Utagawa Hiroshige (1797-1858)
'Chiyogaike Pond, Meguro' (Meguro Chiyogaike), from the series 'One Hundred Famous Views of Edo' (Meisho Edo hyakkei), 1856
Woodblock print, first edition
Signed: 'Hiroshige hitsu'
Publisher: Uoya Eikichi
Censor's seal: 'aratame' (certified)
Date: 1856, 7th month
Signed: 'Hiroshige hitsu'
Publisher: Uoya Eikichi
Censor's seal: 'aratame' (certified)
Date: 1856, 7th month
Vertical oban:
35.9 x 23.8 cm. (14 ⅛ x 9 ⅜ in.)
35.9 x 23.8 cm. (14 ⅛ x 9 ⅜ in.)
Fine impression of the first edition, fine colour and good overall condition, very minor creases within the dark water near the bottom edge, minute wormhole filled within the lighter water, minor trimming to left edge.
Chiyogaike Pond was named after a medieval warrior Yoshioki Nitta's (d. 1358) concubine, Chiyo, who drowned herself in the pond upon hearing of her husband's death. Cherry and pine trees...
Chiyogaike Pond was named after a medieval warrior Yoshioki Nitta's (d. 1358) concubine, Chiyo, who drowned herself in the pond upon hearing of her husband's death.
Cherry and pine trees surrounded the pond, which was famed for its (over) ten meters high, three-tiered waterfall; considered the best waterfall in the Tokyo and its surrounding areas.
In Hiroshige's print, visitors admire the waterfall from a small island at its foot, whilst the pond stretches out behind them. Cherry trees heavy with blossoms cover the hill rising up from the water's edge. Hiroshige has taken the liberty of adding a few more tiers to the waterfall for artistic effect. Notable in this print is the use of reflections of the trees in the water. Despite many prints in this series featuring trees or other structures overhanging bodies of water, such reflections only feature in two prints.
First editions of this print (as is the present example) feature a rich vermillion title cartouche which has been embellished with shomenzuri or 'lustre printing', creating a shiny lustre to a specific area. Other first edition features are extensive, finely-executed bokashi shading and mica embellishments.
For a similar impression of the first edition (heavily trimmed) in the collection of the Museum of Fine Arts, Boston (MFA), accession no. 11.16708, go to: https://collections.mfa.org/objects/207385
For a later impression featuring different colours, lacking some bokashi elements and showing some block wear and shrinkage, also in the collection of the MFA, accession no. 11.35844, go to: https://collections.mfa.org/objects/460261
Cherry and pine trees surrounded the pond, which was famed for its (over) ten meters high, three-tiered waterfall; considered the best waterfall in the Tokyo and its surrounding areas.
In Hiroshige's print, visitors admire the waterfall from a small island at its foot, whilst the pond stretches out behind them. Cherry trees heavy with blossoms cover the hill rising up from the water's edge. Hiroshige has taken the liberty of adding a few more tiers to the waterfall for artistic effect. Notable in this print is the use of reflections of the trees in the water. Despite many prints in this series featuring trees or other structures overhanging bodies of water, such reflections only feature in two prints.
First editions of this print (as is the present example) feature a rich vermillion title cartouche which has been embellished with shomenzuri or 'lustre printing', creating a shiny lustre to a specific area. Other first edition features are extensive, finely-executed bokashi shading and mica embellishments.
For a similar impression of the first edition (heavily trimmed) in the collection of the Museum of Fine Arts, Boston (MFA), accession no. 11.16708, go to: https://collections.mfa.org/objects/207385
For a later impression featuring different colours, lacking some bokashi elements and showing some block wear and shrinkage, also in the collection of the MFA, accession no. 11.35844, go to: https://collections.mfa.org/objects/460261