A few examples of appraisal values for
HIROSHIGE II

• Hiroshige (Japanese 1797-1858)
  Hiroshige (Japanese 1797-1858) "Shun'en Oigawa (Oi River between Suruga and Totomi)" hand-colored woodblock print from the series Thirty-Six Views of Mount Fuji sheet 14 1/2 in. x 10 in.
• UTAGAWA HIROSHIGE II (JAPAN,
  UTAGAWA HIROSHIGE II (JAPAN, 1826-1869) Oban Yoko-E Landscape by Hiroshige Utagawa, view across rolling grassy hills past pines and cherry trees to large temple complex, top edge mounted to card, full margins, 10" x 14 1/2". Heavily toned, wrinkled, wormage to margins.
• Hiroshige (Japanese 1797-1858)
  Hiroshige (Japanese 1797-1858) two hand-colored woodblock prints including "May: The Ryogoku River Festival" from the series Annual Events and Sights of Interest in Edo sight 13 1/8 in. x 8 3/4 in. and "#55 Kyoto" from the series The Fifty-Three Stations of the Tokaido Road known as Tate-e Tokaido later edition sight 12 3/4 in. x 8 3/8 in. each triple matted and framed alike.
• 2 HIROSHIGE I & II JAPANESE
  2 HIROSHIGE I & II JAPANESE WOODBLOCK PRINTS Japan,Late 18th-19th CenturyIncludes Hiroshige I (1779-1858) "Sunrise on New Year's Day at Susaki" from his Famous Places in the Eastern Capital series, and Hiroshige II woodblock depicting travelers.
• Japanese woodblock memorial
  Japanese woodblock memorial portrait of Ichiryusai Hiroshige by Utagawa Toyokuni II (1777–1835), mounted and framed, with details written on verso; overall excellent condition, age wear, surface wear, toning; sight L 3 1/2" H 5 1/2" (Approx.)
• TWO UTAGAWA HIROSHIGE (JAPANESE,
  TWO UTAGAWA HIROSHIGE (JAPANESE, 1797-1858) WOODBLOCK PRINTS Includes: Utagawa Hiroshige II, "Tenjin Festival on the Yodo River in Osaka" & Utagawa Hiroshige, Kakegawa, "Crossing the Forty-eight Rapids on the Akiba Road"Utagawa Hiroshige was a Japanese ukiyo-e artist, considered the last great master of that tradition. Hiroshige is best known for his horizontal-format landscape series The Fifty-Three Stations of the Tokaido and for his vertical format landscapes series One Hundred Famous Views of Edo. The subjects of his work were atypical of the uikyo-e genre, whose typical focus was on beautiful women, popular actors, and other scenes of the urban pleasure districts of Japan’s Edo period. The series Thirty-six Views of Mount Fuji by Hokusai was a strong influence on Hiroshige’s choice of subject, though Hiroshige’s approach was more poetic and ambient than Hokusai’s bolder, more formal prints. Subtle use of color was essential in Hiroshige’s prints, often printed with multiple impressions in the same area with extensive use of bokashi, both of which were rather labor-intensive techniques.
• AFTER UTAGAWA HIROSHIGE II
  AFTER UTAGAWA HIROSHIGE II (JAPANESE, 1826-1869)After Utagawa Hiroshige II (Japanese, 1826-1869) and Utagawa Kunisada/Toyokuni III (Japan, 1786-1865) , "Hashiba Ferry in Snow", woodblock print, sight 13 1/4 in. x 9 1/4 in., framed Provenance: Estate of Warren Paul Balovich (1926-1992), New Orleans.
