THIS OBJECT WAS SOLD
Tokubei Ando (1842-1894) Known As Hiroshige III, Production Of Camellia Oil In The Province Of Izu
Tokubei ANDO (1842-1894) known as HIROSHIGE III 三代目 歌川広重
Production of camellia oil in the province of Izu
Japanese print from the collection Products of Greater Japan 大日本物産圖會, Occupations of the Japanese だいにっぽんぶっさんずえ Dai Nippon bussan zue
1877
Laid paper
Tokyo
Publisher: Ōkura Magobei 大倉孫兵衛
Dimensions: 24.8 x 17.8cm (Chūban)
Superb Japanese print in bright colors and typical motifs from the work of Hiroshige III representing the production of Camellia oil in the province From Izu in the 1870s in Japan. Note the very subtle bamboo-effect frame, which showcases the master's virtuosity in depicting textures and materials. The print is beautifully fresh with well-defined details; the only minor flaws are a slightly creased/folded lower left corner and a dog-eared lower right corner.
Utagawa Hiroshige III (三代目 歌川 広重) was a 19th century Japanese painter. Born in 1842 and dying relatively young in 1894, his origins are unknown, and a family connection with Hiroshige Andō and Hiroshige II is highly unlikely. He was not part of the Utagawa school and never used that name. A master of printmaking, disciple and successor of Hiroshige Andō, he took over his master's workshop in 1865.
He was, in fact, among the last generation of ukiyo-e artists, along with Hōen, Kuniteru, Sahahide, and Kunisada II, whose works were chosen by the shogunal government to be exhibited at the 1867 Universal Exposition in Paris. These works—the famous Japanese prints—were sold locally after the exposition and thus contributed to the first wave of Japonisme in Europe, which was sparked by this event.
Like his contemporaries, Hiroshige III enjoyed depicting the innovations of his time with aniline dyes in very pronounced tones. He was very interested in railways (one of the first lines built in Japan connected Tokyo to Yokohama), and in the foreigners who settled in Yokohama from 1868 onwards, and he enjoyed depicting them at leisure, particularly in restaurants.
A valuable document held at the Tokyo National Library and recently made available to scholars is significant: the official records relating to one hundred prints commissioned by the shogunal government for the 1867 Paris Exposition. Fifty of these prints, collected in two albums, depict female figures in various professions, intended to illustrate Japanese customs, while the other half consists of landscapes, primarily views of Edo. The artists who shared this official commission, chosen from among the best of the time, all belonged to the last generation of ukiyo-e, including Hiroshige III, who created the collection from which our print is taken for this occasion.
Production of camellia oil in the province of Izu
Japanese print from the collection Products of Greater Japan 大日本物産圖會, Occupations of the Japanese だいにっぽんぶっさんずえ Dai Nippon bussan zue
1877
Laid paper
Tokyo
Publisher: Ōkura Magobei 大倉孫兵衛
Dimensions: 24.8 x 17.8cm (Chūban)
Superb Japanese print in bright colors and typical motifs from the work of Hiroshige III representing the production of Camellia oil in the province From Izu in the 1870s in Japan. Note the very subtle bamboo-effect frame, which showcases the master's virtuosity in depicting textures and materials. The print is beautifully fresh with well-defined details; the only minor flaws are a slightly creased/folded lower left corner and a dog-eared lower right corner.
Utagawa Hiroshige III (三代目 歌川 広重) was a 19th century Japanese painter. Born in 1842 and dying relatively young in 1894, his origins are unknown, and a family connection with Hiroshige Andō and Hiroshige II is highly unlikely. He was not part of the Utagawa school and never used that name. A master of printmaking, disciple and successor of Hiroshige Andō, he took over his master's workshop in 1865.
He was, in fact, among the last generation of ukiyo-e artists, along with Hōen, Kuniteru, Sahahide, and Kunisada II, whose works were chosen by the shogunal government to be exhibited at the 1867 Universal Exposition in Paris. These works—the famous Japanese prints—were sold locally after the exposition and thus contributed to the first wave of Japonisme in Europe, which was sparked by this event.
Like his contemporaries, Hiroshige III enjoyed depicting the innovations of his time with aniline dyes in very pronounced tones. He was very interested in railways (one of the first lines built in Japan connected Tokyo to Yokohama), and in the foreigners who settled in Yokohama from 1868 onwards, and he enjoyed depicting them at leisure, particularly in restaurants.
A valuable document held at the Tokyo National Library and recently made available to scholars is significant: the official records relating to one hundred prints commissioned by the shogunal government for the 1867 Paris Exposition. Fifty of these prints, collected in two albums, depict female figures in various professions, intended to illustrate Japanese customs, while the other half consists of landscapes, primarily views of Edo. The artists who shared this official commission, chosen from among the best of the time, all belonged to the last generation of ukiyo-e, including Hiroshige III, who created the collection from which our print is taken for this occasion.
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