‎Hiroshige‎

‎Hiroshige, Utagawa,Pomegranate,‎

‎Hiroshige 2026 Wall Calendar‎

‎new. unknown‎

Bookseller reference : 50944433-n ISBN : 1087511240 9781087511245

‎Hiroshige, Utagawa‎

‎Hiroshige Wood Block Prints: A Collection of Hiroshige's Masterpieces. Ukiyo-E Landscape. 6 Prints a set with Explanation‎

‎Kyoto Hanga-In. Hardcover. Very Good/No Jacket. Set of 6 woodblock prints each mounted in a cream overlay. Housed in a brown rice papered card stock string-tied portfolio. Includes explanations of each print in English and Japanese. Titles include: 1. Snow of Kambara at Night; 2. Hakone; 3. One Hundred Scenes of Edo Atagoshita Yabukoji; 4. Mt. Haruna in Kozuke Province; 5. Moon at Irozaki Point; 6. Beautiful Woman in Snow. // No date or edition stated. The cardboard covering is a little shelf rubbed and a tear along the spine. Our orders are shipped using tracked courier delivery services. Kyoto Hanga-In hardcover‎

Bookseller reference : 6ramp

‎HIROSHIGE, Utagawa; ADHEMAR, Jean‎

‎Hiroshige 1797-1858: Dessins Aquarelles Estampes‎

‎Paris: Huguette Beres 1955. paperback. near fine. Hiroshige. Illustrated abundantly in color and in black and white. Unpaginated 58 pages. Tall slim 4to tan wrappers with grey lettering toned at edges. Paris: Huguette Beres 1955. Text in French. Near fine.<br/> <br/> Exposition du 7 Juin au 15 Juillet 1955.<br/> <br/> Huguette Beres unknown‎

Bookseller reference : 321928

‎Hiroshige, Utagawa (Illustrator)‎

‎Hiroshige Prints 16 Note Cards: 16 Different Blank Cards With 17 Patterned Envelopes Woodblock Prints‎

‎Tuttle Pub 2021. Other printed item. New. ncr edition. 16 pages. 5.50x4.50x1.54 inches. Tuttle Pub unknown‎

Bookseller reference : __0804854416 ISBN : 0804854416 9780804854412

‎Hiroshige, Utagawa‎

‎Hiroshige Book of Postcards‎

‎Paperback. Very Good. paperback‎

Bookseller reference : GOR006022994 ISBN : 0764916203 9780764916205

‎Hiroshige, Ichiryusai & Chiba, Reiko - Editor‎

‎Hiroshige's Tokaido in Print and Poetry‎

‎Rutland VT: Charles Tuttle & Co. 1959. 1st. Softcover. Near Fine/Near Fine. Illustrated cloth boards with binding secured by string. Booklet is tight square sharp-cornered and free of flaws or markings inside and out. All of the beautiful full color woodcuts are present - tipped in to text next to poems. Very thin wood veneer affixed to endpapers. Near Fine. Illustrated slipcase also near fined with just one spot of mild rubbing. A ""tokaido"" or trip in English from Tokyo to Kyota taken by Ichiryusai Hiroshige in 1832. The trip comprised of 53 stopping spots along the way each a day apart during which Hiroshige sketched. These paintings are the tipped in woodcuts. First edition Third Printing. Charles Tuttle & Co. paperback‎

Bookseller reference : blb04114

‎Hiroshige, Ando‎

‎Hiroshige: A Shoal of Fishes A Studio book‎

‎Metropolitan Museum of Art 1981. First Edition. Hardcover. Near Fine/No Jacket As Issued. Accordion book with red cloth cover first edition in near fine condition; in a good example of the publisher's slipcase slipcase has some stains and wear. Metropolitan Museum of Art hardcover‎

Bookseller reference : 654910 ISBN : 0870992376 9780870992377

‎Hiroshige, Harry D. Smith, Ando‎

‎Hiroshige: One Hundred Famous Views of Edo‎

‎New York: George Braziller Incorporated 1986. 1st. Hardcover. Fair/Good. 256 pages. Hardcover with dust jacket. Clean tight copy. Color pictures throughout. landscapes. Hiroshige's One Hundred Famous Views of Edo actually composed of 118 splendid woodblock landscape and genre scenes of mid-nineteenth century Tokyo is one of the greatest achievements of Japanese art. The series contains many of Hiroshige's best-loved and most extraordinary prints. Like Venice and Florence in the 14th and 15th centuries or Paris in the age of the Impressionists the city of Edo with its superb landmarks and its festive display of elegant urban life exerts a special and compelling fascination. Hiroshige revealed the panorama of his city's activities with subtle and vivid visual anecdotes: fireworks seen from the river fashionable geishas on parade the kabuki district at night intimate moments in the gardens and teahouses. It is a tour de force of artistic vision and printmaking craftsmanship. This edition has been reproduced from an exceptionally fine first-edition set in the Brooklyn Museum of Art to insure maximum fidelity to the original prints. Henry Smith ex-plains the world of Edo in its twilight before the Meiji Restoration and the beginnings of a modern urban society. Each plate is accompanied by a commentary that discusses its artistic and cultural interest in detail. For anyone interested in Japan the One Hundred Famous Views of Edo is perhaps the finest guide and one of the greatest legacies imaginable. Record # 369104 George Braziller Incorporated hardcover‎