• Utagawa Hiroshige (1797-1856) and
  Utagawa Hiroshige (1797-1856) and Utagawa Hiroshige II (1826-1869), Three Woodblock Prints Consisting of 'White Rain at Nihonbashi' from the series 'Famous Places of the Eastern Capital' by Hiroshige; 'Imado Bridge and Mount Matsuchi' from the series 'Thirty-six views of the Eastern Capital' by Hiroshige II; and 'Clearing Weather at Awazu' from the 'Eight Views of Omi' by Hiroshige II vertical frame 22.7 x 16.4 in — 57.7 x 41.6 cm
• Utagawa Hiroshige (1797-1858),
  Utagawa Hiroshige (1797-1858), Two Harimaze Sheets in the Stone Rubbing Style, Circa 1845 Both in the style of Chinese stone rubbings (ishizuri); the first sheet with four pictures of New Year Decorations, Pine Trees on Rocks, Butterflies, and Winterberry and Dried Fish, by Hiroshige I and Hiroshige II (Shigenobu); the second sheet with a View of Mount Fuji and a River Landscape sheet 13.6 x 9.3 in — 34.5 x 23.5 cm
• UTAGAWA HIROSHIGE II UKIYO-E
  UTAGAWA HIROSHIGE II UKIYO-E PRINT Utagawa Hiroshige II (1826-1869) Ukiyo-e print "Tsukuda Island at the Mouth of the Sumida River", from the series 36 Views of the Eastern Capital, printed 1862. Good impression with strong colors. 14" X 9.5" visible
• UTAGAWA HIROSHIGE II (JAPANESE,
  UTAGAWA HIROSHIGE II (JAPANESE, 1826-1869)Utagawa Hiroshige II Japanese, 1826-1869 Makuchiyama Temple by the Imado Bridge (Imado-bashi Matsuchiyama) from Thirty-six Views of The Eastern Capital (Toto sanjurokkei) Woodblock print, artist's red block seal lower left A figure traversing the river in a yanebune before the temple laden with falling snow; unframed. Green and white fan seal upper right, red block series seal upper left, published 1861-1862. Plate: 13 1/2 x 9 in. (34.3 x 22.9 cm.) Condition: Any condition statement is given as a courtesy to a client, is an opinion, and should not be treated as a statement of fact. Reference to condition written, oral or within a condition report shall not be regarded as a full account of condition and may not include all defects, alterations, or restorations. Absence of a condition report does not imply a lot is flawless or lacking imperfections or damage. Selkirk Auctioneers & Appraisers shall have no responsibility for any error or omission. Returns shall not be accepted on the basis of condition.
• Ando Hiroshige (Japanese 1797-1858)
  Ando Hiroshige (Japanese 1797-1858) Takashi Beach in Izumi Province (from Famous Views of the Sixty-Odd Provinces) 1853 woodblock print; Koshibei Edo pub. 14 x 9 1/2 inches.
• Utagawa HiroshigeJapanese
  Utagawa HiroshigeJapanese (1797-1858)woodcut in colors13 1/4 x 8 3/4 inches
• UTAGAWA HIROSHIGE II (1826 -
  UTAGAWA HIROSHIGE II (1826 - 1869) WOODBLOCKUtagawa Hiroshige II (Japanese, 1826 - 1869) "Tenjin festival on the Yodo river in Osaka" Woodblock. Series: Shokoku Meisho hyakkei (One hundred famous views in the Provinces). Original label verso. Image Size: 13.25 x 8.5 in. Unframed. Condition: - By registering to bid for this auction either in-house or online and/or placing a bid in this auction the BIDDER/BUYER agrees to all the terms and conditions of Helmuth Stone Gallery Auctions. - Due to the size of our gallery not all items are out for preview at one time. If you plan on coming to preview any lot(s) we recommend letting us know prior so we can have them collected and prepared for your preview. - All silver, gold and/or jewelry lots or invoices containing said lots MUST be paid for via WIRE TRANSFER, no other forms of payment will be accepted. - All items are sold as-is where-is and no guarantees are made of any kind. All sales are final; no refunds will be given under any circumstances. - All artwork is listed and sold per section (10) of our terms and conditions, please read over all definitions of authorship prior to bidding to better understand artwork listings. - Helmuth Stone Gallery provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, mater. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. - Online images can sometimes be low quality due to the uploading process, original high-resolution images can be requested via email at HelmuthStone@gmail.com - We recommend looking into shipping quotes prior to bidding, shipping quotes can take up to a week or more post-sale as we host our auctions through multiple online platforms and shipping can become backlogged, if you would like a list of local shippers please email us directly. - Our auction catalogs are hosted through multiple online platforms along with phone and in-house bidding. Bids placed on other platforms are not shown through this catalog. Because of this, even if it appears you are the only absentee bid or bidder on a lot, you may already be outbid or may have placed a bid equal to another bidder. Therefore, we always recommend bidding live. - Unless otherwise stated in the description, all items are sold without additional documentation or COAs. If any supporting documentation is available an image will be available online via the catalog listing.
• Utagawa HiroshigeJapanese
  Utagawa HiroshigeJapanese (1797-1858)woodcutimage: 13 1/4 x 8 7/8 inches
• Utagawa Hiroshige (1797-1858),
  Utagawa Hiroshige (1797-1858), Fukagawa Susaki Jumantsubo (Jumantsubo Plain at Fukagawa Susaki), Dated 1857 From the series 'One Hundred Famous Views of Edo' (Meisho Edo hyakkei); colour woodblock print Signed Hiroshige ga; Published by Uoya Eikichi, intercalary 5th month 1857 vertical oban 13.9 x 9.3 in — 35.3 x 23.6 cm
• Utagawa Shigenobu (Hiroshige II)
  Utagawa Shigenobu (Hiroshige II) (Japanese 1827-1869) "Fireworks at Ryogoku" woodblock print sight 13 1/8 in. x 9 1/2 in. matted and framed.
