Shimadagahana sekiyo fuji
Series : One Hundred Views of Fuji, Fugaku Hyakkei
Technique: nishikie, woodcuts in two shades of gray and one of pink.
Format: hanshinbon koban diptych (about 183x253 mm)
Signatures : Zen Hokusai Iitsu aratame Gakyorojin Manji
Seal of the artist : Fuji no Yama
Dates : 1834- 1836.
Engravers: Egawa Tomekichi and Tsentaro
Editors: Nishimura Yuzo, Eirakuya Toshiro.
Beautiful test with good contrasts, in a fourth edition published by Tohikedo in 1852 with the characteristic pink tone. Imprinted on Japan paper, in excellent condition, with uncut margins all around beyond the marginal line.
Stocking GC Hokusai, the old madman for painting , Milan 1999-2000, London, 2003.
Calza GC Hokusai, the hundred views of Fuji , Milan, 1982.
Dickins FV Fugaku hiyaku-kei: one hundred view of Fuji by Hokusai , London, 1880.
Forrer M. Hokusai, prints and drawings , London, 1991.
Hillier J. The art of Hokusai in book illustration , London, 1980.
Lane R. Hokusai, life and works , Milan, 1991.
Salamon Villa T., The hundred views of Fuji, Turin, 1975.
Smith II H. Hokusai: one hundred view of Fuji by Hokusai, London, 1988.
Shimadagahana, the quay of Shimada, would be identified by Suzuki in the canal area near Fugakawa but the design of the wave motion of the water would seem to exclude it could be a view on a canal.
Smith points out how the Fuji drawn in black, to emphasize the progress of the darkness, is the same as that drawn in the Onmayagashi yori Ryobashi sekiyo or miru table, look at the sunset at the Ryobashi bridge, from the series Thirty-six views of Fuji , as well as the relaxed atmosphere of the characters depicted in both drawings, may suggest a common theme and, therefore, a representation of the famous pier called Hyappongui , the hundred poles, near the Ryogoku bridge.
This scene probably combines different views along the Sumida River, to create a generic water view framing Mount Fuji.