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拍品專文
See lot 324 for watercolor sketches of the first, fifth and seventh prints.
According to Henry Smith, in about 1913 Kiyochika accepted a commission from Matsuki Heikichi for a landscape series Nihon hyakkei (One hundred views of Japan). By the time of his death in 1915, he had completed some fifty finished drawings, of which half were actually made into trial prints by Matsuki. The publisher decided to hold back on publication until the demand for Kiyochika increased even more. Meanwhile, the publishing industry entered a period of depression and some of the carved blocks were damaged when Matsuki's warehouse collapsed in the 1923 earthquake. Finally, in 1929, Matsuki had the blocks repaired and created Kiyochika fukei shinga hanpukai (The Society for the Distribution of Kiyochika's Landscapes) to recruit subscribers for the series. A total of twenty-six prints were issued. The series as a whole had no titles; individual titles were imprinted on the back of the prints and on the paper folders in which they were distributed.
Fifteen of the twenty-six places depicted were in Tokyo, and most of the remainder were in those parts of central Japan where Kiyochika traveled frequently in his later years. In this series, as in the past, Kiyochika seems to have drawn frequently on his watercolor sketches. (See Henry D. Smith II, Kiyochika: Artist of Meiji Japan, exh. cat. [Santa Barbara: Santa Barbara Museum of Art, 1988], p. 116).
According to Henry Smith, in about 1913 Kiyochika accepted a commission from Matsuki Heikichi for a landscape series Nihon hyakkei (One hundred views of Japan). By the time of his death in 1915, he had completed some fifty finished drawings, of which half were actually made into trial prints by Matsuki. The publisher decided to hold back on publication until the demand for Kiyochika increased even more. Meanwhile, the publishing industry entered a period of depression and some of the carved blocks were damaged when Matsuki's warehouse collapsed in the 1923 earthquake. Finally, in 1929, Matsuki had the blocks repaired and created Kiyochika fukei shinga hanpukai (The Society for the Distribution of Kiyochika's Landscapes) to recruit subscribers for the series. A total of twenty-six prints were issued. The series as a whole had no titles; individual titles were imprinted on the back of the prints and on the paper folders in which they were distributed.
Fifteen of the twenty-six places depicted were in Tokyo, and most of the remainder were in those parts of central Japan where Kiyochika traveled frequently in his later years. In this series, as in the past, Kiyochika seems to have drawn frequently on his watercolor sketches. (See Henry D. Smith II, Kiyochika: Artist of Meiji Japan, exh. cat. [Santa Barbara: Santa Barbara Museum of Art, 1988], p. 116).