Kiyochika | View of Nihonbashi-bridge from Edobashi-bridge, One Hundred Views of Musashi
小林清亲 Kobayashi Kiyochika (1847–1915)
武蔵百景之内 江戸ばしより日本橋の景
View of Nihonbashi-bridge from Edobashi-bridge, from the series of One Hundred Views of Musashi
1884
木版画 | 纵绘大判 | 37.5cm x 25cm
Woodblock-print | Oban-tate-e | 37.5cm x 25cm
初版；早期版次；颜色鲜艳；品相非常好；纸张较薄
First edition; very early impression with clear woodgrain and fine color; thin paper.
$4,500
“Nihonbashi from Edobashi” comes from what is perhaps Koboyashi Kiyochika’s greatest series, “100 Views of Musashi,” which was published in 1884 by Maraya Tetsujiro. This series was an homage to Hiroshige’s legendary “100 Famous Views of Edo,” which was then 30 years in the past.
They are oban tate-e format, with cartouches and title boxes placed as Hiroshige’s were (although these feature synthetic pigments). They almost all feature dramatic and creative foreground elements competing with storied views in the background, as Hiroshige’s did, and they are often the same location. But many include hints of the newly arrived Westerners.
This one has it all. Hiroshige produced numerous views of Nihonbashi – the bridge in the then-center of Edo from which all distances were measured – but never quite like this, framed beneath the heavily tattooed arms of a fish monger crossing the next bridge over, Edobashi. And in the distance we see one of newly named Tokyo’s first brick buildings. But then beyond that, what could be more classic than Fuji itself?
Past meets present in this wonderful design. It is an excellent condition with rich colors and plenty of wonderful woodgrain in the sky.
Interested in purchasing?
Please contact us.
小林清亲 Kobayashi Kiyochika (1847–1915)
武蔵百景之内 江戸ばしより日本橋の景
View of Nihonbashi-bridge from Edobashi-bridge, from the series of One Hundred Views of Musashi
1884
木版画 | 纵绘大判 | 37.5cm x 25cm
Woodblock-print | Oban-tate-e | 37.5cm x 25cm
初版；早期版次；颜色鲜艳；品相非常好；纸张较薄
First edition; very early impression with clear woodgrain and fine color; thin paper.
$4,500
“Nihonbashi from Edobashi” comes from what is perhaps Koboyashi Kiyochika’s greatest series, “100 Views of Musashi,” which was published in 1884 by Maraya Tetsujiro. This series was an homage to Hiroshige’s legendary “100 Famous Views of Edo,” which was then 30 years in the past.
They are oban tate-e format, with cartouches and title boxes placed as Hiroshige’s were (although these feature synthetic pigments). They almost all feature dramatic and creative foreground elements competing with storied views in the background, as Hiroshige’s did, and they are often the same location. But many include hints of the newly arrived Westerners.
This one has it all. Hiroshige produced numerous views of Nihonbashi – the bridge in the then-center of Edo from which all distances were measured – but never quite like this, framed beneath the heavily tattooed arms of a fish monger crossing the next bridge over, Edobashi. And in the distance we see one of newly named Tokyo’s first brick buildings. But then beyond that, what could be more classic than Fuji itself?
Past meets present in this wonderful design. It is an excellent condition with rich colors and plenty of wonderful woodgrain in the sky.
Interested in purchasing?
Please contact us.
小林清亲 Kobayashi Kiyochika (1847–1915)
武蔵百景之内 江戸ばしより日本橋の景
View of Nihonbashi-bridge from Edobashi-bridge, from the series of One Hundred Views of Musashi
1884
木版画 | 纵绘大判 | 37.5cm x 25cm
Woodblock-print | Oban-tate-e | 37.5cm x 25cm
初版；早期版次；颜色鲜艳；品相非常好；纸张较薄
First edition; very early impression with clear woodgrain and fine color; thin paper.
$4,500
“Nihonbashi from Edobashi” comes from what is perhaps Koboyashi Kiyochika’s greatest series, “100 Views of Musashi,” which was published in 1884 by Maraya Tetsujiro. This series was an homage to Hiroshige’s legendary “100 Famous Views of Edo,” which was then 30 years in the past.
They are oban tate-e format, with cartouches and title boxes placed as Hiroshige’s were (although these feature synthetic pigments). They almost all feature dramatic and creative foreground elements competing with storied views in the background, as Hiroshige’s did, and they are often the same location. But many include hints of the newly arrived Westerners.
This one has it all. Hiroshige produced numerous views of Nihonbashi – the bridge in the then-center of Edo from which all distances were measured – but never quite like this, framed beneath the heavily tattooed arms of a fish monger crossing the next bridge over, Edobashi. And in the distance we see one of newly named Tokyo’s first brick buildings. But then beyond that, what could be more classic than Fuji itself?
Past meets present in this wonderful design. It is an excellent condition with rich colors and plenty of wonderful woodgrain in the sky.
Interested in purchasing?
Please contact us.
Kobayashi Kiyochika (1847–1915)
Perhaps no Japanese woodblock print artist bridged the styles of the Edo and Meiji eras as well as Kobayashi Kiyochika. While some of his notable designs, especially his bijin or “beautiful women” prints, harkened back to the classic days of Ukiyoe, his later work documented the rapid modernization and Westernization of Japan. Indeed, he experimented — at times more successfully than others — with depicting light and shade in the manner of Western art.
Apparently self-taught, Kiychika’s first known prints date from the 1870s and are rampent with signs of modernization — red brick buildings and trains proliferate. Then he took a step back, creating “100 Famous Views of Musashi,” a modern hommage to Hiroshige and the beauty of then-vanishing traditional Japan. After this he mysteriously disappeared from the scene before emerging to focus on dramatic war scenes and more views of fast-evolving Tokyo. Later, he worked as a newspaper illustrator. He died in 1915, having travelled through time.