KATSUSHIKA HOKUSAI (1760-1849) NAKAHARA IN SAGAMI PROVINCE (SOSHU NAKAHARA) | EDO PERIOD, 19TH CENTURY
5,000 - 8,000 GBP
KATSUSHIKA HOKUSAI (1760-1849)
EDO PERIOD, 19TH CENTURY
NAKAHARA IN SAGAMI PROVINCE (SOSHU NAKAHARA)
woodblock print, from the series Thirty-six Views of Mount Fuji (Fugaku sanjurokkei), signed saki no Hokusai litsu hitsu, published by Nishimuraya Yohachi (Eijudo), no publisher's mark, circa 1833
25.5 x 37.8 cm, 10 x 14⅞ in.
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Fair impression, some thinning overall to paper, toned and soiled, wormholes restored, slight losses to paper edges, some creasing
The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.
Timothy Clark, Hokusai: Beyond the Great Wave (London, 2017), n. 62
Timothy Clark, 100 Views of Mount Fuji (London, 2001), n. 66
A strong horizontal line dominates this composition and takes the form of a busy road set beneath the towering Mount Fuji. Three figures line the road, each bearing individual attributes which reveal their identities: a farmer with a carrying pole (tenbinbo) supporting boxes of grain and waving a bird rattle; a pilgrim with a staff and portable shrine; and a pedlar with a furled umbrella and a bright blue knapsack, emblazoned with the emblem of Nishimiruya, the print’s publisher. A woman, her baby strapped to her back and carrying a load on her head, crosses the bridge to join the road. Two pilgrims, a man and a child, follow closely behind, while beneath them in the river, a fisherman draws in his catch, his body intently bent over the net. The setting is the junction at Nakahara, which welcomed devoted pilgrims journeying to Mount Oyama and weary climbers returning from Mount Fuji, for whom the statue of the deity Fudo, erected to the right-hand side of the bridge, may have acted as a visual guide along their route.
For a similar impression in the collection of The Museum of Fine Arts, Boston, see accession no. 21.5388