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Utamaro Woodblock Print Kisegawa of the Matsubaya (Comparing the Charms of Five Beauties)

Sale price$450.00

Kitagawa Utamaro worked in Edo in the 1790s at the height of the bijin-ga tradition, and no artist of the period matched his ability to render the inner life of a subject through the placement of a hand, the angle of a glance. Kisegawa II was a celebrated courtesan of the Matsubaya house in Yoshiwara — one of 5 women Utamaro portrayed in the series Comparing the Charms of Five Beauties, produced around 1795 to 1796. She is shown in bust portrait, chin resting on her fingertips, a fan held loosely in her right hand. A small pictorial rebus in the upper corner encodes her name — Utamaro's response to the Edo government's 1796 prohibition on naming women in prints. This woodblock reproduction is produced by Takahashi Kobo, founded in Bunkyo, Tokyo between 1854 and 1860, and now in its sixth generation. Every print is made using hand-carved woodblocks, mineral pigments, and Japanese washi paper, pressed and burnished by hand with a baren — the same method used when Utamaro first published this image.

Utamaro Woodblock Print Kisegawa of the Matsubaya (Comparing the Charms of Five Beauties)
Utamaro Woodblock Print Kisegawa of the Matsubaya (Comparing the Charms of Five Beauties) Sale price$450.00

Meet the Artisan

Takahashi Kobo

Takahashi Kobo was founded during the Ansei era, between 1854 and 1860, in what is now Bunkyo City, Tokyo, making it the oldest continuously operating ukiyo-e woodblock print studio in Japan. The Takahashi family entered the craft as surishi, the printers who translate a carver's blocks into finished images through precise control of pigment, pressure, and washi. In 1877, the second-generation Kuranosuke Takahashi exhibited at Japan's first National Industrial Exhibition and received recognition from the Minister of Home Affairs. In 1890, the third generation demonstrated the technique before Prince Arthur, Duke of Connaught. From the fourth generation onward, the studio expanded into the role of hanmoto, or publisher, overseeing the full process from planning through production. The fifth-generation Shinjiro Takahashi introduced silk screen printing as a complementary technique in 1955. The current representative, Takahashi Yukiko, became the sixth-generation head in 2009 after training under her father. Under her direction, the studio has brought its techniques to institutions including the British Museum, the Pushkin Museum of Fine Arts, and the Detroit Institute of Arts, and has undertaken revival projects of significant historical works. She chairs the Tokyo Traditional Woodblock Print Association, and the studio has been selected for the Edo Tokyo Kirari Project, a Tokyo Metropolitan Government initiative recognizing traditional Tokyo brands of international significance.