二代目歌川広重・根津権現社・江戸名所百景・正規日本版画 - Japan - Edo Period (1600-1868)





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Original Edo-period woodblock print by Utagawa Hiroshige II of Nezu Gongen Shrine from the Forty-eight Famous Views of Edo, published in 1861, chūban size, ink and colour on paper, in good condition.
Description from the seller
Artist: Utagawa Hiroshige II 二代歌川広重 (1826–1869)
Title: No. 11, Nezu Gongen 十一 根津権現 — Nezu Gongen Shrine
Series: Edo meisho shijūhakkei 江戸名所四十八景 — Forty-eight Famous Views of Edo
Publisher: Tsutaya Kichizō 蔦屋吉蔵 (Tsutakichi seal, right margin)
Date: 1861 (Bunkyū 1 / Man'en 2)
Format: Chūban tate-e, 25 × 17 cm
Technique: Woodblock print (nishiki-e), ink and colour on paper
Signature: Hiroshige ga 廣重画, in a blue tanzaku cartouche at lower right
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Condition
Good impression and condition, minor trimming on the margins. The paper is firm and subtle. Please check the images!
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THE PRINT
Two enormous cryptomeria run the full height of the sheet, and everything else is arranged around them: the vermilion shrine buildings with their grey tiled roofs in the middle distance, cherry in full bloom banked against the walls, a blue-grey torii to the right, and a pale path cutting diagonally across the foreground with a handful of visitors on it — two men walking up, women coming down, one under a pink parasol. The deep blue bokashi band across the top is well printed here and holds the composition together.
Nezu Gongen is the shrine now known as Nezu Jinja, in what is today Bunkyō ward. Its buildings date from 1706, when the fifth shogun Tsunayoshi had the complex rebuilt on a lavish scale, and most of them survived into the present — the gate and main hall in this print can still be walked through. In the Edo period it was one of the city's favourite spring destinations, which is what Hiroshige II is selling here.
Forty-eight Famous Views of Edo appeared in 1861 in the small chūban format, and it is openly a descendant of Hiroshige I's One Hundred Famous Views of Edo — many of the same sites, the same taste for a strong vertical framing device in the foreground. Hiroshige II had married his master's daughter and inherited the name in 1858, and the resemblance between their work is close enough that the two are still confused in the trade. Here the family manner is obvious and unembarrassed: colour pushed toward saturated blues and greens, the human figures small and incidental.
Seller's Story
Artist: Utagawa Hiroshige II 二代歌川広重 (1826–1869)
Title: No. 11, Nezu Gongen 十一 根津権現 — Nezu Gongen Shrine
Series: Edo meisho shijūhakkei 江戸名所四十八景 — Forty-eight Famous Views of Edo
Publisher: Tsutaya Kichizō 蔦屋吉蔵 (Tsutakichi seal, right margin)
Date: 1861 (Bunkyū 1 / Man'en 2)
Format: Chūban tate-e, 25 × 17 cm
Technique: Woodblock print (nishiki-e), ink and colour on paper
Signature: Hiroshige ga 廣重画, in a blue tanzaku cartouche at lower right
--------------------------------------------------------------------
Condition
Good impression and condition, minor trimming on the margins. The paper is firm and subtle. Please check the images!
---------------------------------------------------------------------
THE PRINT
Two enormous cryptomeria run the full height of the sheet, and everything else is arranged around them: the vermilion shrine buildings with their grey tiled roofs in the middle distance, cherry in full bloom banked against the walls, a blue-grey torii to the right, and a pale path cutting diagonally across the foreground with a handful of visitors on it — two men walking up, women coming down, one under a pink parasol. The deep blue bokashi band across the top is well printed here and holds the composition together.
Nezu Gongen is the shrine now known as Nezu Jinja, in what is today Bunkyō ward. Its buildings date from 1706, when the fifth shogun Tsunayoshi had the complex rebuilt on a lavish scale, and most of them survived into the present — the gate and main hall in this print can still be walked through. In the Edo period it was one of the city's favourite spring destinations, which is what Hiroshige II is selling here.
Forty-eight Famous Views of Edo appeared in 1861 in the small chūban format, and it is openly a descendant of Hiroshige I's One Hundred Famous Views of Edo — many of the same sites, the same taste for a strong vertical framing device in the foreground. Hiroshige II had married his master's daughter and inherited the name in 1858, and the resemblance between their work is close enough that the two are still confused in the trade. Here the family manner is obvious and unembarrassed: colour pushed toward saturated blues and greens, the human figures small and incidental.

