prints, including a contents page and an additional design by Hiroshige’s successor, Utagawa Hiroshige II, the series represents the largest landscape print series in the history of ukiyo-e woodblock printing.Hiroshige’s approach was remarkably innovative. Rather than using the horizontal format traditionally associated with landscape prints, he adopted the vertical single-sheet format more commonly reserved for depictions of actors, beauties, and warriors. The series is also distinguished by its bold and expressive use of colour. Throughout the project, Hiroshige experimented extensively with compositional techniques, employing unusual viewpoints, dramatic close-cropped designs that emphasize foreground elements, and the use of kiri (“cutting”) to create a striking sense of depth and expansive space.The series is arranged according to the four seasons: prints 1-42 form the spring section, numbers 43-72 depict summer, prints 73-98 represent autumn, and numbers 99-119 are devoted to winter - Framed and glazed Hiroshig

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