Bookseller reference : 369104

‎Hiroshige, Ando; Holme, Bryan [Illustrator]‎

‎Hiroshige: A Shoal of Fishes A Studio book‎

‎Metropolitan Museum of Art 1981-06-01. Hardcover. New. In shrink wrap. Looks like an interesting title! Metropolitan Museum of Art hardcover‎

Bookseller reference : Q-0870992376 ISBN : 0870992376 9780870992377

‎Hiroshige, Ando‎

‎Hiroshige: A Shoal of Fishes‎

‎Brand: Metropolitan Museum of Art 0000-00-00. First Edition. hardcover. Used: Good. 0.00x0.00x0.00. Buy with confidence. Excellent Customer Service & Return policy. Brand: Metropolitan Museum of Art hardcover‎

Bookseller reference : SONG0870992376 ISBN : 0870992376 9780870992377

‎HIROSHIGE, Ando (1797-1858).‎

‎Japanese Woodblock Picture. "Visiting the Temple."‎

‎<p>HIROSHIGE Ando 1797-1858. Visiting the Temple. Original woodblock from the series "Ehon Edo Miyage" published by Kikuya Kozaburo Volume 3 printed in Japan 1850-68. 295 x 210 mm. This original print is delivered to you in its <strong>unframed</strong> state carefully protected in a solid cardboard tube.</p><p>Utagawa Hiroshige born AndÅ TokutarŠ安藤 徳太郎; 1797 – 12 October 1858 was a Japanese ukiyo-e artist considered the last great master of that tradition.<br />Hiroshige is best known for his horizontal-format landscape series The Fifty-three Stations of the TÅkaidÅ and for his vertical-format landscape series One Hundred Famous Views of Edo. The subjects of his work were atypical of the ukiyo-e genre whose typical focus was on beautiful women popular actors and other scenes of the urban pleasure districts of Japan's Edo period 1603–1868. The popular series Thirty-six Views of Mount Fuji by Hokusai was a strong influence on Hiroshige's choice of subject though Hiroshige's approach was more poetic and ambient than Hokusai's bolder more formal prints. Subtle use of color was essential in Hiroshige's prints often printed with multiple impressions in the same area and with extensive use of bokashi color gradation both of which were rather labor-intensive techniques.<br />For scholars and collectors Hiroshige's death marked the beginning of a rapid decline in the ukiyo-e genre especially in the face of the westernization that followed the Meiji Restoration of 1868. Hiroshige's work came to have a marked influence on western European painting towards the close of the 19th century as a part of the trend in Japonism. Western European artists such as Manet and Monet collected and closely studied Hiroshige's compositions: Vincent van Gogh for instance painted copies of some Hiroshige prints.</p><p>Japanese woodblock prints known as <strong>ukiyo-e</strong> were<br />produced in their many thousands and hugely popular during the Edo period 1615 – 1868 these colourful woodblock prints known as ukiyo-e depicted scenes from everyday Japan. Ukiyo-e literally means 'pictures of the floating world'. The 'floating world' referred to the licensed brothel and theatre districts of Japan's major cities during the Edo period. Inhabited by prostitutes and Kabuki actors Kabuki is a traditional Japanese form of theatre these were the playgrounds of the newly wealthy merchant class. Despite their low status in the strict social hierarchy of the time actors and courtesans became the style icons of their day and their fashions spread to the general population via inexpensive woodblock prints.<br />The ukiyo-e style was developed in 1765 and remained popular until the closing decades of the Meiji period 1868 – 1912. While only the wealthy could afford paintings by the artists of the day ukiyo-e prints were enjoyed by a wide audience because they could be produced quite cheaply and in large numbers.<br />The production process<br />The earliest woodblock prints were simple black and white prints taken from a single block. Sometimes they were coloured by hand but this process was expensive. In the 1740s additional woodblocks were used to print the colours pink and green but it wasn't until 1765 that the technique of using multiple colour woodblocks was perfected. The glorious full-colour prints that resulted were known as nishiki-e or 'brocade pictures'.<br />The team involved in the production of ukiyo-e was known as the 'ukiyo-e quartet'. It comprised the publisher who usually had overall control of the process the designer/artist the block cutter and the printer.<br />The artist would draw the design on paper. Once complete an exact copy was made and placed face-down on a cherry wood block. Cherry wood was favoured due to the fine even grain and consistent density. The block cutter then carved directly through the copy to produce what is known as the 'key-block'.<br />The printer used the key-block to produce a number of black and white prints from which further blocks could be made for each colour needed in the final print. Known as 'key-block proofs' these prints feature registration marks: small rectangles outside the area of the picture. When the colour blocks were carved these marks were used to create stops so that the printer could line up the separate colours precisely.</p>‎

