Utagawa Hiroshige (1797-1858)
Hoeido Tokaido
歌川広重 Utagawa Hiroshige (1797-1858)
东海道五十三次之内 袋井 出茶屋之图
Fukuroi, from the series of The Fifty-three Stations of the Tokaido
1834
木版画 | 横绘大判 | 25 x 37.5cm
Woodblock-print | Oban yoko -e | 25 x 37.5cm
早期版次；颜色保存完好；边缘完整
Early impression; good color; full margin
SOLD
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Reserved
歌川広重 Utagawa Hiroshige (1797-1858)
东海道五十三次之内 吉原
Yoshiwara, from The Fifty-three Stations of the Tokaido
1833-34
木版画 | 横绘大判 | 25.5cm x 37.8cm
Woodblock-print | Oban yoko -e | 25.5cm x 37.8cm
早期版次；颜色保存非常好；边缘完整
Early impression; fine color; full margins
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100 Famous Views of Edo
歌川広重 Utagawa Hiroshige (1797-1858)
名所江户百景 日本桥通一丁目略图
View of Nihonbashi Tori 1 chome, from the series of 100 Famous Views of Edo
1858
木版画 | 纵绘大判 | 37cm x 25cm
Woodblock-print | Oban tate-e | 37cm x 25cm
中期版本和版次；颜色鲜艳；整体品相非常好
Mid state and impression; strong color; tape residue verso.
$4,800
Here we see Edo’s main street, Nihonbashi Tori 1-chome, lined by the impressive façade of Shirokiya, which would one day be among Tokyo’s biggest department stores. It is summer, the brutal heat hopefully easing as night falls, and the street is full of all the rushing denizens who helped make the the largest city in the world such a vibrant place.
Hiroshige often plays a little game in prints for this series, “100 Famous Views of Edo.” He hides things. Again and again, we see a woman with her back to us, or her face obscured by the margin. Or a horse from behind.
This print is no different.
A group under a big round umbrella – a strikingly effective graphic element – are identified by the scholar Amy G. Poster as Sumiyoshi dancers, or traveling shrine performers. They are followed by a woman samisen player, likely their accompanist. Other women in kimonos and beneath shade-providing traditional umbrellas move on up ahead. And, to the right of the performers, a deliveryman in a loin cloth rushes dinner boxes of soba and sake to waiting and likely hungry customers.
What’s missing? Faces. All the faces are hidden – with the exception of a man to the far right who Poster says is eating a chilled melon.
Perhaps Hiroshige was saying something about the anonymity that comes with living in a big city, both then and now? Or perhaps he was just having a little fun.
This is a very strong example of a mid-state of the design. The woodgrain in the purple sky (itself a color that often fades) is beautiful to behold.
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歌川広重 Utagawa Hiroshige (1797-1858)
名所江户百景 真乳山山谷堀夜景
Night View of Matsuchiyama and the San'ya Canal from the series of 100 Famous Views of Edo
1858
木版画 | 纵绘大判 | 36.5cm x 25.4cm
Woodblock-print | Oban tate-e | 36.5cm x 25.4cm
早期版次；颜色鲜艳；品相非常好
Strong, rich color; woodgrain and mica and fine bokashi; great condition
$5,800
In this nocturnal, dream-like vision from Hiroshige’s last great series, we gaze across the Sumida River to Matsuchiyama Hill, the San'ya Canal and Imado Bridge. The lights of two restaurants, evocatively rendered in relief, becken us. The sky is an inky black, and the stars shine brightly — and in the river water. You can almost hear the distant laughter of a boozy night in Edo.
In the foreground, on our shore, a geisha walks behind her unseen attendant, who lights her way with a lantern. Some posit that it could be Koman, a favorite of Hiroshige, but others suggest that’s not possible because she’s too vulger — as suggested by the bright red of her inner skirt. In any event, she is one of very few full-length portraits in “100 Famous Views of Edo.”
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歌川広重 Utagawa Hiroshige (1797-1858)
名所江户百景 浅草川大川端宫戸川
Asakusa River, Great Riverbank, Miyato River, from the series of 100 Famous Views of Edo
1857
木版画 | 纵绘大判 | 36cm x 25cm
Woodblock-print | Oban tate-e | 36cm x 25cm
非常早期的版次；品相非常好
Very early impression; great condition
$5,500
Ukiyoe woodblock print designers, and Hiroshige especially, were masters of "negative space" -- focusing on the areas and spaces around the main subject matter of a print. And you will find few better examples of the bold use of negative space than in this print. Here the focus at the center appears to be, well, nothing. It's just a beautiful sky, without a cloud in sight. But look around the periphery: so much is happening. This print depicts a spot near the Ryogoku Bridge where pilgrims come to rinse themselves in the waters of the Sumida River. But we don't see that. Instead, we see the tenugui-wrapped heads of the pilgrims in the lower left, and, above that but still practically in the margin, the veritable bouquets of paper strips they hoist aloft as part of their ritual. Other pilgrims arrive by boat. In the distance we see the jagged peaks of Mount Tsukuba, which appears from time to time in 100 Famous Views of Edo. And in the middle: nothing.
