ANDO HIROSHIGE - 100 SŁYNNYCH WIDOKÓW EDO RZADKA (419527334)



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PEŁNY TYTUŁ KSIĄŻKI -
ANDO HIROSHIGE AND HIS SERIES

A HUNDRED FAMOUS VIEWS OF EDO

(TEKST W JĘZYKU ANGIELSKIM)



AUTOR -
WPROWADZENIE - MIKHAIL USPENSKY
PROJEKT - IGOR ARKHIPOV
TŁUMACZENIE Z J. ROSYJSKIEGO NA ANGIELSKI - PAUL ERIC CARLSON


WYDAWNICTWO, WYDANIE, NAKŁAD -
WYDAWNICTWO - AURORA ART PUBLISHERS, LENINGRAD 1989
WYDANIE - 1
NAKŁAD - ??? EGZ.

STAN KSIĄŻKI -
BARDZO DOBRY JAK NA WIEK (ZGODNY Z ZAŁĄCZONYM MATERIAŁEM ZDJĘCIOWYM) (wszystkie zdjęcia na aukcji przedstawiają sprzedawany przedmiot).

RODZAJ OPRAWY -
ORYGINALNA, TWARDA, PŁÓCIENNA TEKA Z TŁOCZENIAMI

ILOŚĆ STRON, WYMIARY, WAGA -
ILOŚĆ STRON - 8 STRON TEKSTU I KOMPLET WYDAWNICZY 90 TABLIC NA KREDOWYM PAPIERZE
WYMIARY - 40 x 27 x 4 CM (WYSOKOŚĆ x SZEROKOŚĆ x GRUBOŚĆ W CENTYMETRACH)
WAGA - 2,776 KG (WAGA BEZ OPAKOWANIA)

ILUSTRACJE, MAPY ITP. -
ZAWIERA OSOBNYCH KOLOROWYCH TABLIC NA PAPIERZE KREDOWYM


KOSZT WYSYŁKI -
8 ZŁ - WYSYŁKA PRIORYTETOWA W KOPERCIE BĄBELKOWEJ (JEDYNĄ OPCJĄ JEST PRIORYTET, NIE WYSYŁAM ZA POBRANIEM, KOSZT NIEZALEŻNY OD WAGI I ILOŚCI PRZEDMIOTÓW, UPRASZCZAJĄC ZAWSZE PŁACISZ 8 ZŁ NIEZALEŻNIE CZY KUPISZ 1 KSIĄŻKĘ CZY 20)

DODATKOWE INFORMACJE NA TEMAT EGZEMPLARZA (JAK NP. AUTOGRAFY) -




SPIS TREŚCI LUB/I OPIS KLIKAJĄC TUTAJ MOŻESZ ŚCIĄGNĄĆ LUB OTWORZYĆ PLIK ZE SPISEM KOMPLETNYM

Introduced by MIKHAIL USPENSKY
Designed by IGOR ARKHIPOV
Translated from the Russian by PAUL ERIC CARLSON
Ando Hiroshige and His Series A Hundred Famous Views of Edo