Bookseller reference : X15

‎HIROSHIGE, Ando (1797-1858)‎

‎Japanese Woodblock Picture. "Relaxing by the Water".‎

‎<p>HIROSHIGE Ando 1797-1858. Relaxing by the Water. Original woodblock from the series "Ehon Edo Miyage" published by Kikuya Kozaburo Volume 3 printed in Japan 1850-68. 295 x 210mm. This original print is delivered to you in its <strong>unframed</strong> state carefully protected in a solid cardboard tube.</p><p>Utagawa Hiroshige born AndÅ TokutarŠ安藤 徳太郎; 1797 – 12 October 1858 was a Japanese ukiyo-e artist considered the last great master of that tradition.<br />Hiroshige is best known for his horizontal-format landscape series The Fifty-three Stations of the TÅkaidÅ and for his vertical-format landscape series One Hundred Famous Views of Edo. The subjects of his work were atypical of the ukiyo-e genre whose typical focus was on beautiful women popular actors and other scenes of the urban pleasure districts of Japan's Edo period 1603–1868. The popular series Thirty-six Views of Mount Fuji by Hokusai was a strong influence on Hiroshige's choice of subject though Hiroshige's approach was more poetic and ambient than Hokusai's bolder more formal prints. Subtle use of color was essential in Hiroshige's prints often printed with multiple impressions in the same area and with extensive use of bokashi color gradation both of which were rather labor-intensive techniques.<br />For scholars and collectors Hiroshige's death marked the beginning of a rapid decline in the ukiyo-e genre especially in the face of the westernization that followed the Meiji Restoration of 1868. Hiroshige's work came to have a marked influence on western European painting towards the close of the 19th century as a part of the trend in Japonism. Western European artists such as Manet and Monet collected and closely studied Hiroshige's compositions: Vincent van Gogh for instance painted copies of some Hiroshige prints.</p><p><br />Japanese woodblock prints known as ukiyo-e<br />Produced in their many thousands and hugely popular during the Edo period 1615 – 1868 these colourful woodblock prints known as ukiyo-e depicted scenes from everyday Japan. Ukiyo-e literally means 'pictures of the floating world'. The 'floating world' referred to the licensed brothel and theatre districts of Japan's major cities during the Edo period. Inhabited by prostitutes and Kabuki actors Kabuki is a traditional Japanese form of theatre these were the playgrounds of the newly wealthy merchant class. Despite their low status in the strict social hierarchy of the time actors and courtesans became the style icons of their day and their fashions spread to the general population via inexpensive woodblock prints.<br />The ukiyo-e style was developed in 1765 and remained popular until the closing decades of the Meiji period 1868 – 1912. While only the wealthy could afford paintings by the artists of the day ukiyo-e prints were enjoyed by a wide audience because they could be produced quite cheaply and in large numbers.<br />The production process<br />The earliest woodblock prints were simple black and white prints taken from a single block. Sometimes they were coloured by hand but this process was expensive. In the 1740s additional woodblocks were used to print the colours pink and green but it wasn't until 1765 that the technique of using multiple colour woodblocks was perfected. The glorious full-colour prints that resulted were known as nishiki-e or 'brocade pictures'.<br />The team involved in the production of ukiyo-e was known as the 'ukiyo-e quartet'. It comprised the publisher who usually had overall control of the process the designer/artist the block cutter and the printer.<br />The artist would draw the design on paper. Once complete an exact copy was made and placed face-down on a cherry wood block. Cherry wood was favoured due to the fine even grain and consistent density. The block cutter then carved directly through the copy to produce what is known as the 'key-block'.<br />The printer used the key-block to produce a number of black and white prints from which further blocks could be made for each colour needed in the final print. Known as 'key-block proofs' these prints feature registration marks: small rectangles outside the area of the picture. When the colour blocks were carved these marks were used to create stops so that the printer could line up the separate colours precisely.</p>‎

Bookseller reference : X14

‎HIROSHIGE, Utagawa‎

‎La Tokaido di Hiroshighe‎

‎Paris: Bibliothèque de l'Image 2002. Brossura wrappers. Ottimo Fine. Prefazione di Gisele Lambert. Note esplicative e commenti per ogni stampa: Jocelyn Bouquillard. con tavole a colori anche a piena pagina. 8vo 26x30 cm. pp. 96. Ottimo Fine. . Bibliothèque de l'Image, unknown‎

Bookseller reference : 225981 ISBN : 2914239696 9782914239691

‎Hiroshige, Ando‎

‎Meisho Edo Hyakkei: Famous Views in Old Tokyo‎

‎International Trade & Tourist Association 1959-01-01. Hardcover. Very Good. Tight and unmarked in colored stiff boards color plates throughout text is in English and Japanese. Spine is shows no text but is a graphic as issued. Please email for photos. International Trade & Tourist Association hardcover‎