• UTAGAWA HIROSHIGE, (1797-1858),
  UTAGAWA HIROSHIGE, (1797-1858), "IRIS GARDEN AT HORIKIRI (ONE HUNDRED FAMOUS VIEWS OF EDO NO. 64)," THE OUTSKIRTS OF KOSHIGAYA IN MUSASUtagawa Hiroshige, (1797-1858) "Iris Garden at Horikiri (one hundred famous views of edo no. 64)," The Outskirts of Koshigaya in Musashi Province (Musashi Koshigaya zai), from the series "Thirty-six Views of Mount Fuji (Fuji sanjurokkei)," Figures in a landscape with cherry blossoms; 3 pieces Each: Woodblock on paper Each: Signed Sight of each: 12.75" H x 8.25" W Provenance: The Estate of George David Sturges Each: Woodblock on paper Dimensions: Sight of each: 12.75" H x 8.25" W Provenance: The Estate of George David Sturges
• AFTER UTAGAWA HIROSHIGE
  AFTER UTAGAWA HIROSHIGE (JAPANESE, 1797-1858), TWO WOODBLOCK PRINTS Two later woodblock prints from the famous circa 1833-34 series by Hiroshige "Fifty-three Stations of the Tokaido Road," includes Shono: Sudden Rain and Okabe: Utsu Mountain, both professionally framed, not examined outside of the frame.
• Hiroshige (Japanese 1797-1858)
  Hiroshige (Japanese 1797-1858) two hand-colored woodblock prints including "#14 Hara" from the series The Fifty-Three Stations of the Tokaido Road known as Gyosho Tokaido sight 7 1/2 in. x 12 1/8 in. sheet 12 3/8 in. x 8 5/8 in. and "#33 Shirasuka" from the series The Fifty-Three Stations of the Tokaido Road known as Hoedo Tokaido later edition sight 8 1/2 in. x 12 in. sheet 14 1/4 in. x 9 3/8 in. each similarly triple matted and framed.
• Utagawa Hiroshige (1797-1858),
  Utagawa Hiroshige (1797-1858), Utagawa Hiroshige II (1842-1894), Two Framed Works Consisting of a triptych print and a print of Nihonbashi bridge largest frame 22.4 x 36.6 in — 57 x 93 cm
• HIROSHIGE II AND TOYOKUNI III,
  HIROSHIGE II AND TOYOKUNI III, TWO JAPANESE WOODBLOCK PRINTS Edo period (1615-1868), includes two woodblock prints from a series by Utagawa Hiroshige II (Japanese, 1826-1869) in collaboration with Utagawa Toyokuni III (Japanese,1786 -1865), "Edo hyakkei yokyo," published by Hiranoya Shinzo, engraved by Ota Tashichi, presented loose.
• UTAGAWA HIROSHIGE II (1826-1869)
  UTAGAWA HIROSHIGE II (1826-1869) LORD MINAMOTO YORITOMO RETURNS FROM KYOTO 1863, woodblock print on paper, across three separate sheets (3).
• Utagawa Hiroshige (1797-1858),
  Utagawa Hiroshige (1797-1858), Asakusa tanbo Torinomachi mode (Asakusa Ricefields and Torinomachi Festival), Dated 1857 From the series 'One Hundred Famous Views of Edo' (Meisho Edo hyakkei); colour woodblock print Signed Hiroshige ga; Censor's seal aratame; Published by Uoya Eikichi, 11th month 1857 vertical oban 14.1 x 9.4 in — 35.7 x 24 cm
• Utagawa Hiroshige (1797-1858),
  Utagawa Hiroshige (1797-1858), Sumidagawa Hashiba no watashi kawaragama (Hashiba ferry and the kilns at Sumida River), Dated 1857 From the series 'One Hundred Famous Views of Edo' (Meisho Edo hyakkei); colour woodblock print Signed Hiroshige ga; Censor's seal aratame; Published by Uoya Eikichi, 4th month 1857 vertical oban 14.6 x 9.9 in — 37.2 x 25.1 cm
• UTAGAWA HIROSHIGE I (1797-1858)
  UTAGAWA HIROSHIGE I (1797-1858) OHASHI FROM THE SERIES OF THE FAMOUS VIEWS OF EDO 1854, woodblock print on paper, 24.25cm x 36cm
• UTAGAWA HIROSHIGE II WOODBLOCK
  UTAGAWA HIROSHIGE II WOODBLOCK PRINTUtagawa Hiroshige II (Japanese, 1826-1869) woodblock print, Night Rain at Karasaki from the series Eight Views of Ohmi. With poem upper center. Signed in cartouche lower left. Titled upper right. Sidney Rothman The Gallery label on verso. Print: 15" x 9 1/2". Frame: 19 3/4" x 14 3/4". Toning to paper. Creases upper left and lower right. Water damage upper left.