The series of woodblock prints Meisho Edo Hyakkei (A Hun-1 dred Famous Views of Edo) has a special prominence in the work of Hiroshige and in the history of Japanese xylography as a whole. Done in the 1850s, a decade that has been rightfully considered a period of decline in the art of the print, this series nonetheless stands among the finest achievements of ukiyo-e.
The first half of the nineteenth century coincided with the finał stage in the development of the Japanese woodcut. Its zenith — the period of Harunobu, Utamaro, Kiyonaga and Sharaku — had already passed, and the stage had been yielded to a new generation of artists whose work is usually regarded (somewhat unjustly, it must be admitted) as of secondary importance.
At the beginning of the nineteenth century bijin-ga (depictions of beautiful women) and yakusha-e (pictures of the world of the theatre) continued to be the leading branches of the woodcut. Although both had changed direction sińce the eighteenth century, the greatest masters of this new period, such as Toyokuni I, Eishi, Eiri and Keisai Eisen, created works which, while unlike those of the artists of the 1780s and '90s, could nevertheless stand comparison with them on the basis of their own particular expressive character.
On the other hand, in the 1830s and '40s, lifeless works of an eclectic naturę began to appear with increasing freąuency. Their purely formal expressiveness and passion for external effects displaced the subtle emotional atmosphere which was the primary virtue of woodcuts in the second half of the eighteenth century.
But truły sharp signs of decay appeared only later, in the Bakumatsu era which preceded the Meiji Restoration of 1868. Therefore it is hardly accurate to extend the term "decline" to all prints of the first half of the nineteenth century. This ignores not only the fact that the traditional genres blossomed for the last time. but, morę important, that a new branch of ukiyo-e,
fukei-ga (landscape), developed rapidly at this period.
Landscape is thought to have been introduced in the wood-block print by Katsushika Hokusai (1760—1849), one of the Japanese artists best known to Europeans. Hokusai's landscape, or, morę broadly, the ukiyo-e landscape, is unusual for the art of Japan. Above all, it is distinguished from the traditional Far Eastern landscape by its much greater attention to the actual appearance of the locality portrayed. But Hokusai cannot be said to have elaborated this new conception entirely by himself. The formation of the new style of print landscape has its own history, on which it is worthwhile to dwell, sińce it is helpful in evaluating Hiroshige's contribution to the development of ukiyo-e, its innova-tions and its finał achievements.
The first landscapes appeared in woodcuts almost at the same time as the leading genres of ukiyo-e, actor portraits and depictions of beautiful women. We first encounter "view prints" in the work of Okumura Masanobu (1686—1764), one of the greatest masters of the "monochrome" period. In Masanobu the landscape artist two tendencies can be distinguished. One of them is related to his attempt to use, without alteration, in black-and-white or hand-coloured woodcuts, the scheme and system of images of the traditional schools of painting, the Kano and the Tosa. These efforts ended in failure: his landscape prints using the classical scheme are nothing but coarse imitations of their models
in painting.
The second tendency is represented by uki-e, 'perspective pictures", i.e. bird's-eye views in which linear perspective and chiaroscuro were employed. As a rule the introduction of these
techniąues into Japanese art, and the conseąuent rise of uki-e
are considered to be a result of the influence of the European
artistic tradition. While this may be true, it does not exclude the
possibility that the first impulse towards the creation of uki-e did
not come directly from Western works, but through the intertne-
diary of Chinese landscape woodcuts done under the influence
of European models. In particular, the so-called megane-e (literally
"picture through glasses") had a powerful impact. these were
produced in large numbers in the province of Siichow and were
very popular in Japan. They were often shown with the aid of
a nozoki-karakuri (literally "viewing machinę"), in which the
image was first reflected in a mirror and then enlarged in a
magnifying glass in order to intensify the foreshortening and
the modelling of light and shade, thus creating an illusion of three-
dimensionality. Many famous Japanese painters and graphic artists,
in the process of learning the principles of linear perspective and
chiaroscuro, produced megane-e. Among them were such noted
figures as Maruyama Okyo (1733—1795), Shiba Kokan (1747—
1818) and Okumura Masanobu himself.
However, these adherents of linear perspective soon moved beyond their imitation of Chinese megane-e, turning directly to the source, Dutch engravings.
The cultivation of the artistic traditions of the West is extremely important for the history of Japanese art. One of the signal characteristics of Japanese culture is its receptiveness. Thus, the ancient and mediaeval periods in Japan cannot be understood without taking into consideration the influence of China — its culture, customs, various religions and art. In this later period, once the Japanese had become acąuainted with the West, European influence grew steadily despite all the obstacles, and many phenomena of the Tokugawa era, especially in the world of art, developed with important and obvious elements of the European artistic tradition. This can be said of the woodcut, too. Thus, a new conception of a landscape as a depiction of a concrete locality was formed in ukiyo-e under the immediate influence of European works, especially Dutch etchings, which, though in Hm-
