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Tutte le aste / Arte Antica / HIROSHIGE II · Takanawa from Pictures of famous views of Edo · ca

HIROSHIGE II · Takanawa from Pictures of famous views of Edo · ca
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HIROSHIGE II · Takanawa from Pictures of famous views of Edo · ca

HIROSHIGE II · Takanawa from Pictures of famous views of Edo · ca

Artist: Utagawa Hiroshige II (二代歌川広重, 1826–1869) — pupil and adopted successor of Hiroshige I, who inherited the "Hiroshige" name and continued the master's landscape tradition Title: Takanawa (高縄) — a variant spelling of Takanawa (高輪), the coastal district just south of Edo Series: Edo Meishō Zue (江戸名勝図会) — "Collected Pictures of Famous Sights in Edo" Technique: Woodblock print (nishiki-e), ink and colour on paper — bokashi gradation across the sky and sea, with an inset cartouche carrying a kyōka verse Date: 1862 (Bunkyū 2) Format: 36.2 × 24.5 cm Signature & Seals: Publisher's cartouche 江戸名勝図会 upper right on red ground; artist's cartouche lower left Condition Good impression and colour. Slight soiling to the margins, with minor trimming outside the image area. Good condition overall.. Please check the images! About the Print Takanawa, on the shore road just south of Edo, was one of the city's classic moon-viewing spots — travellers passed through its checkpoint gate at the boundary of the capital, and the bay below was a favoured place to watch the autumn moon rise over the water while wild geese crossed the sky, a pairing of motifs (the full moon, migrating geese, moored boats) that recurs throughout Edo-period print culture as a shorthand for the turn toward autumn. Hiroshige I had treated the view repeatedly in his own famous-places series; here Hiroshige II returns to the same stretch of coast for his Edo Meishō Zue, adding the bustle of porters, palanquin-bearers and travellers on the road above the beach that gives the design its particular liveliness beneath the quiet sky. Edo Meishō Zue was one of several "famous views" series Hiroshige II produced in the early 1860s continuing his teacher's format, each sheet typically pairing a wide topographical view with an inset panel of accompanying verse — as seen here in the kyōka poem set into the upper-left cartouche.

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