Toyokuni II | Descending Geese at Miho, Eight Views of Scenic Spots
二代歌川豐國（歌川豐重）Utagawa Toyokuni II (Toyoshige) (1777–1835)
名胜八景 三保落雁
Descending Geese at Miho from the series of Eight Views of Scenic Spots in Kanagawa
1833-34
木版画 | 横绘大判 | 25.5cm x 37.7cm
Woodblock-print | Yoko tata-e | 25.5cm x 37.7cm
早期版次，带漂亮的木纹；颜色保存完好，特别是标题章的紫色颜料；整体品味非常好，左边边缘经轻微修剪
Fine impression with beautiful woodgrain and strong color, particularly the purple pigment in the title cartouche, which is usually faded; very slight trim to the left margin, otherwise in good condition.
$9,500
Toyokuni II was a student of the great Toyokuni who mostly focused on prints of beautiful women. He completed only one series of landscapes – “Eight Views of Famous Spots in Kanagawa” —but it is a masterpiece, a remarkable set of prints. Bold, with extraordinarily modern designs, it was published in the 1830s just as Hokusai and Hiroshige (also a member of the Utagawa school) were making landscapes popular.
And this is considered by some to be the masterpiece among those masterpieces. Toyokuni II gives us a sprawling view and expansive view, a dramatic vista of sea and moutains, and one we appreciate as if we were a hawk up in the clouds.
He gives awesome power and size to Mount Fuji – by not showing the top of Fuji; instead, the snowy summit mixes with the clouds, but in our mind’s eye we see it. Beautiful woodgrain adds a subtle texture to the distant scene. Extraordinary.
One thing that makes this example especially interesting — and desirable — is the purple in the cartouche. Often, this has faded to a tan-ish color but here the purple is as strong as the day it was printed.
Interested in purchasing?
Please contact us.
二代歌川豐國（歌川豐重）Utagawa Toyokuni II (Toyoshige) (1777–1835)
名胜八景 三保落雁
Descending Geese at Miho from the series of Eight Views of Scenic Spots in Kanagawa
1833-34
木版画 | 横绘大判 | 25.5cm x 37.7cm
Woodblock-print | Yoko tata-e | 25.5cm x 37.7cm
早期版次，带漂亮的木纹；颜色保存完好，特别是标题章的紫色颜料；整体品味非常好，左边边缘经轻微修剪
Fine impression with beautiful woodgrain and strong color, particularly the purple pigment in the title cartouche, which is usually faded; very slight trim to the left margin, otherwise in good condition.
$9,500
Toyokuni II was a student of the great Toyokuni who mostly focused on prints of beautiful women. He completed only one series of landscapes – “Eight Views of Famous Spots in Kanagawa” —but it is a masterpiece, a remarkable set of prints. Bold, with extraordinarily modern designs, it was published in the 1830s just as Hokusai and Hiroshige (also a member of the Utagawa school) were making landscapes popular.
And this is considered by some to be the masterpiece among those masterpieces. Toyokuni II gives us a sprawling view and expansive view, a dramatic vista of sea and moutains, and one we appreciate as if we were a hawk up in the clouds.
He gives awesome power and size to Mount Fuji – by not showing the top of Fuji; instead, the snowy summit mixes with the clouds, but in our mind’s eye we see it. Beautiful woodgrain adds a subtle texture to the distant scene. Extraordinary.
One thing that makes this example especially interesting — and desirable — is the purple in the cartouche. Often, this has faded to a tan-ish color but here the purple is as strong as the day it was printed.
Interested in purchasing?
Please contact us.
二代歌川豐國（歌川豐重）Utagawa Toyokuni II (Toyoshige) (1777–1835)
名胜八景 三保落雁
Descending Geese at Miho from the series of Eight Views of Scenic Spots in Kanagawa
1833-34
木版画 | 横绘大判 | 25.5cm x 37.7cm
Woodblock-print | Yoko tata-e | 25.5cm x 37.7cm
早期版次，带漂亮的木纹；颜色保存完好，特别是标题章的紫色颜料；整体品味非常好，左边边缘经轻微修剪
Fine impression with beautiful woodgrain and strong color, particularly the purple pigment in the title cartouche, which is usually faded; very slight trim to the left margin, otherwise in good condition.
$9,500
Toyokuni II was a student of the great Toyokuni who mostly focused on prints of beautiful women. He completed only one series of landscapes – “Eight Views of Famous Spots in Kanagawa” —but it is a masterpiece, a remarkable set of prints. Bold, with extraordinarily modern designs, it was published in the 1830s just as Hokusai and Hiroshige (also a member of the Utagawa school) were making landscapes popular.
And this is considered by some to be the masterpiece among those masterpieces. Toyokuni II gives us a sprawling view and expansive view, a dramatic vista of sea and moutains, and one we appreciate as if we were a hawk up in the clouds.
He gives awesome power and size to Mount Fuji – by not showing the top of Fuji; instead, the snowy summit mixes with the clouds, but in our mind’s eye we see it. Beautiful woodgrain adds a subtle texture to the distant scene. Extraordinary.
One thing that makes this example especially interesting — and desirable — is the purple in the cartouche. Often, this has faded to a tan-ish color but here the purple is as strong as the day it was printed.
Interested in purchasing?
Please contact us.
Utagawa Toyokuni II (Toyoshige) (1777-1835)
Toyoshige was born in 1777 and not a great deal is known about him, but he did cause something of a scandal in the Utagawa school. He stole a name, or so the legend goes.
He joined Toyokuni’s studio at age 1818, and had a specialty in actor prints and surimono, although his output was low. He was adopted by the master in 1824. But a year later the master died, and that’s where the trouble began.
Toyoshige became Toyokuni II. But did the first Toyokuni bestow the name on him, or did he just take it for himself? No one knows. But Toyokuni’s most famous and successful student, Kunisada, was reportedly quite angry that he had to be Toyokuni III. But it was what it was.
Toyoshige was a perfectly competent print designer. But there is another interesting twist to his story. He completed only one series of landscapes – “Eight Famous Views of Kanagawa.” (I have also seen it listed as “Eight Famous Views” or “Eight Famous Views of Shrines.”) It is a masterpiece, a remarkable set of prints. Bold, with extraordinarily modern designs, it was published in the 1830s just as Hokusai and Hiroshige (also a member of the Utagawa school) were making landscapes popular.
The prints in this series are filled with wonderful touches. In “Wild Geese in Miho,” for example, he creates a magnificent and towering Mount Fuji – by notshowing the top of Fuji; instead, the snowy summit mixes with the clouds, but in our mind’s eye we see it. Extraordinary.
Toyoshige died soon after, in 1835, leaving us the mystery of why he only created one series of landscapes, but grateful that he did.