European works, especially Dutch etchings, which, though in lim-ited ąuantities, nevertheless did make their way into Japan in the eighteenth and nineteenth centuries from Deshima, the Dutch trad-ing station near Nagasaki and the only source of dissemination of European learning in the Tokugawa period.
The scholars of Dutch learning (rangaku-sha) played a spe-cial role in this process. In the 1720s the prohibitions against all things European, which had been in force for over a century, were relaxed, and it became possible to study European arts and sciences. Soon a new movement emerged in Japan. The adherents of the new trend, rangaku-sha, set themselves the goal of mastering all the available European learning, including Western-style paint-ing (rangaku-e).
The leading master of the rangaku-e, Shiba Kokan, and his followers worked in copperplate engraving as well as oil paint-ing. One of the fundamental themes of the former medium was the landscape, in which the rangaku artists, with varying success, used newly-learned methods of constructing an image — perspective and the modelling of forms with light and shade. The attraction of Western-style painting was not limited to a few specialists. Many of the masters of ukiyo-e showed their enthusiasm for this Europeanizing trend, including the young Katsushika Hokusai, a student in Shiba Kokan's workshop, and Utagawa Toyoharu, founder of the Utagawa school and teacher of Toyohiro, who was in turn the teacher of Ando Hiroshige.
In the uki-e prints of Masanobu and his contemporaries (Nishimura Shigenaga, Furuyama Moromasa, Torii Kivotada Torii Kiyomasu and others) there is essentially no depiction of naturę itself. Interiors, especially of theatres and teahouses are the subjects most often encountered in them. Morę rarely street scenes appear, but even these are treated as interiors. Ali of these uki-e are marked by the use of exaggerated perspective. At the same time, the background is elaborated as carefully and in as great detail as the foreground, giving the uki-e an absorbing ąuality: they can and must be examined at length. Their high information-content ensured to them tremendous popularity in the first half of the eighteenth century.
Obviously the early uki-e cannot be considered landscapes in the fuli sense of the word. The work of Masanobu, Kokan and their followers is a first, very important stage in the formation of the landscape as an independent uki-e subject.
The following step in this process is connected with the name of Utagawa Toyoharu (1735—1814), whose uki-e are noticeably different from the "perspective prints" of the preceding period. If the direct connection of Masanobu and his contemporaries with European engraving is uncertain, it is clearly felt in the works of Toyoharu. In his studies of the laws of perspective and chiaroscuro, he copied Dutch etchings and furthermore, he used European techniąues in his original designs, applying them with much greater assurance than his predecessors.
In addition to this, Toyoharu was the first to create poly-chrome "perspective prints" significantly increasing the artistic possibilities of uki-e. Lastly, in several works he managed to convey not only a morę or less exact image of the depicted locality, but to some degree the mood of naturę as well. These woodcuts are typologically similar to the ukiyo-e landscape proper, which reached its finał form only later.
Uki-e, whose popularity was extraordinarily high in the 1770s to 1790s, also exerted an appreciable influence on traditional forms of the woodblock print. Many ukiyo-e masters, working primarily in bijin-ga and yakusha-e, turned periodically to "per-spective pictures". Torii Kiyonaga (1752—1815), Kitagawa Utamaro (1753—1806), Katsukawa Shunsho (1726—1792) and Kitao Shigemasa (1739—1820) were among them. Their uki-e are the first attempts to combine techniąues of "perspective pictures with the decorative qualities of the polychrome woodcut.
But lt was perhaps even morę significant for the development of ukiyo-e that woodcut genre scenes, under the influence of uki-e, began to use łandscapes as background. Although in compo-sitional terms the genre scenę and the landscape are, as a rule unconnected, in the best works of this kind (especialiy from the brush of Kiyonaga) the techniques of Western art look neither for-eign nor pointedly exotic (as they had in the early uki-e), but organ-ically enter into the representational system traditional to ukiyo-e.
Thus, the "perspective print" of the second half of the eight-eenth century and those trends within ukiyo-e which madę their appearance under its influence are the immediate forerunners of the ukiyo-e landscape proper.
The establishment of landscape as an independent subject of ukiyo-e is associated with the name of Katsushika Hokusai (1760—1849), one of the great masters of the Japanese woodblock print. During his long life Hokusai ventured into various genres of the woodcut and various other media. In particular, unlike other ukiyo-e artists, he did not merely show an enthusiasm for "perspective pictures", but completed an entire course of in-struction in European painting and engraving under the direction of Shiba Kokan.
In the 1790s Hokusai produced a number of woodcuts which, despite the fact that the author was clearly looking back on Dutch etching, are something new in comparison with the uki-e of Toyoharu and his followers.