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36 Views of Mt. Fuji
歌川広重 Utagawa Hiroshige (1797-1858)
富士三十六景 东都 御茶之水
Ochanomizu, the eastern capital, from the series of Thirty-six Views of Mount Fuji
1858
木版画 | 纵绘大判 | 35.8cm x 24cm
Woodblock-print | Oban tate-e | 35.8cm x 24cm
早期的版次；颜色鲜艳；品相非常好
Fine impression, color and condition
$4,500
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歌川広重 Utagawa Hiroshige (1797-1858)
富士三十六景 下総小金原
Kogane Plain, from the series of Thirty-six Views of Mount Fuji
1858
木版画 | 纵绘大判 | 375cm x 25.5cm
Woodblock-print | Oban tate-e | 37.5cm x 25.5cm
早期版次带漂亮的木纹；整体品相完好；红色颜料有轻微褪色；富士山旁边有一处极为轻微的水渍
Early impression with attractive visible woodgrain; overall in very good condition; minor fading to the red pigment; an extremely faint water stain visible near Mount Fuji.
$4,200
The year 1858 was the year of the horse, just like 2026. So as he produced designs for what would be his final series, “36 View of Mt Fuji,” Hiroshige found a fun way to mark the occasion with this front-view of a horse grazing in the plains of Shimosa. It contrasts the not-quite-as-charming rear-view of a horse from “100 Famous Views of Edo” just a few years earlier.
While Hiroshige often embraced the vertical format of“36 Views”to accentuate the dramatic topography of Japan, and the size of the sacred mountain, here he goes in the opposite direction. We are on a flat plain – all the better for a horse to graze – with only the iconic cone of Mt. Fuji breaking the distant horizon line beneath a wide-open sky. In this sense this print is quite unlike others in the series.
The vertical format is instead used to bring the horse right up close to us.
A stream shrinking away from the foreground, smaller and smaller gentle hills, smaller trees and yes, a smaller second horse, all create a wonderful sense of depth and distance. And though far away, Mt. Fuji as always maintains its power.
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歌川広重 Utagawa Hiroshige (1797-1858)
富士三十六景 はこ根の湖すい
Hakone no kosui, from the series of Thirty-six Views of Mount Fuji
1858
木版画 | 纵绘大判 | 37.5cm x 25.6cm
Woodblock-print | Oban tate-e | 37.5cm x 25.6cm
早期的版次；颜色鲜艳；品相非常好
Fine impression, color and condition
$4,800
This series “36 Views of Mount Fuji” from 1858 was Hiroshige’s last – a vertical set of designs that harkened back to the greatest, most famous work of his predecessor, Hokusai. In a way, it completed the circle of the glorious epoch of Ukiyoe landscape prints.
There are many direct homages from Hiroshige to Hokusai in the series, and several of the same locations. This is Hakone, the hot-spring resort area just an hour from today’s Tokyo. Forgoing his usual contrast of bold foreground elements against a distant background, here Hiroshige takes alight and gives us a bird’s eye view. In this case, Hiroshige’s design is far more dynamic than Hokusai’s, whose Hakone in his “36 Views…” was somewhat lifeless, generally considered one of the weaker entries.
Hiroshige use of bold yellows in the series is front-and-center here, creating an almost surreal look. Those colors are bright and fresh in this example, which is in extraordinary condition, with huge margins.
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Kiso Kaido
歌川広重 Utagawa Hiroshige (1797-1858)
木曾街道六十九次之内 上松
Agematsu, from the series, The Sixty-Nine Stations of the Kisokaido Road
1835-38
木版画 | 横绘大判 | 25cm x 36.4cm
Woodblock-print | Oban Yoko-e | 25cm x 36.4cm
早期版本和版次；颜色保存完好；整体品相非常好；边缘经修剪；非常轻微的中间折痕
Very early impression; excellent color; minor trimming to margins; slight centerfold, otherwise very good condition.
We are travelling once again along the Kisokaido, or “Mountain Highway,” which connected Edo with Kyoto along an inland route longer and more arduous – and thus less traveled -- than the seaside Tokaido.
The strikingly vertical topography of Japan was on full display in the Kiso Valley and is especially dramatic in this design. Here we see the Ono Falls, one of the region’s most famous spots, which were near the station of Agematsu. Hiroshige uses the vertical line of the tumbling water to create a dynamic and geometric design, with more lines going up and down than horizontally.
You can almost hear the crashing falls, which are being admired by two travelers who give the design some humanity while also putting the whole thing in scale.
The bold use of yellow – which remains very strong in this example – adds an almost otherworldly power to the print.