Bookseller reference : 84969

‎HIROSHIGE, Tokubei. III [ANDO Tokubei]‎

‎NIHON CHI SHI RYAKU ZU: BEGINNING OF DIPLOMACY & FOREIGN TRADE IN NIIGATA HARBOR‎

‎Edo 1876 no publisher stated. A single color woodblock print image clean margin edges restored rebacked solid attractive Chuban size: 24.3 x 17.1 cm. edges to edges dated Meiji 9th. year. FIRST & ONLY RARE EDITION . . . AN EXCELLENT EXAMPLE OF AN AMERICAN "BLACK SHIP" . . OR KURO-FUNE AS CALL BY THE JAPANESE . . RARE & HISTORIC JAPANESE PRINT OF AN AMERICAN SHIP IN JAPAN . . . AN AMERICAN "BLACK SHIP" AT ANCHOR IN JAPAN: . DETAILS OF THIS PRINT: . This lovely color woodcut print shows a lively harbor scene at Niigata harbor. A very large "BLACK SHIP" or "KURO-FUNE" flying the American flag is anchored in the harbor. A small American skiff whit what looks like four American sailors are heading to the ship. Because the U.S.S. Naval ships: Mississippi Plymouth Susquehanna and Powhatan were side paddle-wheels this print can only depict the U.S.S. Saratoga it was a frigate without paddle-wheels. . The cartouche in the upper left corner talks about the "Beginning of Diplomatic & Foreign Trade in Niigata" a very new and exciting experience for the Japanese. The beginning of importation of American and other western technology clothing inventions like the camera and other things came to Japan for the first time. The Japanese were astonished to see and look at not only westerners but their ships costume horses cigar-smoking top-hat sporting foreigners! . Please see the photos posted to our site illus05.jpg through illus07.jpg these three images show the U.S.S. Saratoga in all her glory in the 1840's-50's. Please note the similarities to our example especially the view from the ship's stern. These early images are very similar to our Japanese print in perspective. An historic view of the U.S.S. Saratoga depicted in Niigata harbor. . ABOUT THE U.S.S. SARATOGA & NIIGATA HARBOR: . Naturally the U.S.S. Saratoga was not in Niigata harbor in 1879 she returned to Boston from Japan on March 31 1854 and was decommissioned in December 1854. In May 1875 she was reactivated as a "training ship" decommissioned for the final time in October 1888. Between 1890-1907 she was on loan to the state of Pennsylvania as a "training ship." She was sold to Thomas Butler & Company of Boston a private commercial shipping company in August 1907. . Per the above its quite clear the U.S.S. Saratoga was nowhere near Niigata but the "old image of a "Kuro Fune" remained in the vivid imagination of Hiroshige III. In celebration of the new opening of Niigata's harbor to foreign trade in 1879 he re-used this famous and recognizable icon to convey to the Japanese the most recognizable "Kuro Fune" associated with images of foreign ships and "foreigners" to capture the attention of local Japanese. . It is not to say that various American commercial shipping firms did not go to Niigata harbor in 1879 surely many did. An perhaps some of those shippers used old U.S. Navy vessels sold-off and converted to commercial purposes to import/export goods to Japan. The similarity to the U.S.S. Saratoga is not to be overlooked ! . THE IMPACT OF THE OPENING OF JAPAN ON THE JAPANESE: . The world changed for Japan with the official opening in 1854. From that time forward a flood of foreign ships loaded with various goods and foreign people inundated Japan. By the early 1870's substantial numbers of foreign people visited Japan and toured the country. . Although this color woodblock print work was printed 'only' twenty-five years after the official and diplomatic "1854 Opening of Japan" the vast majority of Japanese had never seen a foreign "KURO FUNE" nor a foreigner. Japanese color woodblock prints were part of newspapers and little by little knowledge of foreign relations gradually spread throughout Japan teaching and informing the common people about such historic events with "amazing & stunning" graphic illustrations of foreigner and their "KURO FUNE." . At that time the average rural Japanese dweller farmer or Lords were mostly isolated from coastal Japan where the modernization was taking place. For rural Japanese it would take several weeks or even months on foot "shanks mere" to go and see the major transition of coastal cities and their new foreign residents and world travelers. . This print and several other similar examples taught the Japanese of the great wave of change impacting their country. A new world of strange and different foreign attitudes caused great political changes and the influx of import foreign goods changed the country. . ORIGIN OF THE WORD: "BLACK SHIPS" OR "KURO-FUNE:" . The Black Ships "Kuro-fune" an Edo period Japanese term was the name given to Western vessels arriving in Japan in the 16th and 19th centuries. . In 1543 Portuguese initiated the first contacts establishing a trade route linking Goa to Nagasaki. The large carracks engaged in this trade had the hull painted black with pitch and the term came to represent all western vessels. . In 1639 after suppressing a rebellion blamed on the Christian influence the ruling Tokugawa Shogunate retreated into an isolationist policy called "Sakoku" "closed country". During this "locked state" contact with Japan by Westerners was restricted to Dejima island at Nagasaki for the Dutch and a few Portuguese traders. . In 1844 William II of the Netherlands urged Japan to open but was rejected. On July 8 1853 the U.S. Navy steamed four "Black" warships into the bay at Edo and under threat of attack demanded that Japan open to trade with America. Their arrival marked the 'reopening' of the country to political dialogue after more than two hundred years of self-imposed isolation. Trade with America and other Western nations would not come until the Treaty of Amity and Commerce more than five years later. . In particular "Kuro-Fune" in Japanese refers to the American ships: Mississippi Plymouth Saratoga Powhatan and Susquehanna of the Perry Expedition for the opening of Japan 1853-1854. They arrived on July 14 1853 at Uraga Harbor now part of present-day