Above all, the manifold life of naturę is the principal theme of these works, in which the image of a definite locality is capable of being topographically no less exact than in the work of Hokusai's predecessor's, the perspectivists. At the same time, however, his prints are not limited to recording a natural subject, but reflect the philosophical viewpoint of the artist and, in particular, his view of the interrelationship of man and naturę. Finally, Hokusai is the first who managed to bring together in an uncontradictory unity the laws of a perspective construction of space and the hnear rnytnm inherent in the Japanese woodcut. It is with these early works or Hokusai that the history of the ukiyo-e landscape begms.
In the 1820s Hokusai produced his most famous series of landscapes, including the renowned Thirty-six Views of Mt. Fuji (1828). His landscape has something in common both with the landscape of classical Japanese painting and with that of the uki-e of the eighteenth century, but at the same time it differs from them in principle. Classical Far Eastern landscape in essence ignored the real appearance of the subject, using the forms of the natural world to embody philosophical ideas about the universe, while Hokusai's landscape is always bound to a concrete locality, the topographic particulars of which are often defined in an inscription. On the other hand, the concreteness of Hokusai's landscapes is distinct from the concreteness of eighteenth-century uki-e, in which the representation of naturę did not go beyond the limits of con-scientious and somewhat clumsy studies. Hokusai constantly took sketches from naturę and, when he was composing a print, he reworked them, creating an Idealized image of naturę. Yet this image is not abstract, as in classical landscape, but based on a concrete motif. Many of his landscapes are symbolic — one need only recall his famous print, Red Fuji, which is even now regarded as an embodiment of the soul of Japan.
But many of Hokusai's works are not pure landscapes; rather, they are on the border of landscape and the genre scenę. This is revealed not so much in their compositional solution as in shades of meaning. In Hokusai's landscapes naturę acts as an emdronment within which a person's daily activities take place.
The series Thirty-six Views of Mt. Fuji madę a powerful impression on Hokusai's contemporaries, including the thirty-year-old Ando Hiroshige, who had not, before then, devoted any partic-ular attention to landscape. From the beginning of the 1830s he works almost exclusively in this genre.
Conversely, starting in the middle of the same decade Hokusai, now over seventy years old, produced fewer and fewer landscape prints, devoting all his energy to the so-called "warnor prints (musha-e). The mantle of leadership in the landscape woodblock print passed to Hiroshige, in whose works the characteristics of the ukiyo-e landscape attained their clearest and most perfect expression.
Ando Hiroshige (1797-1858) - ąuite possibly the most famous Japanese artist outside his own country - was bom in me ninth year of the Kansei era, in Edo, to the Samura.^ Ando Genyemon, who served in the fire department **&*" ^ Castle of the shogun (the military ruler of Japan).^1* he showed a talent for drawing, to which a scroll, decorated by
ne snowed a talent tor drawing, to which a scroll, decorated by him at the age of ten, bears witness. When he was thirteen, Hiro-shige's parents died, and he was obliged to take his father's'hered-itary post. But the boy was drawn to another career: he dreamed of becoming an artist. Two years later he was apprenticed to one of the noted woodcut artists of the time, Utagawa Toyohiro (1773— 1828). Actually Hiroshige would have preferred to study under Toyokuni I (1769—1825), head of the Utagawa school, but was not accepted by him. Toyohiro was not so famous as his fellow-student from the workshop of Toyoharu, Utagawa Toyokuni I, but the fact that Hiroshige did not succeed in becoming Toyokuni's student was ultimately beneficial. Toyokuni was too strong an artistic personality; in a long collaboration with him Hiroshige's original talent would most likely have been crushed, and it is impossible to tell what his fate might have been had he travelled the tra-ditional road of the masters of the Utagawa school, specializing in theatre scenes and pictures of beauties. At Toyohiro's workshop, Hiroshige wasted no time: after one year, in 1812, he received a certificate accrediting him as an ukivo-e artist of the Utagawa school. The young master's early woodblock prints are derivative and of little interest. Done in the style of bijin-ga and musha-e, they suggest the strong influence of such great masters of the age as Toyokuni I, Hokusai, and Eizan. After the death of Toyohiro in 1828, Hiroshige was offered the position of head of the workshop, but he refused: the traditional themes of the Utagawa school did not interest him. Beginning in the late 1820s and '30s all Hiroshige's thoughts were directed towards landscape, which became the prin-cipal motif in his work. In something morę than twenty years, Hiroshige produced a number of series of woodcuts in which he clearly reveals his talent as a landscapist.
From the very beginning two primary themes could be dis-cerned in the artisfs landscapes: the Tokaido road and the sights of the "Eastern Capital", Edo (today Tokyo). Contemporaries particularly valued the works of Hiroshige as souvenirs of visits to various places in Japan which were famous for their beauty. But they often accused him of purposely distorting the real appear-
ance of a locality. The reasons for these inaccuracies are not fully understood. It is known that Hiroshige kept a journal of his travels, in which he recorded views which had attracted his attention. Thus, it would seem, all deviations from their actual appearance were dictated by purely artistic considerations. Hiroshige not only portrayed a concrete location, but tried to give it an emotional dominant tonality, a mood of naturę. Judging from his entire work, he considered the second task morę important, which explains the omission of individual details or addition of others that did not exist in the scenę portrayed.
