1963 After Harunobu "Famous Ferry in the Morning Mist", Full-Color Print From Japan

Description

A stunning large full-color Ukiyo-E Hanga print after original woodblock print "Famous Ferry in the Morning Mist" by Harunobu (died … more A stunning large full-color Ukiyo-E Hanga print after original woodblock print "Famous Ferry in the Morning Mist" by Harunobu (died on the 15th of June in 1770 in downtown Edo, former name of Tokyo). Comes from a rare Collection of 24 Masterpieces by Harunobu. Produced & published by Shuei-Sha, Tokyo, in December 1963. Printers: Toppan Printing Co., LTD. Printed on one side. Attached at the top to a board of heavy textured paper, covered with lighter sheet of paper for protection, numbered 1 on the label on the front. Excellent condition - minor edge wear on the board and cover, never framed, ready to be framed. Copy of commentaries (below) in Japanese and English is included.

Overall (folded) 12.55"W x 18.20"H
Overall (unfolded) 25"W x 18.20"H
Image 15.9"W x 11"H

Commentaries on the piece by Ukiyo-e Art consultants & editors Dr. Kiyoshi Shibui and Mr. Sadao Kikuchi:

Famous Ferry in the Morning Mist (Ake-Gasumi Meisho No Watashi)
Harunobu: Signed
Printer: Suzuki Kahei (at Yokkaichi Yedohashi)
In the possession of Tokyo National Museum

This is a well-known Kabuki version of the Noh drama called "Madarame", the classic theme of madness. On the River Sumida, sea-gulls are hovering about, and on the banks of Mukojima are seen a pack-horse being led by a driver, there is no cargo on its back. The mound seen behind the black robed priest might be the famous Umewakazuka. The picture is focused on the famed Kabuki actors playing out their roles on the ferry, Kikunosuke, left, the famous female impersonator, as O'Sen with her romantic hairdo, almost outshines the real belle of Kasamori Inari. And Waka-Dayu as the romantic lead in the role of the ferryman named Kamezo is no less attractive a figure to look at. This piece "Famous Ferry in the Morning Mist" was staged at the Ichimura-za theater in the New Year of 1761 for the first time with the best contemporary Samisen players supplying the background music.

Harunobu's style is yet conventional archaism here. The size of the pictorial sheet is bigger than usual Ukiyo-e. This picture is one of Harunobu's rare pre-Nishiki-E works preserved today. Anything he did before 1765 is rare, while he has left a great many Nishiki-E prints after that. less