This joint series with Keisai Eisen followed the success of Hiroshige’s “53 Stations of the Tokaido,” published by Hōeidō, which created a ravenous marked for landscapes. Eisen’s legendary carousing may have gotten in the way of his work on this series; in the end, he completed only 24 of the designs, mostly near the beginning, while Hiroshige completed 46.
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歌川広重 Utagawa Hiroshige (1797-1858)
木曾街道六十九次之内 贄川
Niekawa, from the series The Sixty-Nine Stations of the Kisokaido Road
1836-7
木版画 | 横绘大判 | 24.5cm x 36.7cm
Woodblock-print | Oban Yoko-e | 24.5cm x 36.7cm
非常早期版本和版次；颜色鲜艳；整体品相完好；边缘经修剪；背面有两处残留的胶纸痕迹
Very early edition and impression; strong and rich color; minor trimming to margin; 2 pieces tape residue verso, otherwise very good condition.
《木曾海道六拾九次之内》，又称《木曾街道六拾九次之内》，是歌川广重及溪斋英泉（1790-1848）于1835至1837年联合创作的风景绘系列。全套共计71幅（广重创作47幅，英泉创作24幅），描绘了从日本桥至整个中山道（又称木曾海道）上69个驿所的独特风光。
贽川，中山道的第33处宿场，位于今长野县盐尻市，是木曾街道十一宿中最北端的宿场。
在本作中，广重罕见的几乎没有为他钟爱的自然风光留下空隙，而是全画幅展现了宿场中的众生相。
从右向左，只见客栈老板正手拿账本提步外出，两位一身疲惫的旅人正一边等候侍女端上热茶，一边开始脱鞋泡脚。赶了一天路的轿夫此时终于能放下轿笼，点起烟管惬意地抽上一口；打着赤膊的马夫却还在铆足劲，抓紧卸下马背上的大箱货物。二楼的客人攀着栏杆朝外望，观者的视线，却很难不被屋檐下的一排招牌吸引：板元伊势利、仙女香京桥坂本氏、松岛房二郎、松邑安五郎……
广重用俏皮的手法，将版元、赞助商、摺师、刻工等人致谢个遍。更有趣的是，他还将本作的序号“三十四”隐藏在了驮马的尻尾之上。
多么酷的收梢。
Here we see another stop along the Kisokaido, or “Mountain Highway,” which connected Edo with Kyoto along a mountain route longer and more arduous – and thus less-traveled -- than the seaside Tokaido. This joint series with Keisai Eisen followed the success of Hiroshige’s “53 Stations of the Tokaido,” published by Hōeidō, which created a ravenous marked for landscapes.
Eisen was known as something of a man about town, a Bon Vivant, and his carousing may have gotten in the way of his work on this series. In the end, he completed only 24 of the designs, mostly near the beginning, while Hiroshige completed 46.
But just as there are questions as to whether Hiroshige actually walked the entire Tokaido, it is also lost to history if he ventured on the Kisokaido, and if so, how far. Many of these designs focus on close-in views of the traveling experience. This is one of them. We get a wonderfully intimate, and at times comic, look at the joys of travel in Edo times.
Niekawa was the 35th station – or town – along the route, and it comes just as the road enters the Kiso Valley itself after a several days journey from Edo. Hiroshige focuses on a roadside inn to the exclusion of anything else – there are no identifying landmarks or views to identify the location. But we see the intricate ballet of travelers and those who serve them.
A porter unloads a horse after having tied its tail so it won’t hit him when it whips back and forth. A palanquin bearer crosses his legs and enjoys his pipe with a smile after an arduous day of work. Recently arrived travelers relax in their robes while a waitress serves them and the bowing owner welcomes them. Upstairs, two more guests enjoy the evening.
The scholar and author Sebastian Izzard points out some hidden jokes, too. (Today online we might call them Easter Eggs.) The Kanji on the sign boards do not announce the name of the inn, as they normally would, but rather advertise the publisher, the engraver and the prints – and, most amusingly, the cosmetic manufacturer Sakamoto and his white face powder. He paid regularly to advertise on Ukiyoe prints.
Such was product-placement in Edo times.