Hiroshige's urban landscapes, the overwhelming majority of them views of Edo, are realized in a different way. The Eastern Capital is of special importance in Hiroshige's life and works. He was born, lived his whole life, learned his trade, and won famę in Edo. His vision as a landscapist was nurtured by observation of the natural beauty and vistas of Edo. The Eastern Capital is the leitmotif of Hiroshige's work.
Edo was not a city in the modern sense. Areas of dense con-struction alternated with broad rice fields, parks and orchards, so that the landscape was varied and picturesąue. In all of Hiroshige's series devoted to Edo we encounter not only "urban" views — streets, squares, bridges — but also pictures of "rural" naturę — fields, river valleys and waterfalls. All this could be seen in the city. The city landscapes are usually morę exact, in topographical terms, than, for example, the depictions of the stations of the highway. But this does not mean that in the former the emotional tonę of the picture does not interest the artist. Hiroshige simply did not find it necessary to make his own additions; it was enough to find the proper angle. There were no particular difficulties in this: the city, whose streets he travelled every day, was familiar to him in detail.
So it is, perhaps, that precisely these Edo landscapes, to a greater degree than the rest, show all the characteristics of that wholly original phenomenon which we cali "the Hiroshige landscape". In his views of the Eastern Capital he strives to convey the mood of naturę, to understand its soul, but at the same time he does not deviate from the concrete appearance of the city. If a landscape can be considered a portrait of a place, then Hiroshige's landscape is its psychological portrait.
Even in his comparatively early landscape series, such as Toto meisho (Famous Places in the Eastern Capital; 1831 and 1832—35) and Tokaido (1833—34), it is clear what Hiroshige had added to the ukiyo-e landscape which he had inherited from its founder Hokusai. In keeping with his own talents, Hokusai is least of all a contemplative observer. In his landscapes he is not satisfied with the unmediated observation of the natural motif, as his predecessors the perspectivists had been, but in addition to that he stylizes and generalizes it, giving it a symbolic resonance. Often in his pnnts the depiction of naturę for its own sake is reduced to secondary importance in favour of a striking, masterfully-constructed symbolic composition. It could be said that many of Hokusai's landscapes
ic composition. It could be said that many of Hokusai's landscapes are not so much representations of naturę as speculative ideas embodied by means of a combination of stylized natural elements.
It is just the opposite in the landscape prints of Hiroshige in the 1830s and '40s, where the relationship of the artist to naturę is immediate and emotional. His primary intention is to create an image of naturę in which the viewer can feel its mood and merge with it emotionalły. Gentle lyricism, naturalness and simplicity distinguish Hiroshige's landscapes of this period.
In the 1850s he reached a turning point in his artistic evolution. Morę and morę often he used prints in vertical format rather than the horizontal as before. In prints of the series of the 1850s, such as Rokuj u yoshu meisho zue (Famous Places in the Sixty-odd Provinces), the earlier flowing narrative ąuality is replaced by sharp compositional and chromatic contrasts; the image is at times whimsically fragmented; sometimes a dramatic intonation creeps into the emotional shading of the prints. This change in Hiroshige's style can be explained in various ways. Perhaps it was connected with the tragic events in his personal life. The 1830s were a time of placid artistic labour and family happiness. But in 1839 the artisfs wife died, followed in 1845 by his son Tojiro. Perhaps Hiroshige's state of mind was reflected in his artistic vision.
But another explanation is possible. Towards the 1850s Hiroshige was a maturę artist, the famous author of many landscape series; after the death of Hokusai (in 1849) he became the leading ukiyo-e landscapist. But this had its negative side: Hiroshige began to receive many commissions, which forced him to hurry,
sometimes to work carelessly, even to entrust some things to ann tices. At the same time morę or less talented imitators aonil ^
Finally, Hiroshige's own work of the 1840s had not add d anything to what he had already achieved. Apparently he unde stood that the "lyrical landscape", which he had developed with success over the course of nearly two decades, was exhausted u was time to seek new paths.
An orderly development of the vision of an artist implies a breadening of the scope of his artistic interpretation of the world Thus, in the series of the 1850s, attempts to generalize myriad ob-servations concerning naturę come to replace the desire to convey it in all its particular manifestations. However, these generalizations are not analytical, as with Hokusai, but emotional: the leitmotif of Hiroshige's work remains the same.
Be that as it may, at the end of the 1840s, and especially in the 1850s, new tendencies take shape in Hiroshige's work, and they show themselves most ...
The Hermitage album is invaluable in reaching a fuli under-standing of the superb series madę by Ando Hiroshige, one of the most famous Japanese artists.

