Goyu - Hamamatsu - Mitsuke - Miya - Utagawa Hiroshige (1797-1858) - Japan
Nr. 83384855
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"Tôkaidô gojûsan tsugi no uchi" 東海道五十三次之内 (Fifty-three Stations of the Tokaido Road) (First or Great - Utagawa Hiroshige (1797-1858) - Japan
Woodblock print (reprint), Published by Bijutsusya (45) - Paper - Utagawa Hiroshige (1797-1858) - "Tôkaidô gojûsan tsugi no uchi" 東海道五十三次之内 (Fifty-three Stations of the Tokaido Road) (First or Great Tokaido) - Japan - ca 1965
This Tokaido 53rd series is missing "Shono庄野".
This wood block print has stains here and there.
Glue is pasted on the back of the woodblock print and it sticks to the paper.
This series of works is the “Fifty-three Meisho Zue” produced by Hiroshige Utagawa in 1855 (Ansei 2 pariod) as the last Tokaido series.
This type of ukiyo-e was often drawn in landscape orientation, but it is drawn in portrait orientation so that you can see the whole thing.
Hiroshige’s work came to have a marked influence on Western painting towards the close of the 19th century as a part of the trend in Japonism.
Western artists closely studied Hiroshige’s compositions, and some, such as van Gogh, painted copies of Hiroshige’s prints
Nr. 83384855
Solgt
"Tôkaidô gojûsan tsugi no uchi" 東海道五十三次之内 (Fifty-three Stations of the Tokaido Road) (First or Great - Utagawa Hiroshige (1797-1858) - Japan
Woodblock print (reprint), Published by Bijutsusya (45) - Paper - Utagawa Hiroshige (1797-1858) - "Tôkaidô gojûsan tsugi no uchi" 東海道五十三次之内 (Fifty-three Stations of the Tokaido Road) (First or Great Tokaido) - Japan - ca 1965
This Tokaido 53rd series is missing "Shono庄野".
This wood block print has stains here and there.
Glue is pasted on the back of the woodblock print and it sticks to the paper.
This series of works is the “Fifty-three Meisho Zue” produced by Hiroshige Utagawa in 1855 (Ansei 2 pariod) as the last Tokaido series.
This type of ukiyo-e was often drawn in landscape orientation, but it is drawn in portrait orientation so that you can see the whole thing.
Hiroshige’s work came to have a marked influence on Western painting towards the close of the 19th century as a part of the trend in Japonism.
Western artists closely studied Hiroshige’s compositions, and some, such as van Gogh, painted copies of Hiroshige’s prints
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