Ōmori, from the series Famous Places in the Eastern Capital - Utagawa Kuniyoshi
Archival giclée
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Description
A serene woodblock print by Utagawa Kuniyoshi depicting boatmen navigating the reed-lined channels of Ōmori, from the series Famous Places in the Eastern Capital.
This woodblock print by Utagawa Kuniyoshi depicts the coastal area of Ōmori, a location historically associated with seaweed harvesting and salt production. The composition focuses on a small boat navigating a narrow channel flanked by tall, dense reeds. The figures in the boat are rendered with economy, their forms integrated into the quiet rhythm of the water and the surrounding vegetation. Kuniyoshi, a master of the Utagawa school, demonstrates his command of atmospheric perspective through the use of a graduated blue sky, which transitions from a deeper tone at the top to a lighter hue near the horizon line. The print belongs to the series Famous Places in the Eastern Capital, a collection that documents various sites within and around Edo. Unlike the more dramatic or supernatural subjects often associated with Kuniyoshi, this work adopts a restrained, observational approach. The colour palette is dominated by shades of blue, reflecting the aquatic nature of the scene, punctuated by the earthy tones of the reeds and the clothing of the boatmen. The use of the bokashi technique, or colour gradation, is evident in the sky and water, providing a sense of depth and soft light. The print captures a specific moment of daily labour, presenting the environment as a space of calm activity. The inclusion of the red circular cartouche in the upper right corner identifies the series, a standard convention for prints of this period. This work offers a view into the geography of nineteenth-century Japan, documenting the relationship between the inhabitants of Edo and their immediate coastal surroundings.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Ōmori, from the series Famous Places in the Eastern Capital - Utagawa Kuniyoshi
Artist Biography
Utagawa Kuniyoshi
For the first thirteen years he struggled. The breakthrough came in 1827 with a commission to illustrate the 108 Heroes of the Suikoden, a Chinese adventure novel. He drew tattooed warriors in dynamic poses that broke out of the frame, the tattoos rendered with a detail that started a fashion in Edo. The series was enormously popular and established him as the leading designer of warrior prints.
He loved cats. His studio was always full of them, and he often worked with a kitten tucked inside his kimono. When a cat died, he sent it to a nearby temple, and he kept a Buddhist altar for his deceased cats at home. Cats appear constantly in his prints: as substitute actors in kabuki scenes, as letter-forms in playful alphabets, as parodies of famous paintings. Government censorship in the 1840s prohibited the depiction of actors and courtesans by name, so Kuniyoshi gave them cat faces, which was technically legal and funnier.
His range was unusual for an ukiyo-e artist. Warriors, landscapes, beautiful women, ghosts, satirical cartoons, cats. He was equally comfortable with the heroic and the absurd, sometimes on the same sheet. His triptych of the giant skeleton spectre, from the tale of Takiyasha the Witch, is one of the most reproduced images in Japanese art.
Our Features
Designed for Lasting Impact
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
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Artist Biography
Utagawa Kuniyoshi
For the first thirteen years he struggled. The breakthrough came in 1827 with a commission to illustrate the 108 Heroes of the Suikoden, a Chinese adventure novel. He drew tattooed warriors in dynamic poses that broke out of the frame, the tattoos rendered with a detail that started a fashion in Edo. The series was enormously popular and established him as the leading designer of warrior prints.
He loved cats. His studio was always full of them, and he often worked with a kitten tucked inside his kimono. When a cat died, he sent it to a nearby temple, and he kept a Buddhist altar for his deceased cats at home. Cats appear constantly in his prints: as substitute actors in kabuki scenes, as letter-forms in playful alphabets, as parodies of famous paintings. Government censorship in the 1840s prohibited the depiction of actors and courtesans by name, so Kuniyoshi gave them cat faces, which was technically legal and funnier.
His range was unusual for an ukiyo-e artist. Warriors, landscapes, beautiful women, ghosts, satirical cartoons, cats. He was equally comfortable with the heroic and the absurd, sometimes on the same sheet. His triptych of the giant skeleton spectre, from the tale of Takiyasha the Witch, is one of the most reproduced images in Japanese art.
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