This album contains the complete 1891 Memorial Edition of Utagawa Hiroshige's celebrated Fifty-Three Stations of the Tōkaidō, commonly known as the Vertical Tōkaidō. Originally published in 1855, the series represents one of Hiroshige's final great explorations of the historic highway connecting Edo (modern-day Tokyo) and Kyoto.

In 1891, more than three decades after Hiroshige's death, publisher Kodama Matashichi (Ōhashidō) issued this memorial edition using surviving woodblocks from the original 1855 publication, some of which had been reworked. The edition can be distinguished by additional inscriptions in the margins and, in many impressions, the brighter pigments favored during the Meiji period. Unlike later reproductions made entirely from newly carved blocks, this historic edition preserves a direct connection to the original nineteenth-century printing process.

The 1891 publication was noteworthy even in its own time. Contemporary reports in the Yomiuri Shimbun announced the release of the prints, praised their printing quality, and subsequently reported their commercial success.

"Yomiuri Shimbun" (dated August 2, 1891)
　　"The ukiyo-e prints of the Fifty-Three Stations of the Tokaido (by Hiroshige I) were sold by Kodama Matashichi in Asakusa Komagata.
　　　The six prints depicting Numazu, Ishiyakushi, and Seki showcase not only exquisite brushwork but also superb printing.
　　　This is a vertical edition of the "Fifty-Three Stations of the Tokaido." The margin reads, "Original plate by Tsutaya Kichizo, printed by Ohashido" (Ohashido is the shop name of Kodama Matashichi).
Then, Matashichi Kodama purchased this wooden slab from Tsutaya and obtained the woodblock. (Note: The Tsutaya slab was published in 1855.)

Here are two photographs of one of the few surviving prints of the original run of the 36 views of Fuji, the big wave of kanagawa, as displayed in the Palazzo Maffei in Verona, Italy. I had the chance to visit recently.

I was surprised how rough the key lines look compared to newer reproductions. It almost looks like a hand drawing up close.

Enjoy.

Did you know that Vincent van Gogh's famous Almond Blossom was influenced by Japanese woodblock prints?

Painted in 1890, Almond Blossom reflects Van Gogh's admiration for Japanese artists such as Hokusai and Hiroshige. Its bold outlines, flowering branches, brilliant blue sky, and unusual composition reveal the influence of Japanese art.

Van Gogh created the painting as a gift for his newborn nephew, Vincent Willem, the son of his brother Theo and Theo's wife Jo. The blossoms symbolize spring, renewal, and new life.

I recently had the opportunity to see this beautiful painting at the Van Gogh Museum in Amsterdam.

Hello everyone,

I wanted to share a non-commercial, independent cultural project I’ve been working on: www.soundofxilography.com

It is a clean, ad-free digital gallery born out of a pure passion for Japanese woodblock printing. The website acts as a visual journey through both classic Ukiyo-e and contemporary visions.

Inside, you will find sections dedicated to:

• Onna-Bugeisha: The history and prints of legendary female samurai warriors (featuring works by Kuniyoshi and Yoshikazu).
• Ukiyo-e Masters: Profiles on Katsushika Hokusai, Utagawa Kunisada, and Hiroshige.
• Contemporary Masters: Modern woodblock prints by artists like Hajime Namiki (with his beautiful pine trees on gold leaf) and Miyamoto Shufu.

The site is fully accessible for study and appreciation. I would love to hear your thoughts or feedback!

Enjoy the journey into the floating world: www.soundofxilography.com

Vincent van Gogh was fascinated by Japanese woodblock prints, and their influence can be seen throughout his work.

During a recent visit to the Van Gogh Museum in Amsterdam, I saw two wonderful examples: The Courtesan (after Eisen) and Bridge in the Rain (after Hiroshige).

Both paintings were inspired by Japanese woodblock prints, including Hiroshige's famous Sudden Shower over Shin-Ōhashi Bridge and Atake. Van Gogh reinterpreted these works using his own distinctive colors and brushwork.

A fascinating example of the connection between Japanese ukiyo-e and Western art.

#VanGogh #JapaneseWoodblockPrints #Hiroshige #Ukiyoe #Japonisme #ArtHistory #VanGoghMuseum

A giant rat, a courageous cat, and a tragic tale of loyalty and sacrifice.

This unusual 1887 Japanese woodblock print by Ogata Gekkō comes from his series Gekkō's Miscellany.

According to the legend, a devoted cat was secretly protecting a young girl from a monstrous rat. When the rat attacked, the cat fought bravely to save her but died from its wounds.

The grateful family buried their faithful companion at Jōkyō-ji Temple.

Gekkō captures the dramatic battle in a print that tells a surprisingly touching story.

#OgataGekko #JapaneseWoodblockPrints #Ukiyoe #JapaneseArt #JapaneseFolklore #MeijiPeriod

Hello all,

I recently picked these up as really enjoyed them but can't find anything about a potential artist online.

Is anyone able to provide some info?

Thanks!

A secret love affair, a discovered letter, and a murder driven by jealousy.

This dramatic 1876 Japanese woodblock print by Toyohara Kunichika depicts Miyokichi, a celebrated geisha from Edo's Fukagawa entertainment district.

According to the story, Miyokichi was secretly involved with another man when an admirer named Shinsuke discovered a revealing love letter. Overcome by jealousy, he eventually murdered Miyokichi aboard a boat near Tsukiji before taking his own life.

Rather than depicting the murder itself, Kunichika captures Miyokichi struggling aboard a violently rocking boat, her hair disheveled and her belongings flying through the air.

The story also became associated with a famous kabuki drama by Kawatake Mokuami.

This print is from Kunichika's Thirty-Six Good and Evil Beauties, the subject of my upcoming illustrated book exploring the remarkable stories behind all 36 women.

Learn more about the book at https://miegallery.com/pages/reserve-a-book

#Kunichika #JapaneseWoodblockPrints #Ukiyoe #JapaneseArt #Kabuki #EdoJapan #MieGallery

Snow at Daichi by Hasui

4 layer reduction

This dramatic 1851 Japanese woodblock print by Utagawa Kuniyoshi depicts kabuki actor Ichikawa Danjūrō VIII as Narukami Shōnin.

In the famous kabuki story, Narukami imprisons a dragon god, causing a terrible drought. When a beautiful woman tricks him into releasing the dragon, the rains return – and Narukami is furious.

Kuniyoshi captures that moment with wild hair, a spectacular flame-patterned kimono, and an enormous billowing costume. It's a wonderful example of his ability to bring the drama of kabuki theater to life through woodblock printing.

I recently featured Natori Shunsen's portrait of this same character. It's fascinating to see how two great Japanese artists interpreted Narukami so differently.

#Kuniyoshi #JapaneseWoodblockPrints #Ukiyoe #Kabuki #JapaneseArt #Narukami #EdoPeriod

Why was this seemingly innocent Japanese woodblock print considered too suggestive in 1930?

Torii Kotondo’s Morning Hair (Asanegami) depicts a young woman just after waking, her hair loose as she rests against a pillow beneath a green mosquito net.

When the original edition was published, Japanese authorities objected to the intimate scene. Only a small number of impressions had been sold before the remaining prints were reportedly confiscated and destroyed.

The problem wasn’t nudity, but what the image implied – her disheveled hair, the pillow, and the intimate morning setting suggested that she had spent the night with someone.

Today, Morning Hair is one of Kotondo’s best-known and most sought-after designs.

#ToriiKotondo #MorningHair #ShinHanga #JapaneseWoodblockPrints #Bijinga #JapaneseArt #Ukiyoe

Does anyone know any information on this piece??? Please!