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歌川広重 Utagawa Hiroshige (1797-1858)
木曾街道六十九次之内 须原
Suhara, from the series The Sixty-Nine Stations of the Kisokaido Road
1836-7
木版画 | 横绘大判 | 25.5cm x 38cm
Woodblock-print | Oban Yoko-e | 25.5cm x 38cm
早期版本和版次；颜色保存完好；边缘完整；边缘有些许黄渍
Early edition and impression; very good color; very minor soiling on the edge
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Edo meisho
歌川広重 Utagawa Hiroshige (1797-1858)
江户名所 龟户梅屋敷
Plum Garden at Kameido, from the series Famous Places in Edo
1848-49
木版画 | 横绘大判 | 24.5cm x 37.3cm
Woodblock-print | Oban yoko -e | 24.5cm x 37.3cm
早期版次；颜色鲜艳；品相非常好
Fine impression, color and condition
$3,200
对于广重而言，无论外面的世界有何种精彩，家乡江户城永远是心中的最难忘。至于江户城内的景致，他更是怎么也画不够，于是乎，同一题材不同构图的作品也越来越多，张张精彩，幅幅动人。
就像即使是面对描绘了无数次的最著名梅园——龟户梅屋铺时，广重依旧在一遍遍寻找着它的无限可能。相较于其他同题材作品，广重在本作中提高了人物形象占比，满满当当地画下了四十余人，或坐或立者，谈天说地者，默然赏花者皆生动可爱。背景中，冲天绽放的树树白梅点点星蕊摇曳，观景亭与茶屋的茅草房顶金黄，充满着旧时代的温暖气息。全图虽明显以焦点透视创作，但仍保留着东方画卷散点透视独有的浪漫色彩，无论着眼何处，皆可得丰盈美感。
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歌川広重 Utagawa Hiroshige (1797-1858)
东都名所 芝赤羽根之雪
Snow at Akabane Bridge in Shiba, from the series Famous Places in the Eastern Capital
1840s
木版画 | 横绘大判 | 25cm x 36.8cm
Woodblock-print | Oban Yoko-e | 25cm x 36.8cm
第二版次；品相完好；轻微黄化；边缘经修剪
Second edition; good condition; slight trimming and soiling
$2,800
It’s a frigid night by the Akabane Bridge in Shiba. The dark sky contrasts with the bright blue of the canal. A fire tower – crucial in Edo, where the houses were made of wood and paper and had glowing fire pits at their centers – stands watch to the right, creating a vertical contrast to the strongly rendered lines of diminishing perspective.
This is the second edition – the first would have a red seal in the margin on the lower right – and it’s one of Hiroshige’s most celebrated designs from Edo Meisho, or Famous Views of the Eastern Capital, which he produced throughout the 1840s.
This version has a tiny bit of soiling, and the margin trimmed on the left. But the reds and blues are rich. Some versions have more bokashi in the sky; this one is almost uniformly gray, with just a touch of bokashi on the top and bottum, further enhancing the enveloping feeling of deep winter chill.
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在今东京都港区的古川上，有一座小小的赤羽桥。江户时期，赤羽桥周边的地区被称作赤羽川，一北一南，坐落着赫赫有名的增上寺与久留米藩有马家上屋敷。
每当冬季降临，雪花漫天飞扬，不消几时，积雪就能没过脚踝。古川河水缓缓流动，为画面刷上了一抹悠悠的深蓝。右侧河岸上，有马家上屋敷前，各色商贩和农人正踏雪往来；其内水天宫的红蓝二色旗帜，从屋顶上探出了半截身子。沿着对角线望去，现已不存的增上寺五重塔彼时宛如玉砌，半遮半掩地展现着它当年的玲珑体态。往日景观，旧时风物，岁月转瞬即逝，东都名所永驻。
歌川広重 Utagawa Hiroshige (1797-1858)
江戶名所 隅田川之月
Moon over the Sumida River, from the series of Famous Views of Edo
1844
木版画 | 横绘大判 | 25cm x 36.3cm
Woodblock-print | Oban yoko -e | 25cm x 36.3cm
中期版次；品相完好
Middle impression; good condition
$1,800
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60-Odd Provinces
歌川広重 Utagawa Hiroshige (1797-1858)
六十余州名所图会 美作 山伏谷
Mimasaka Province, Yamabushi Valley, from the series of Famous Places in the Sixty-Odd Provinces
1853
木版画 | 纵绘大判 | 37.8cm x 25.8cm
Woodblock-print | Oban tate-e | 37.8cm x 25.8cm
早期版次；颜色鲜艳；品相非常好；边缘完整
Fine impression, color and condition; full margins.
$8,988
Sometimes it slashes down diagonally. Sometimes it plummets directly from the clouds. On other occasions, it’s a fine mist, barely discernable.
Rain. And few artists in history – in any genre, in any medium, from any culture – have captured rain in all its myriad forms, from dramatic to just, well, damp, quite like Utagawa Hiroshige. Indeed, two of his most famous prints – Shono, from the “53 Stations of the Tokaido,” and Sudden Shower at Ohashi from “100 Famous Views of Edo”— are rain-drenched in the extreme.
In those cases, crisscrossing straight lines layered atop the design give rain a physical and geometric presence rarely seen before. But this print, Minasaka Province, Yamabushi Valley from “60-Odd Views of the Provinces,” is something else entirely. Here the rain doesn’t create texture atop the composition, it completely blocks our view at points. Solid, curving bands of water create an image that is nearly abstract, and undeniably modern.