Mikhail Uspensky



PRINTS IN HIROSHIGE'S ALBUM ME1SHO EDO HYAKKEI
FROM THE HERMITAGECOLLECTION

1 5IT 3400 Shinagawa Susaki Susaki, Shinagawa District Dragon Year, 4th month (1856)
2 JIT 3401
Kinokuni-zaka Akasaka Tameike enkei Distant View from the Reservoir at the Kinokuni-zaka Slope, Akasaka District Snake Year, 9th month (1857)
3 5IT 3402 Tsuki-no misaki
Moon over a Promontory Snake Year, 8th month (1857)
4 5IT 3403 Kanasugi-bashi Shibaura Bank of the Shibaura near the kanasugi-bashi Bridge Snake Year, 7th month (1857)
5 HT 3404
Teppozu Inari-bashi Minato-jinja The Minato-jinja Shrine near the Inari-bashi Bridge at Teppozu Snake Year, 2nd month (1857)
6 HT 3405 Shiba Shimmei Zojoji
The Zojoji Tempie at Shimmei, Shiba District Horse Year, 7th month (1858)
7 HT 3406 Kyobashi takegashi
The "Bamboo" Embankment near the Kyobashi
Bridge
Snake Year, 12th month (1857)
8 51T 3407 Kanda Konya-cho
Dyers' Quarter, Kanda District Snake Year, llth month (1857)
9 5IT 3408 Azuma-bashi Kinryuzan embo
Distant View of the Azuma-bashi Bridge and
the Kunryuzan Tempie
Snake Year, 8th month (1857)
10 HT 3409 Nakaga wa-guchi
Mouth of the Nakagawa River Snake Year, 2nd month (1857)
11 SIT 3410 Fukagawa Mannen-bashi
The Mannen-bashi Bridge, Fukagawa District Snake Year, llth month (1857)
12 flT 3411
Kojimachi itchome Sanno matsuri nerikomi
Sanno Festival Procession in
the First Quarter, Kojimachi District,
on Itchome Street
Dragon Year, 7th month (1856)
13 5IT 3412 Konodai Tonegawa fukei View of the Kondai Hill near the Tonegawa River
Dragon Year, 5th month (1856)
14 5IT 3413
Soto-Sakurada Benkei-bori Kojimachi The Benkei-bori Canal near
the Soto-Sakurada Gates, Kojimachi District Dragon Year, 4th month (1856)
15 5iT 3414 Zojoji to Akabane
Pagoda of the Zojoji Monastery at Akabane Snake Year, lst month (1857)
16 HT 3415 Oji Fudo-no take
The Fudo Waterfall, Oji District Snake Year, 9th month (1857)
17 SIT 3416 Odemma-cho gofukuten
Textile Shops, Odemma-cho Quarter Horse Year, 7th month (1858)
18 SIT 3417
Ueno Kiyomizu-do Shinobazu-no-ike The Shinobazu Pond near the Kiyomizu-do Tempie at Ueno Dragon Year, 4th month (1856)
19 5IT 3418
Ueno sandai tsuki-no matsu
The "Moon Pine" in the Precincts of
the Tempie at Ueno
Snake Year, 8th month (1857)
20 SIT 3419 Shohei-bashi Seido Kandagawa
The Shohei-bashi Bridge, the Tempie of Confucius, and the Kandagawa River Snake Year, 9th month (1857)
21 SIT 3420 Suido-bashi Surugadai
The Suido-bashi Bridge at Surugadai Snake Year, 5th intercalary month (1857)
22 SIT 3421
Yoroi-no watashi Koami-cho The Yoroi Ferry, Koami Quarter Snake Year, lOth month (1857)
23 SIT 3422
Nihon-bashi doń itchome ryakuzu Sketch of the First Thoroughfare, Nihon-bashi District Horse Year, 8th month (1858)
24 SIT 3423 Nihon-bashi Edo-bashi
The Nihon-bashi Bridge and
the Edo-bashi Bridge
Snake Year, 12th month (1857)
25 SIT 3424 Matsuchiyama Sanya-bori yakei
Night View of the Sanya-bori Canal near
the Matsuchiyama Hill
Snake Year, 8th month (1857)
26 HT 3425 Tonegawa barabara matsu Pines near the Tonegawa River Dragon Year, 8th month (1856)
27 5IT 3426 Ryogoku hanabi
Fireworks at the Ryogoku Bridge Horse Year, 8th month (1858)
28 SIT 3427 Konaki-gawa Gohon matsu
Five Pines on the Konaki-gawa River Dragon Year, 7th month (1856)
29 SIT 3428 Hakkei-zaka Yoroikake matsu
"Pine in Armour" on the Hakkei-zaka Slope Dragon Year, 5th month (1856)
30 flT 3429 Shinagawa Goten-yama
The Goten-yama HM, Shinagawa District Dragon Year, 4th month (1856)