Yokosuka in Kanagawa Prefecture Japan under the command of United States Commodore Matthew Perry. "Black" refers to the black color of the older sailing vessels and the "black smoke" from the coal-fired steam engines of the American ships. In this sense the "Kuro-Fune" became a symbol of the ending of Japan's long period of self-imposed isolation. . AMERICA'S "BLACK-SHIP" FLEET: . The Japanese in the northern parts of Japan had never seen such a massive smoke-belching ship before. When it appeared that July summer day off the Yokohama coast fear was struck in the hearts of the Japanese. The coastal defenses were helpless against the large gunboats with their cannon and the fire power of four huge "Man O'War" . PERRY'S FLAG-SHIP THE U.S.S. SUSQUEHANNA: . The U.S.S. Susquehanna joined Commodore Matthew Perry's expedition as his flagship at Canton and entered Edo Bay with his squadron on 8 July 1853. After Perry had presented his demands and official letter from President Millard Fillmore to the Japanese government on 14 July. . The American warships departed on 17 July. On 12 February 1854 Susquehanna returned with the squadron to Japan as part of Perry's show of force resulting in the signing of the Convention of Kanagawa on 31 March 1854. The frigate departed Japanese waters on 24 March; and after operating on the China coast headed home via the Indian Ocean and the Cape of Good Hope. She arrived at Philadelphia Pennsylvania on 10 March 1855 and was decommissioned on 15 March. . RARITY OF AMERICAN NAVAL VESSELS IN JAPANESE PRINTS: . This print is very RARE. It is one of a small genre recorded showing the visit of American Naval ships related to Commodore Perry and his historic opening of Japan. . The American frigate illustrated is not named but it must be one of those recreated from earlier memory or examples of The subject of U.S. American Naval "Black Ships" in Japanese woodblock prints are scarce! They only appeared in 1852 and in 1854 for a brief period of time thereafter commercial sailing vessels plied the waters of Japan. . There were a small number of American Naval vessels in Japan recorded in 1853 when Commodore Perry and his crew first appeared in Japan and Okinawa. Until the official opening in 1854 there were a very small amount of prints depicting U.S. American Naval vessels. . After that time several skilled Japanese Ukiyo-e woodblock print artists began to converge on Yokohama and commence to draw and record the activities of Americans and their commercial ships. For the next few years Japanese were fascinated with the activities and products of the Americans. . Woodblock prints woodblock-printed books were made and distributed throughout large cities along the coast from Yokohama down to Nagasaki. By the 1860-70's foreign photographers and a few of their Japanese disciples began to take photographs and woodblock prints began to wane. . NOTE: Color scans are posted to our website. . CONDITION: The work had been re-backed at some time in its life improving on the edges. There were a couple of small splits to the title cartouche minimal loss. The whole work is now very stable and solid. Registry and color is excellent. The work is ready for framing and display. It is currently in a paper mat. . REFERENCES: . ROBERTS Laurance P.: A DICTIONARY OF JAPANESE ARTISTS: PAINTING SCULPTURE CERAMICS PRINTS LACQUER. Hiroshige III 1843-94 p.45. His real name was Goto Torakichi his "Go" or studio names were Hiroshige Isshosai Shigemasa and Shigetora. He was a pupil of Ando Hiroshige The First and a Ukiyo-e printmaker. After the retirement of Hiroshige II to Yokohama in about 1865 Goto began calling himself "Hiroshige III" a common practice of disciples after their master died. His specialty was images of new railroad building in Japan. He is well collected by world museums. This work or Hiroshige III is cited in all below references: . TAMBA Tsuneo.: NISHIKI-E NI MIRU MEIJI TENNO TO MEIJI JIDAI. THE MEIJI EMPEROR AND THE MEIJI-PERIOD LOOKING AT WOODBLOCK PRINTS. . TAKAHASHI Seiichiro.: EVOLUTION OF UKIYO-E. . NONOGAMI Keiichi.: BUNMEI KAIKA NISHIKIESHU: YOKOHAMA-E TO KAIKAE. COLOR PRINTS OF THE LATE TOKUGAWA & EARLY MEIJI PERIODS IN THE NONOGAMI COLLECTION. . FICKE Arthur D.: CHATS ON JAPANESE PRINTS. . BINYON Laurence.: CATALOGUE OF JAPANESE AND CHINESE WOODCUTS PRESERVED IN THE BRITISH MUSEUM. . PHILADELPHIA MUSEUM OF ART.: FOREIGNERS IN JAPAN: Yokohama and Related Woodcuts in the Philadelphia Museum of Art. . MORRISON Arthur R.: THE PAINTERS OF JAPAN. . AMERICAN "BLACK SHIPS" OR "KURO-FUNE" Wikipedia: The U.S.S. Susquehanna Commodore Perry's Flag Ship used when he opened Japan 1853-1854. see: https://en.wikipedia.org/wiki/USS_Susquehanna_1850 https://en.wikipedia.org/wiki/Black_Ships Commodore Matthew C. Perry in Japan: https://en.wikipedia.org/wiki/Matthew_C._Perry U.S.S. SARATOGA: USS Saratoga a sloop-of-war was the third ship of the United States Navy to be named for the Battle of Saratoga of the American Revolutionary War. Her keel was laid down in the summer of 1841 by the Portsmouth Navy Yard. She was launched on 26 July 1842 and commissioned on 4 January 1843. . On 12 August 1850 Saratoga got underway on 15 September and proceeded to the western Pacific for service in the East India Squadron. . The highlight of her service in the Far East was her participation in Commodore Perry's Opening of Japan. After visiting Japan with Perry in July 1853 she sailed for the China coast and protected American interests at Shanghai while Japanese officials discussed Perry's proposals. . She returned with Perry in February 1854 and after the formal signing of a treaty between the United States and Japan on the last day of March sailed for the Sandwich Islands carrying Commander Henry A. Adams to whom Perry had entrusted the American copy of the treaty. After leaving Adams at Honolulu Saratoga sailed south rounded Cape Horn reached Boston Massachusetts in September and was decommissioned on 10 October 1854. . https://en.wikipedia.org/wiki/USS_Saratoga_1842 U.S. POWHATAN: https://en.wikipedia.org/wiki/Powhatan . hardcover‎