This series marked the moment when Hiroshige turned many of his landscape designs into vertical, oban tate-e formats, creating bold dynamics that dramatically emphasized Japan’s topography – and provided new ways to portray rain. At the same time, the series embraced all manner of subtle bokashi and fine printing techniques to bring the images to life.
Mimasaka Province was deep in the mountains of Western Japan and known for the “mountain ascetics” — mourntain hermits who revel in the force of nature and are known as yamabushi — who lived there.
We see the rain cut through the straight-standing Jizo Rock across the river. Otherwise, the rain has washed away most details of the far shore. In the foreground, a traveler has lost his hat to the wind, while a second struggles to control his coat of straw.
This example is crisp and clean, with rich colors.
在《六十余州名所图会》这一波澜壮阔的系列中，歌川广重用七十幅竖绘作品重构了全日本的胜景。不同于他在其他作品中对前人图谱的温和致敬，在这幅《美作 山伏谷》里，广重展现了近乎偏执的原创野心。
美作山伏谷，地如其名，本是山中修验僧苦行之所，荒僻而险峻。但广重关心的并非地理志上的坐标，而是将这片深邃的峡谷简化为两个纯粹的视觉元素：风，与雨。
画面最摄人心魄之处，在于那贯穿天地的、极具流畅感的斜向长线。它们如同被狂风拽动的帘幕，以统一的曲度划破画面，不仅表现出骤雨的力量，更具象化了那股将斗笠卷入深谷的无形狂风。这种极具生命力的线条处理，将‘风’与‘雨’交织成一种动态的视觉屏障，令观者如临其境。
画面左下角，三名旅人在狂风暴雨中艰难前行。一名旅人的斗笠被狂风吹落，正挣扎着去捡拾；另两名旅人则蜷缩着身子，在泥泞的小径上艰难前行。悬崖上被风吹歪的松树与山谷间湍急的溪流相呼应，将自然界的狂暴与人类的渺小形成了鲜明对比。
这或许是广重在系列里最成功的设计之一。他没有依赖任何现成的名胜图式，而是凭借对自然瞬息的敏锐捕捉，将一场荒野的暴雨升华为了一场跨越时代的视觉交响乐。这种对风雨线条的抽象处理，不仅超越了时代，更成为后世研究广重“雨景艺术”不可绕过的巅峰。
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歌川広重 Utagawa Hiroshige (1797-1858)
六十余州名所图会 备后 阿武门观音堂
Abuto, Kannon Temple, from the series of Famous Places in the Sixty-Odd Provinces
1853
木版画 | 纵绘大判 | 36cm x 25cm
Woodblock-print | Oban tate-e | 36cm x 25cm
初版；早期版次，带漂亮的木纹；颜色保存非常好；边缘经修剪
First edition; early impression with beautiful woodgrain; fine color; slight trimming.
《六十余州名所图会》，是歌川广重于1853年至1856年创作的一套描绘日本名胜的竖绘风景画系列。全套共囊括了全日本五畿七道的68国及江户城的胜景，加上1页目录，共计70幅。整体画面远近关系明确，加之用色大胆、构图新颖，颇受后世好评。著名的「阿波鸣门之风波 漩涡」，即出自本系列。
备后，即备后国，日本古山阴道令制国，旧国境位于今广岛县东半部。阿武门观音堂，更为人熟知的名称为阿伏兔观音堂，因其位于广岛县福山市阿伏兔岬上的磐台寺而得名，现为日本国家指定重要文化财。
画面描绘了一个满月之夜，薄雾轻飘，阿伏兔岬浸透着银光。陡峭的岩石棱角分明，几棵松树斜斜地长在悬崖上，一直延伸到岬顶的观音堂。白天鲜红的堂墙在月夜中变成了赭红色，站在悬崖上望出去，可以看到濑户内海的夜景。海面上，有两条小船漂浮在岬下，仿佛也有些古人“乘一叶扁舟，穿行在无边波涛中”的气势。海风和明月，仿佛大自然的无尽馈赠，直到今天我们仍然可以一同感受
广重在构思本作时，很明显致敬了前辈画家渊上旭江（1753-1816）于1799年出版的《山水奇观》一书中的同名插图。但他别出心裁加上的一轮圆月，使得画面顿生一缕玄妙脱俗的时空感，可谓青出于蓝。
The series “Famous Places in the 60-Odd Provinces” marked the moment when Hiroshige turned many of his landscape designs into vertical, oban tate-e formats, creating bold and modern design dynamics that dramatically emphasized Japan’s topography. In this print, Abuto, Kannon Temple, he uses the new format to demonstrate the height of the towering rock outcropping on which the famed temple sat.
At the same time, the series embraced all manner of subtle bokashi and fine printing techniques to bring the images to life, especially in the first editions, of which this is one.