31 flT 3430
Azuma-no mori Renri-no azusa
Joined Catalpa Trees in the Azuma Grove
Dragon Year, 7th month (1856)
32 flT 3431 Kameido umeyashiki
Plum Orchard in the Kameido Suburb Snake Year, llth month (1857)
33 flT 3432
Yotsugi-dori yosui hikifune Barges on the Yotsugi Canal Snake Year, 2nd month (1857)
34 flT 3433
Masaki-no hotori yori Suijin-no mori
Uchikawa Sekiya-no sato o miru zu
Drawing of the Suijin Grove,
the Uchikawa River and the Village of Sekiya,
Seen from Masaki
Snake Year, 8th month (1857)
35 flT 3434
Sumidagawa Hashiba-no watashi kawaragama
Tile Kilns at the Hashiba Ferry on
the Sumidagawa River
Snake Year, 4th month (1857)
36 flT 3435 Kakuchu shinonome
Dawn in the Pleasure District Snake Year, 4th month (1857)
37 flT 3436 lchigaya Hachiman
The Hachiman Shrine at lchigaya Horse Year, lOth month (1858) By Hiroshige II
38 flT 3437
Sekiguchi josuibata Basho-an Tsubaki-yama The Aąueduct and Basho's Dwelling on the Tsubakiyama Hill at Sekiguchi Snake Year, 4th month (1857)
39 HT 3438 Tanagawa Tsutsumi-no hana
The Tanagawa RWer. Flowers on a Dike Dragon Year, 2nd month (1856)
40 HT 3439
Yamashita cho Hibiya Soto-Sakurada Yamashita Quarter, Hibiya and the Soto-Sakurada Gates Snake Year, 12th month (1857)
41 HT 3440 Bakuro-cho Hatsune-no baba
The "Hatsune" Race-course, Bakuro Quarter Snake Year, 9th month, (1857)
42 flT 3441
Ryogoku Ekoin Motoyanagi-bashi The Motoyanagi-bashi Bridge and the Ekoin Tempie at Ryogoku Snake Year, 5th intercalary month (1857)
43 5IT 3442 Kasumi-ga sęki
The Kasumi-ga sęki Guard House Snake Year, lst month (1857)
44 HT 3443 Fukagawa Sanjusungendo
The Sanjusangendo Tempie, Fukagawa District Snake Year, 8th month (1857)
45 3T 3444
Sumidagawa Suijin-no mori Masaki The Suijin Grove at Masaki, near the Sumidagawa River Dragon Year, 8th month (1856)
46 HT 3355 Asakusa Kinryuzan
The Kinryuzan Tempie, Asakusa District Dragon Year, 7th month (1856)
47 HT 3356
Shichu hanyei Tanabata matsuri City-Streets in Holiday Decorations during the Tanabata Festival Snake Year, 7th month (1857)
48 JIT 3357 Shibaura-no fukei
View of the Shibaura Harbour Dragon Year, 2nd month (1856)
49 3T 3358
Oji Otonashigawa entei sezoku Otaki tonaeru
Dam on the Otonashigawa River, Oji District,
Commonly Known as Otaki (The Great
Waterfall)
Snake Year, 2nd month (1857)
50 5IT 3359
Oji Inari-no yashiro
The Inari Shrine, Oji District
Snake Year, 9th month (1857)
51 5IT 3360 Asukayama kita-no chobo Northward View from the Asukayama Hill Dragon Year, 5th month (1856)
52 5JT 3361
Sendagi Dangozaka hana-yashiki Orchards on the Dangozaka Slope, Sendagi Quarter Dragon Year, 5th month (1856)
53 SIT 3362 Nippori jiin-no rinsen
Landscaped Garden at the Nippori Tempie Snake Year, 2nd month (1857)
54 5IT 3363 Shituya hirokoji
A Street, Shitaya District Dragon Year, 9th month (1857)
55 ST 3364 Yoshiwara Nihon Tsutsumi
The "Nihon" Dike, Yoshiwara District Snake Year, 4th month (1857)
56 ST 3365
Asakusa-tambo Tori-no machi mairi Rice Fields, Asakusa District. Pilgrimage during the Tori-no machi Festival Snake Year, llth month (1857)
57 ST 3366
Ohashi adake-no yudachi
Sudden Shower at the Ohashi Bridge
Snake Year, 9th month (1857)
58 ST 3367
Haneda-no watashi Benten-no yashiro The Benten Shrine near the Haneda Ferry Horse Year, 8th month (1858)
59 ST 3368 Senju-no Ohashi
The Ohashi Bridge at Senju Dragon Year, 2nd month (1856)
60 ST 3369
Minowa Kanasugi Mikawashima
Minowa and Kanasugi, Mikawashima Quarter
Snake Year, 5th intercalary month (1857)