Bookseller reference : 23016101

‎Hiroshige, Ando‎

‎One Hundred Views of Edo‎

‎Used - Good. unknown‎

Bookseller reference : FORT915575 ISBN : 0760772916 9780760772911

‎HIROSHIGE, Ando. I [Utagawa]‎

‎ROKUJU YOSHU MEISHO ZU: HARIMA MAIKO NO HAMA. #45 FAMOUS VIEWS OF THE SIXTY-OD‎

‎Tokyo n.d. ca 9120's. Vertical color woodblock print in very bright condition superb impression & registry sheet: 25.2x 37.8 cm.; print: 22.4 x 35.5 cm. Watanabe square seal in lower left corner also there is a small bump. RARE . . . STUNNING SUNSET ON THE BAY FROM THE PINE FOREST . . . VIEW OF HARIMA AT MAIKO NO HAMA: MAIKO BEACH . . This is an excellent example. It shows the shore of the bay with the tide coming in. The view is of the sunset three tiny sailing vessels are on the horizon. The view is from the thick pine forest along the shoreline with three people and a teahouse in the mid-ground. A classic view by Japan's master of landscape scenery. . THE SERIES: ROKUJUYOSHU MEISHO ZUE is a series of Ukiyo-e color woodblock prints by the eminent Japanese master landscape artist Hiroshige 1797-1858: . The series consists of a 70 prints of famous views from each of the 68 provinces of Japan plus a print of Edo the capital and a contents page for a total of 70 prints. The prints were first published in serialized form by Koshimuraya Heisuke in 1853-56. . This charming example represents one of the best from that series. It is printed on an oversized large Oban size sheet . Color photos are posted to our website. . THE PUBLISHER: This print was published by Takemura a woodblock printing & publishing house in Tokyo of the period. . CONDITION: In excellent condition superb impression & registry strong colors no fading. Verso blank with two tiny old glassing hinges at top edge. Lower left & right corners mildly bumped now pressed flat very minor impression. . There are two tiny paper defects in the lower margin They are so small that our scanner could not pick them up they can be matted out when framed very minor issue. . . unknown‎

Bookseller reference : 44026201

‎Hiroshige, Ando Utagawa (1797-1858)‎

‎Ten Beautiful Sceneries in Kyoto 1 missing‎

‎Portfolio. Condition: Fine. Unanimous Japan 1992. Beautifully colored drawings. Only 9 of 10 paintings 13 x 9.5. Nice Firm Clean copies ! Contents: 1. Willow Trees at Shimabara Gate 2. Summer Shower at Tadasu-River 3. The Snowfall at Gion Shrine 4. People Enjoying Evening Breezes at Shijoh-Kawara 5. Kiyomizu Temple ·6. Ferry oat at Yodo River 7. Cherry Blossom at Arashi-Yama 8. The Gold Pavilion Temple MISSING 9. Village of Yase 10. Maple Trees at Tsuten Bridge. Size: 13 x 9.25. Original wood block prints painted by Hiroshige Ando Utagawa 1797-1858. One of the most prominent painters' in the late Edo Era. Particularly good at painting the sceneries at quiet and poetic tone. The Substrate Toray's 'Axter' spun-bonded polyester is used as a substrate material. Art::Painting by Artist Art::Asia History::Japan 6329L unknown‎

Bookseller reference : 126650

‎Hiroshige, Ando‎

‎The Fifty-Three Stages of the Tokaido. Hoeido Miniature Edition‎

‎Tokyo : Takamizawa Ukiyoe circa 1960s. Oblong accordion format with miniature woodcuts pasted on pages. 13 x 19.5 cm. Red brocade silk covered cloth in buckram slipcase. OCLC Number: 893642632 Tokyo : Takamizawa Ukiyoe, circa 1960s hardcover‎