The even printing of the dark blue in the sky, the color graduations on the rocks at the bottom, the carefully printed trees on the top and the pink title cartouche are all attributes of first editions. At the same time, the luxurious and beautiful woodgrain falling gently from the sky to the sea lets us know this is a very early impression. Behind the minor trimming to the margin, this print is in pristine condition.
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歌川広重 Utagawa Hiroshige (1797-1858)
六十余州名所图会 安艺 严岛 祭祀之图
Aki Province: Itsukushima, Depiction of a Festival, from the series of Famous Places in the Sixty-Odd Provinces
1853
木版画 | 纵绘大判 | 36cm x 25cm
Woodblock-print | Oban tate-e | 36cm x 25cm
早期版次；颜色保存完好；边缘经轻微修剪
Early impression; good color; slight trimming to the margins.
SOLD
《六十余州名所图会》，是歌川广重于1853年至1856年创作的一套描绘日本名胜的竖绘风景画系列。全套共囊括了全日本五畿七道的68国及江户城的胜景，加上1页目录，共计70幅。整体画面远近关系明确，加之用色大胆、构图新颖，颇受后世好评。著名的《阿波 鸣门之风波（漩涡）》，即出自本系列。
安艺，即安芸，日本古令制国之一，旧国境约为今广岛县西部。其内的严岛神社有一间高逾16米的大鸟居格外壮观，被指定为日本国家重要文化财。
夜幕降临，华灯初上。每年旧历六月十七，伴随着涛声阵阵，人们都会在严岛神社举办隆重的管弦祭。华美的管弦船载着神舆凤辇，一边奏起雅乐，一边前往对岸的地御前神社周边，声势浩大，场面恢宏，无疑是全年宫岛神社最受关注的大事件。在描绘大鸟居时，广重充分发挥想象，将大鸟居的形象还原成了百年前的模样。彼时的鸟居主柱和袖柱还保留着原木的树皮，气质古朴粗犷，更显历史厚重。
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The Upright Tokaido
歌川広重 Utagawa Hiroshige (1797-1858)
五十三次名所图绘 庄野
Shono, from the series of Pictures of Famous Places of the 53 Stations
1855
木版画 | 纵绘大判 | 37.5m x 25.3cm
Woodblock-print | Oban tate-e | 36.5m x 24.5cm
非常早期的版次；整体品相非常好；左边边缘有轻微的褶皱
Early impression; very good condition; slight creasing at the left margin
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歌川広重 Utagawa Hiroshige (1797-1858)
五十三次名所图绘 鸣海
Narumi, from the series of Pictures of Famous Places of the 53 Stations
1855
木版画 | 纵绘大判 | 37.5m x 25.3cm
Woodblock-print | Oban tate-e | 36.5m x 24.5cm
非常早期的版次；整体品相非常好；边缘有些许脏痕
Early impression; very good condition; slight dirt in margin
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歌川広重 Utagawa Hiroshige (1797-1858)
五十三次名所图绘 吉原
Yoshiwara, from the series of Pictures of Famous Places of the 53 Stations
1855
木版画 | 纵绘大判 | 36.7m x 25.5cm
Woodblock-print | Oban tate-e | 36.7m x 25.5cm
早期的版次；整体品相非常好；边缘经轻微修剪；轻微托底
Early impression; good condition, pristine color; minor trimming to margin and thin album backing
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Other Series
歌川広重 Utagawa Hiroshige (1797-1858)
校合摺：神田明神 (左) & 芝赤羽根增上寺(右)
Key Block Print: Kanda Myojin Shrine(left) and Akabane Bridge and Zojo-ji Temple in Shiba(right), both from the series of Famous Places in the Eastern Capital (Toto meisho)
1837-38
木版画 | 纵绘大判 | 40cm x 27.5cm
Woodblock | Oban tate-e｜40cm x 27.5cm
品相非常好
Very good condition.
这件作品是一张极为罕见的校合摺(kyogozuri，同时包含了歌川广重《东都名所》系列中的两幅短册判作品：左侧为《神田明神》，右侧为《赤羽根增上寺》。所谓校合摺，是雕版完成后，以墨色试印木版线条，用于检查构图、刻工及各色版的套印效果，是正式彩色印刷前的重要制作步骤，因此存世数量远少于完成后的锦绘。
画面左侧《神田明神》描绘了神田明神境内的日常景象。社殿前树木掩映，参拜者、行人与商贩往来其间，既有信仰场所的安定氛围，也流露出江户街巷鲜活的生活气息。右侧《赤羽根增上寺》则将视角转向芝增上寺附近，石桥横跨溪流，旅人与挑夫缓缓而行，树林间隐约可见寺塔高耸。两幅作品一侧展现城中神社的烟火日常，一侧描绘寺院周边的悠然景致，不仅呈现了广重笔下江户不同名所的风貌，也体现了《东都名所》系列丰富而细腻的取景视角。
与完成后的彩色锦绘相比，这张校合摺仅保留了墨线勾勒，更能直接欣赏广重最初的构图设计，以及雕师精细流畅的刻线。值得注意的是，画中的两幅作品原本并非设计为同一画面，而是在校合过程中共同试印于一张纸上，以检验雕刻质量并节省纸张。这种形式真实保留了江户时期版画制作现场的工作痕迹，也是校合摺最具魅力之处。
注：本件为校合摺，完成后的彩色锦绘可参见波士顿艺术博物馆馆藏《神田明神》及檀香山艺术博物馆馆藏《芝赤羽根增上寺》。如想进一步了解校合摺及浮世绘的制作过程，可阅读本站文章《浮世绘基础知识｜浮世绘制作流程全解》。
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歌川広重 Utagawa Hiroshige (1797-1858)
校合摺：张交绘 风景三景与鲤鱼
Key Block Print: Harimaze-e with Three Landscapes and a Carp
1835
木版画 | 纵绘大判 | 35cm x 24.5cm
Woodblock | Oban tate-e｜35cm x 24.5cm
品相非常好
Very good condition.
