UTAGAWA HIROSHIGE (1797-1858)
UTAGAWA HIROSHIGE (1797-1858)
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Property from the Alan Medaugh Collection
UTAGAWA HIROSHIGE (1797-1858)

Man on Raft on the Sumida River by Mimeguri

Details
UTAGAWA HIROSHIGE (1797-1858)
Man on Raft on the Sumida River by Mimeguri
Woodblock print, signed Hiroshige hitsu, published by Surugaya Sakujiro, circa 1842-46
Horizontal aiban: 9 x 11 5⁄8 in. (22.9 x 29.7 cm.)
Provenance
Wakai Kenzaburo (1834-1908), Paris
Israel Goldman Japanese Prints, London
Acquired from the above, 1997
Literature
Matti Forrer, Hiroshige (Prestel, 2017). Plate 117.
Hiroshige Nature and the City: Prints from the Alan Medaugh Collection (Ludion, 2023). Plate no. 400.
Alfred Haft, Hiroshige: artist of the open road (UK: The British Museum Press, 2025), Exh. cat., Plate 121.
Exhibited
'Hiroshige: artist of the open road', The British Museum, London, 1 May-7 September 2025

Brought to you by

Takaaki Murakami (村上高明)
Takaaki Murakami (村上高明) Vice President, Specialist and Head of Department | Japanese and Korean Art

Lot Essay

A raftsman poles a load of logs down the Sumida River beneath a full moon. The serene nocturnal scene, particularly the simplified forms of the Mimeguri Embankment and the raft of logs, is rendered with remarkable simplicity, using broad areas of unmodulated color and strong silhouettes to evoke the atmosphere of an ink painting. The quiet tonal contrasts give the print an unusually contemplative character, revealing Hiroshige’s sensitivity to the expressive possibilities of color and line. Mimeguri Embankment, a popular destination particularly during cherry-blossom viewing season. Located on the east side of the Sumida River across the Asakusa district, Mimeguri Shrine worshiped the two deities of Sumidagawa Seven Gods of Good Fortune (Sumidagawa Shichifukujin), Ebisu and Daikoku. Originally located adjacent to Ushijima Shrine, Mimeguri Shrine was relocated slightly southward after being swept away by a flood and with the construction of embankments along the riverbank. As a result, from the perspective of the opposite bank, the torii gate appears to protrude only its head from the embankment, creating a unique sight as captured in the present print.

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