Bookseller reference : 51-2009

‎Hiroshige, Utagawa [artist]; Lee, Sherman E.; Boorstin, Daniel J.‎

‎The Sketchbooks of Hiroshige 2 volumes‎

‎New York: George Braziller 1984. Hardcover. Fine. Single sheet concertina style binding in two volumes. Pictorial slip case. Very minor wear to slip case. Always securely packed. Professional booksellers since 1994. Satisfaction guaranteed. <br/><br/> George Braziller hardcover‎

Bookseller reference : 021538 ISBN : 0807611050 9780807611050

‎Hiroshige, Ando‎

‎The Sketchbooks of Hiroshige Pictorial Archive Series‎

‎Dover Publications 2007-08-31. Not Indicated. paperback. Used: Good. 11.00x0.50x8.50. Buy with confidence. Excellent Customer Service & Return policy. Dover Publications paperback‎

Bookseller reference : SONG0486460479 ISBN : 0486460479 9780486460475

‎HIROSHIGE, Ando. I [Utagawa]‎

‎TOKAIDO GO JU SAN TSUGI NO UCHI: #8: HIRATSUKA NAWATA MICHI:THE FIFTY-THREE STAT‎

‎Tokyo n.d. ca 1920's. An Oban horizontal color woodblock print:35 x 22.8 cm. sheet: 38.1 x 22.3 cm. with superb impression and registry UNUSED excellent example seldom found. RARE EARLY EDITION . . . SUPERB COMPOSITION LANDSCAPE BY JAPAN'S MOST ICONIC . . . LANDSCAPE ARTIST & PRINTMAKER . . . HIROSHIGE . . . FROM THE SERIES: . . . TOKAIDO GO JU SAN TSUGI NO UCHI: . . . NO. 8 IN "THE 53 STATIONS OF THE TOKAIDO HIGHWAY" . . HIRATSUKA NAWATA MICHI: HIRATSUKA NAWATA ROAD . . THE ARTIST: ANDO Hiroshige 1797-1858 was the last major master of the Ukiyo-e school. In 1811 he entered the studio of Utagawa Toyohiro soon given the 'nom d'artiste' "Hiroshige." . He published his first color woodblock printed book in 1818. He was greatly influenced by Hokusai's series of landscape prints including this series TOKAIDO GO JU SAN TSUGI. Being impressed Hiroshige set out to do his own impressions of the Tokaido highway series. . . Hiroshige soon distinguished himself as the landscape master of Japan during this period. He made a large contribution to the development of the landscape color print as well as the traditional "Kacho" "Bird & Flower" prints with a tendency to the Kyoto Shijo School. He remained the master of impressionist creating poetic views of nature and remained the best-loved of all Japanese artists. See Lane below p.229. With signature samples by dates. . This is a circa 1920's reprint of the original edition. A pristine example UNUSED with superb impression and registry about as good as it can get. Ready for framing and display. . Color photos are posted to our website. . . unknown‎

Bookseller reference : 44025701

‎HIROSHIGE, Ando. I [Utagawa]‎

‎TOKAIDO GOJUSAN TSUGI NO UCHI: NUMAZU: #13 THE FIFTY-THREE STAGES OF THE TOKAID‎

‎Tokyo n.d. ca 1920's.Oban horizontal color woodblock print sheet: 38.4 x 25.6 cm.; print: 35 x 22 cm. a pristine copy superb registry and impressionnearly flawless verso clean bright & solid example seldom found. RARE EXAMPLE . . . A FLAWLESS & SUPERB EXAMPLE ! . . .HIROSHIGE: TOKAIDO GOJU-SAN TSUGI: 53 STAGES OF THE TOKAIDO . . . THIS IS PRINT NUMBER 13 MUMAZU . . . PILGRIMS ON THE PATH TO THE LODGING INN AT NUMAZU . A superb and stunning example with the artist's signature in lower left corner in block. With exceptionally vivid colors superb detail immaculate without flaw! . A The classic Ukiyo-e print by the master of landscape. The scene depicts three pilgrim travelers walking along a tree-lined river bank towards Numazu-shuku inn under a huge full moon in a deep blue sky. One of the travelers is wearing the white robes of a pilgrim and he is carrying a huge Tengu see below for definition mask on his back. This indicates his destination is the famed Shinto shrine of Konpira on Shikoku island. When he arrives there he will donate the mask to the shrine in an act of gaining 'merit.' . HIROSHIGE I 1797-1858: He was the last major master of the Ukiyo-E school. Studied under the eminent Toyohiro published book illustrations and several series of prints of actors warriors girls and landscapes. He and Hokusai are the two most eminent and celebrated artists of the Japanese woodblock genre. See Lane below for more details . . TENGU: An animial with a very long nose. Tengu are a type of legendary creature found in Shinto belief. They are considered a type of Yokai supernatural beings or Shinto Kami Gods or spirits. . CONDITION: A stunningly superb example flawless brilliantly executed. Superior color impression & registry. Seldom found in such pristine condition about as good as it can get. . There is a tiny mend on the right upper margin done in the distant past almost imperceptible of no impact and does not show up on our scan of the back side see spine.jpg photo on our website. . Color photos are posted to our website. . REFERENCE: . LANE Richard: IMAGES OF THE FLOATING WORLD see Tokaido map on p.230-231 Hiroshige biography p.229 list of Hiroshige signatures & dates page 229 pp.174-178 see p.233 for this print details. . . unknown‎