$800
这件作品是一张极为罕见的校合摺(kyogozuri)，描绘的是歌川广重创作的张交绘(harimaze-e)。所谓张交绘，是将多个彼此独立的小画面组合于同一画面中的一种版画形式。本件共包含四个画面：三处风景与一幅鲤鱼，将名所景致与花鸟题材巧妙结合，展现了广重丰富多样的创作题材。
左上描绘乡间道路与远处的富士山，牧人与牛缓缓行于小径；右上是一尾沿水流而上的鲤鱼，鳞片刻画细致生动。左下为临海悬崖与飞瀑，远方帆船点缀海面；右下则以古松、岩壁与瀑布构成山间景色。四个画面题材各异，却在同一画面中形成丰富而和谐的视觉趣味，这正是张交绘最迷人的特点之一。
校合摺是正式套色印刷前的墨线试印，用于检查构图、雕刻与版面效果。由于尚未施加色彩，画面的线条与细节反而更加清晰，也能直接看到广重如何在一张纸上安排四个不同题材的画面。像这样完整保存下来的张交绘校合摺，十分少见。
注：本件为校合摺，完成后的彩色锦绘可参见查森艺术博物馆馆藏《风景三景与鲤鱼》。如想进一步了解校合摺及浮世绘的制作过程，可阅读本站文章《浮世绘基础知识｜浮世绘制作流程全解》。
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歌川広重 Utagawa Hiroshige (1797-1858)
张交绘：国尽张交图绘 陆奥 出羽 下野 上野
Harimaze-e: Harimaze Pictures of the Provinces, Mutsu, Dewa, Shimotsuke, Kozuke
1852
木版画 | 纵绘大判 | 38cm x 26cm
Woodblock | Oban tate-e｜ 38cm x 26cm
早期版次；颜色鲜艳；品相非常好
Fine impression, color and condition.
$1,500
Harimaze-e – so-called paste prints – featured several images to be cut out and used separately, whether pasted into albums or onto a screen. Thus, the already hugely economical act of buying an Ukiyoe Japanese woodblock print – roughly the price of two bowls of noodles – became even more affordable, as you were essentially buying 3-4 prints for the price of one.
Hiroshige produced several series in this charming format. Finding one that has not been cut to bits is rare, indeed. This example comes from “Pictures of the Provinces” from 1852 and is fascinating on several levels. To begin with, it was published just a few years before Hiroshige’s legendary “Famous Views from the 60-Odd Provinces” and, as it depicts many of the same spots, can almost be seen as a rough draft of that epic effort.
But also, unlike some earlier harimaze-e series, the quality of the printing is very high, with the level of fine bokashi you’d expect on a larger design, and woodgrain. The designs are quite well thought-out. Taken together, they form a collage of sights from around the Japanese islands, with pleasingly varying shapes and sizes, all fitting together like a puzzle. Some feature expansive views, other little details that viewers would understand to represent certain locales. What a shame to cut them up!
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Hiroshige's landscape prints evoke a magical harmony between man and nature.
Ando Hiroshige (1897-1858) revolutionized the art of landscape prints during the Edo era, building on the success of his senior, Hokusai, but taking a more poetic and naturalist approach to portraying the beauty of Japan.
The son of a low-level Samurai assigned to the fire brigade in Edo, Hiroshige became a student of the Utagawa school as a young man. His first prints focused on beautiful women (bijin), and views of Edo. But in 1833 he began work on his most famous early work, his first series depicting the Tokaido, the "Great Sea Road" between Edo and Tokyo.
Today there is some controversy about this series. Initially, it was believed that Hiroshige had travelled the route along with a local lord (Daimyo) who was making a gift of horses to the Emperor. But more recent scholarship suggests Hiroshige never travelled the road himself, at least not the entire way, and made his designs using published guidebooks.