• AFTER UTAGAWA HIROSHIGE
  AFTER UTAGAWA HIROSHIGE (JAPANESE, 1797-1858)After Utagawa Hiroshige (Japanese, 1797-1858) , "Inaba" and Higo", two woodblock prints from the series "Views of Famous Places in the Sixty Odd Provinces", sight 13 3/4 in. x 9 3/4 in., matted and framed alike (2 pcs.) Provenance: Inaba with TK Oriental Art & Antqiues, Williamsburg, VA, Oct. 1983; both Estate of Warren Paul Balovich (1926-1992), New Orleans.
• UTAGAWA HIROSHIGE II COLOR WOODCUT.
  UTAGAWA HIROSHIGE II COLOR WOODCUT. (Japanese 1829-1896). Moonlit landscape with man poling loaded open boat another on bamboo narrow raft. Oban size 13.75'' by 8.50'' image size. Signed in calligraphy center left. Well framed.
• UTAGAWA HIROSHIGE (JAPANESE,
  UTAGAWA HIROSHIGE (JAPANESE, 1797-1858) TWO WOODBLOCK PRINTS Ink and colors on paper, woodblock prints, later vintage reproductions from the series "Fifty Three Stations of the Tokaido Road," includes Narumi, Meibutsu Arimatsu Shibori and Yoshida, Toyokawabashi, scenes of daily life and architecture of Japan along the Tokaido Road during the mid-19th century captured by the famous woodblock print artist Utagawa Hiroshige, framed identically with mats, not examined outside of the frames.
• Utagawa HiroshigeJapanese
  Utagawa HiroshigeJapanese (1797-1858)woodcutplate: 8 5/8 x 13 5/8 inches
• AFTER UTAGAWA HIROSHIGE
  AFTER UTAGAWA HIROSHIGE (JAPANESE, 1797-1858)After Utagawa Hiroshige (Japanese, 1797-1858) , "Tsukudajima from Eitai Bridge" and "Inasa Mountain of Nagasaki", 2 woodblock prints, sheets 14 1/2 in. x 9m3/4 in. and 13 1/4 in. x 8 5/8 in., unframed (2 pcs.) Provenance: Property of the Mobile Museum of Art, Mobile, AL, sold to benefit their Collections, Care and Acquisitions Fund.
• Utagawa Hiroshige (Japanese,
  Utagawa Hiroshige (Japanese, 1797-1858) The Okitsu River from the series The Fifty-Three Stations of the Tokaido Road colored woodblock print signed and sealed 9 1/2 × 14 1/4 in
• Utagawa Hiroshige (1797-1858),
  Utagawa Hiroshige (1797-1858), Two Woodblock Prints, Edo Period, 19th Century Both from the 'Fifty-three Stations of the Tokaido'; consisting of 'Yoshida: The Toyokawa River Bridge' and 'Okitsu: The Okitsu River'; colour woodblock prints, framed image 9 x 14 in — 22.8 x 35.5 cm
• Hiroshige (Japanese 1797-1858)
  Hiroshige (Japanese 1797-1858) three hand-colored woodblock prints including "Kinryuzan Temple at Asakusa" sight 8 1/4 in. x 13 1/4 in.; "Cherry Blossoms Viewing at Gotenyama" sight 8 1/4 in. x 13 1/2 in.; and "Cherry Blossoms by Shinobazu Pond" sight 8 1/4 in. x 13 1/4 in. each triple matted and similarly framed (3 pcs.)
• Hiroshige (1797-1849) "Ronin
  Hiroshige (1797-1849) "Ronin Crossing a Bridge at Night on the Way to Moronao's Castle" a scene from Act XI episode 1 of the kabuki play Kanadehon Chushingura (Treasury of Loyal Retainers) woodblock print sheet 9 3/4 in. x 14 1/8 in. Note: condition. Provenance: With Benjamin Franklin March Jr. (1899-1934) curator of Asiatic Art Detroit Institute of Arts (1927-1931); thence by descent in his family.