61 ar 3370
Ueno Yamushita
Yamashita Quarter, Ueno District Horse Year, lOth month (1858) By Hiroshige II
62 5IT 3371 Sakai-no watashi The "Sakai" Ferry
Snake Year, 2nd month (1857)
63 5IT 3372
Shiba Atagoyama. Seigetsu sannichi
Bishamon-tsukai
Mount Atago, Shiba District. A Messenger to
Bishamon on the Third Day of the First Month
Snake Year, 8th month (Ansei, 4th year) (1857)
64 SIT 3373 Hiro-o Furukawa
The Furukawa River at Hiro-o Dragon Year, 7th month (1856)
65 flT 3374
Oji Shozoku enoki omisoka-no kitsunebi "Fox Fire" on the Last Day of the Year on an Ironwood Tree at Shozoku, Oji District Snake Year, 9th month (1857)
66 SIT 3375
Yushima Tenjin-zaka uwachobo
View of the Tenjin-zaka Slope at Yushima
Dragon Year, 4th month (1856)
67 SIT 3376 Horikiri-no hanashobu Irises at Horikiri
Snake Year, 5th intercalary month (1857)
68 SIT 3377
Takata Sugatami-no hashi Omokage-no hashi
shariba
Gravel Bed near the Sugatami and Omokage
Bridges at Takata
Snake Year, lst month (1857)
69 HT 3378 Kameido Tenjin keidai
In the Precincts of the Tenjin Shrine in
the Kameido Suburb
Dragon Year, 7th month (1856)
70 flT 3379
Asakusagawa Shubi-no matsu Ommaya gashi The Asakusagawa River. The "Ommaya" Embankment and the "Shubi" Pine Dragon Year, 8th month (1856)
71 JIT 3380 Meguro Moto Fuji
The Original Fuji at Meguro Snake Year, 4th month (1857)
72 HT 3381 Nihonbashi Yukibare
The Nihonbashi Bridge. Clearing Weather
After a Snowfall
Dragon Year, 5th month (1856)
73 flT 3382 Kawaguchi-no watashi Zenkoji
The Zenkoji Tempie and the Ferry at
Kawaguchi
Snake Year, 2nd month (1957)
74 5IT 3383 Meguro Chiyo-ga ike
The Chiyo Pond at Meguro Dragon Year, 7th month (1856)
75 HT 3384 Komakata-do Azuma-bashi
The Azuma Bridge near the Komakata-do
Tempie
Snake Year, lst month (1857)
76 5IT 3385 Atagoshita Yabu-koji Yabu-koji Lane at Atagoshita Snake Year, 12th month (1857)
77 5IT 3386 Tora-no mon soto Oi-zaka The Oi-zaka Hill Outside the "Tora-no mon" Gates Snake Year, llth month (1857)
78 5IT 3387 Bikuni-bashi setchu
The Bikuni-bashi Bridge in Snów Horse Year, lOth month (1858) By Hiroshige II
79 " JIT 3388
Meguro Taiko-bashi Yuhi-no oka The Taiko-bashi Bridge at Meguro and the Yuhi-no oka Hill Snake Year, 4th month (1857)
80 5IT 3389
Minami Shinagawa Samesu kaigan The Samesu Seashore at Minami, Shinagawa District Snake Year, 2nd month (1857)
81 5IT 3390
Fukagawa Susaki Jumantsubo
The Jumantsubo Plain at Susaki, Fukagawa
District
Snake Year, 5th intercalary month (1857)
82 SLT 3391 Fukagawa kiba
Timber Yard, Fukagawa District Dragon Year, 8th month (1856)
83 «T 3392 Koume-tsutsumi The Koume Dam
Snake Year, 2nd month (1857)
84 5IT 3393 Horie Nekozane Nekozane, Horie Quarter Dragon Year, 2nd month (1856)
85 5!T 3394
Mama-no momiji Tekona-no-yashiro
Tsugi-bashi
Scarlet Mapie Leaves at Mama,
the Tekona Shrine and the Tsugi-bashi
Bridge
Snake Year, lst month (1857)
86 5IT 3395 Niijuku-no watashi The Niijuku Ferry
Snake Year, 2nd month (1857)
87 HT 3396 Ukeji Akiba-no keidai
In the Precincts of the Akiba Shrine at Ukeji Snake Year, 8th month (1857)
88 ST 3397
Mokuboji Uchikawa gozen saihata
Lord's Garden on the Bank
of the Uchikawa near the Mokuboji Tempie
Snake Year, 12th month (1857)
89 ST 3398 Saruwaka-cho yoru-no ket Saruwaka Quarter at Night Dragon Year, 9th month (1856)
90 JIT 3399
Inokashira-no ike Benten-no yashiro
The Inokashira Pond and the Benten Shrine
Dragon Year, 4th month (1856)



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