Nonetheless, the prints were wonderful and revolutionary. They embraced the seasons with a gentle lyricism missing from Hokusai's striking but stylized depictions. In Hiroshige's work, nature is sacred -- but it is always mixed with humanity, with travelers or little inns or bridges. There is a magical harmony between man and the elements.
His depiction of the seasons and weather is especially evocative. Snow blankets some views with a hushed silence, while rain streaks down furiously in others. In some prints natured is agitated; in others, calm prevails. Produced in a horizontal oban yoko-e format, the series was a smash hit.
The Tokaido series made Hiroshige famous, and he became incredible prolific. In the 1840s he produced many strong designs, but many mediocre ones, too, including several subsequent Tokaido series of varying quality.
In 1853, however, he made a big step. He turned his landscapes sideways, embracing a bold vertical oban tate-e format. This gave his designs new energy and a modern feel. The first of these was Famous Views of the Sixty-Odd Provinces. From them on, most of his most noted series were executed in this format.
He saved his greatest for his last. In 1856 he began work on 100 Famous Views of Edo, which many consider his most exceptional work. Here his home city was portrayed with energy and passion, and in these 119 designs he created an incredible record of a vanished place. In addition to the striking vertical format, he developed exciting new compositions, often juxtaposing a strong foreground element with a distant background.
Among the many famous images in this series are “Sudden Shower Ohashi Bridge” and the “Plum Garden in Komeido.” Both of these were copied by Vincent Van Gogh, a great admirer of Hiroshige. Thus, the great Japanese artist had a profound effect on Western art.
Alas, his beloved Edo ended his life. Hiroshige was claimed by a cholera epidemic that swept the city in 1958. His pupil Shigenobu, who took the name Hiroshige II, completed The Famous Views of Edo.
歌川広重 Utagawa Hiroshige (1797-1858)
东海道五十三次之内 关 本阵早立
Seki, from The Fifty-three Stations of the Tokaido
1833-34
木版画 | 横绘大判 | 24.5cm x 36.5cm
Woodblock-print | Oban yoko -e | 24.5cm x 36.5cm
初版；早期版次；颜色保存非常好；有非常轻微污渍
First state; Early impression; fine color; very minor soiling
$5,800
Hiroshige’s “53 Stations of the Tokaido” – also known as the Hoeidō Tokaido or “Grand Tokaido” — revolutionized the landscape genre in Japanese woodblock prints. Here is a fascinating design that, rather than focusing on a specific sight or landmark, poetically evokes the daily rhythms and traditions of life on the fabled sea road.
It is just before dawn at Seki, the 48th Station, and for the traveler coming from Edo, the goal of Kyoto is just a day or two away. One can almost hear the birds starting to chirp as the sky lightens and the retinue of a daimyo, or lord, prepares to depart. Seki was a major checkpoint and thus had two honjin, or inns for government officials. The daimyo’s crest adorns the curtains that are festooned from the eaves, and the man himself is just about to appear from within. The daiymo’s palanquin, a heavy carriage carried by two men, sits on the inn’s porch while one of its bearers straps on his straw hat in anticipation of what will surely be a grueling effort.
Wonderfully echoing the two sheathed spears leaning against the building to the left is, to the right, a notice board alerting the populace to the latest news and dictates from Edo. Hiroshige pierces the frame with it, a lovely touch.
The scholar Muneshige Narazaki, in his trenchant study of this landmark Ukiyoe series, noted that because of its importance, Seki had many prostitutes. One hopes they are still asleep, getting a little rest, while this party sets out.
关，即关宿，位于今日本三重县龟山市，是东海道五十三次中的第四十七处宿场，因其临近伊势铃鹿关而得名。
由于江户时代幕府实行的参觐交代制度，各藩的大名都需要前往江户替幕府将军执行政务一段时间，然后再返回自己的领地。对于身居偏远地区的大名们而言，江户城可谓水远山遥，一路的长途跋涉也总得有能稍作歇息的地方。于是乎，宿场内的本阵应运而生。它们通常由指定专人管辖，原则上只对大名、幕府官员等身份高者开放，与纯商业性质的旅馆客栈有着本质区别。
天色尚且昏暗，东方还未破晓。关宿的某处本阵内，这支浩浩荡荡的大名队伍已经开始整理行装，准备踏上一天的旅途。
侍从们有的正扎紧斗笠系带，一脸平静，有的则一切就绪，蹲在地上掏出烟管猛吸两口提神。驾笼已经安置好，长枪靠在房檐上，红灯笼中的灯火悠悠闪烁，一切都在静候着大名动身启程。
值得一提的是，远景那位靠近木门的侍从手中所持的灯笼图案，正是代表广重名字的“ヒロ”（广）字；而幔幕上的巨大家纹，其实是广重的原父系姓氏田中的“田”字与“中”字及牛车车轮图案组合变形的图样。种种巧思，有如电影中的彩蛋，颇为有趣。
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