Bookseller reference : 44027001

‎HIROSHIGE, Ando. I [Utagawa]‎

‎TOKAIDO GO JU SAN TSUGI NO UCHI: HODOGAYA SHIMACHI-BASHI: THE FIFTY-THREE STATIO‎

‎Edo 1833-34 Takenouchi. A single Oban horizontal color woodblock print: 35.7 x 23 cm. sheet:37.5 x 34.8 cm.dusty excellent impression and registry a bit of old 'rubbing' to surface else solid & firm. RARE EARLY EDITION . . . SUPERB COMPOSITION LANDSCAPE BY JAPAN'S MOST ICONIC . . . LANDSCAPE ARTIST & PRINTMAKER . . . HIROSHIGE . . . FROM THE SERIES: . . . TOKAIDO GO JU SAN TSUGI NO UCHI: . . . NO. 5 IN "THE 53 STATIONS OF THE TOKAIDO HIGHWAY" . . SHINMACHI-BASHI: NEW TOWN BRIDGE . . THE ARTIST: ANDO Hiroshige 1797-1858 was the last major master of the Ukiyo-e school. In 1811 he entered the studio of Utagawa Toyohiro soon given the 'nom d'artiste' "Hiroshige." . He published his first color woodblock printed book in 1818. He was greatly influenced by Hokusai's series of landscape prints including this series TOKAIDO GO JU SAN TSUGI. Being impressed Hiroshige set out to do his own impressions of the Tokaido highway series. . . Hiroshige soon distinguished himself as the landscape master of Japan during this period. He made a large contribution to the development of the landscape color print as well as the traditional "Kacho" "Bird & Flower" prints with a tendency to the Kyoto Shijo School. . He remained the master of impressionist creating poetic views of nature and remained the best-loved of all Japanese artists. See Lane below p.229. With signature samples by dates. . FAMOUS PRINT FROM THE FAMOUS TOKAIDO HIGHWAY SERIES: . This famous series by Ando Hiroshige I TOKAIDO GOJU SAN TSUGI NO UCHI: THE FIFTY-THREE STAGES OF THE TOKAIDO HIGHWAY has been a standard and famous series of 54 prints since its issue in 1833-34. This is stop #5 showing Hodogaya Shin Machi Bashi New Bridge over the Katabira river. . Published by Takenouchi Magohachi Hoeidô and Tsuruya Kiemon Senkakudô circa 1833-34 Tenpo 4-5th. years with the red Hanko seal/chop of both Hoeido and Senkakudo. . CONDITION: . NOTES ON SPECIFIC COPIES: . Copy 1.: This is the original FIRST EDITION of the print. It was published circa 1833-34. The front surface is rubbed dusty the back side is re-backed with some Japanese calligraphy paper. . The impression & registry are excellent the colors are strong. . There are some neat restorations to the back side of the print using Washi handmade Japanese mulberry fiber paper when the item was re-backed in the distant past. . The white borders intact and perhaps a tiny bit trimmed. . The front side as usual a bit dusty rubbed with minor soil a feint discoloration above the trees on the left 1/3. Regardless the image & coloring are strong & impressive. . The print has been 're-backed' some time in its distant past using some old Washi paper which appears to have been an old signature samples sheet with other Fude bamboo brush & Sumi black ink writing. There are 2 small pin/tiny holes which are mended by the backing. . This was a common practice in the early 19th century. The work is now quite firm & solid. The backing paper is not visible from the front side. . Given the fact that is print is about 187 years old it is in better than the average condition. Please review the photos prior to ordering. . edition. It is in pristine condition excellent registry & impression about as good as it can get. . Copy 2: This is a circa 1920's reprint of the original edition. A pristine example UNUSED with superb impression and registry about as good as it can get. Ready for framing and display. . Color photos are posted to our website. . REFERENCES: . This print was exhibited at Le Musée National des Arts Asiatiques Guimet July-October 2019. This print was offered at Sotheby's London: see Sothebys 2020/fine-japanese-art/utagawa- iroshige-i-1797-1858-four-prints-hodogaya This link shows our Hodogaya print as the top left example. Their estimate was about $993 per print in a group of 4. LANE Richard: IMAGES FROM THE FLOATING WORLD: THE JAPANESE PRINT: see p.229 for an excellent biography of Hiroshige PRINT INCLUDING AN ILLUSTRATED DICTIONARY OF UKIYO-E: see p.232 #1 he cites: "55 Oban prints ca. 1833-34 publishers Hoeidoh & Senkakudoh." This print being #5 of the Tokaido series cited as #74 page 232 & illustration. See his p.230-31 for a map of the Tokaido station series. Wikipedia: Hiroshige I: TOKAIDO GOJU SAN TSUGI: See wikipedia for more info on 53 Stations of the Tokaido . unknown‎

Bookseller reference : 42023901

‎Hiroshige, Ando;‎

‎Tokaido-Landschaften‎

‎Baden-Baden 1958. 16 farbige Tafeln. Einführung von Dietrich Seckel Guter Zustand Woldemar Klein 4°. Pbd. Japan unknown‎

Bookseller reference : 27457