Figure 1: *Katsushika Hokusai, The Great Wave off Kanagawa, 1831.*

Ukiyo-e translates in English to “pictures of the floating world”. It can be understood loosely as a unique genre, style, or school of Japanese art—not defined by one medium, as wood-block prints, as well as certain kinds of paintings fall under this umbrella. It is an art form that is widely recognized, but means different things to many people. It is at once best categorized by the key elements of fantasy, fashion, and play to some, and as a strict practice of observing and reporting on reality to others. It is a fantastic world, populated by shogun warriors, high society actors and courtesans, as well as sublime landscapes and scenes of domestic life.

Regardless of the particular view of scholars on the subject of what can be considered Ukiyo-e, there is a general consensus as to when and where it developed—the city of Edo (now Tokyo) in the early 17th century, or Tokugawa Period (1615-1868)—an era governed by shogunate, or warlords, and best categorized by a caste system of: aristocrats, warriors, farmers, artisans, and merchants. While this era is generally characterized by a period of peace and social stability, it was achieved through strict order, limited foreign influence and isolationism. Given the dynamics of the social structure of the time, it is little surprise that Ukiyo-e works often lend themselves to parody, satire, or social commentary. Unique to the Edo period, the technology of printmaking found new status and was elevated to a higher art form than previously recognized; this paved the way for some of the most defining aspects of Ukiyo-e.

While this printing technology was introduced to Japan centuries before through Chinese influence, and it was long used by scribes and scholars for religious images and text dating back as far as the eighth century. It was not until the 17th century that woodblock prints became widely recognized as an art form defined by individual artists. The importance of the medium is clear, as prints gave artists the ability to easily mass produce their work and make it more available to a broader audience. Thus, the world of Ukiyo-e is also marked as the first period in which artists were able to make a living on the mass sale of their work rather than through service to select clients and patrons. Thereby, woodblock artists of this period could at be classified as artisans, but also of the merchant class. It should also be mentioned that the woodblock process itself is a collaborative effort, as the artist or author is rarely the one to engrave the image, print it, or publish and distribute it to market; these were all separate contributors to the process.

The dynamics of this history have led to Ukiyo-e being widely recognized as a “poor man’s art”, the art of the commoner, or even as the art of the oppressed; due to a relatively rigid caste system in which these artists lived and operated. This era generated a unique breed of prolific artists whose work continues to inspire and shape the art world today. No one can see The Great Wave of Kanagawa [see figure 1] by Ukiyo-e artist Hokusai and ever unsee it; it is forever embedded in human consciousness worldwide and has been described as “possibly the most reproduced image in the history of all art" (see ABC news). Naturally, there has always been a cross pollination of the artistic traditions of the east and west, The Great Wave itself borrows from the use of graphical perspective developed in Europe, but it can be argued that Ukiyo-e has had such huge influence on western art movements such as the Impressionists, that much of art of the post-modern era couldn’t exist without it.

**Lot # 1433:** *Utagawa Kunisada / Toyokuni III, woodblock, late 19th century.*

Turning to the present day, Ukiyo-e and its images of the floating world are eagerly sought after by art enthusiasts worldwide, and Japanese woodblock prints are regarded by many as one of the most quintessential expressions of Japanese culture and artistry. Ironically, nineteenth-century private collectors were frequently the source of museum collections of Japanese prints; for example, the copy in the Metropolitan Museum of Art in New York came from Henry Osborne Havemeyer's former collection, which his wife donated to the museum in 1929. And In 2023, an original print of Hokusai’s Great Wave that had been held by a private family since the early 1900s and for a time was displayed at the Glyptotek, Copenhagen, was sold for a record price, 2.8 million dollars. (see roningallery.com)

Due to its seafaring lineage and historical excellence in boatbuilding, Maine has long had a reputation for being a repository for rare objects from around the world. The broad influence of seafaring global trade routes, and the high demand for sea captains who made their homes here, has given Maine its share of surprises. Just last August, the gallery housed a painting attributed to Rembrandt, “Portrait of a Girl”, which brought $1.4 million. The painting was discovered on a standard “house call” to a Maine estate where it was found in the attic after sitting for decades — See the story on smithsonianmag.com. Likewise, every year there seems to be new surprises popping up in unusual places throughout Maine.

Our upcoming auction, Japanese Art & Antiques, taking place May 2, is no exception to the rule. With over 500 rare objects hand selected from homes and notable estates throughout New England, this auction is sure to please collectors near and far. In the words of our founder and auctioneer, Kaja Veilleux, “You just never know what sort of treasures will land in our auction gallery…consignors entrust us as stewards with their precious heirlooms and historic objects, and our buyers know we continually bring rare items to market.” What treasures could be waiting in hiding in this sale remains to be seen, but undoubtedly, there will be unexpected surprises. Our sales are well attended worldwide, and we offer our customers the flexibility of bidding in-person, by phone, absentee, or online. Thus, the unending story of technology, trade and the arts continues.

Lot # 1416: *Kokunimasa Utagawa (Japan, 1874-1944)*

Likewise, this sale hosts a plethora of fine examples of the floating world of Ukiyo-e, including over 100 scrolls and woodblocks. True Record of the News Received by Telegraph: Bandits Destroying the Manchurian Railway (Lot #1416) is a brightly colored woodblock print on mulberry paper, by Kokunimasa Utagawa, is a fine example. It is also an apt image for our exploration of technology and trade in the arts. From a group of six prints that has been held by a Maine family for nearly a century, this collection was assembled because a family member was an official in Teddy Roosevelt's cabinet when the president succeeded in negotiating the peaceful conclusion of the Japanese-Russo War in Portsmouth, NH, signed in September of 1905.

Lot # 1424: *Kokunimasa Utagawa (Japan, 1874-1944)*

A woodblock artist in the Utagawa school, Kokunimasa was a very prolific artist during the Meiji, Taiso, and Showa periods, best known for his dramatic war prints. He was the son of the woodblock artist Baido Hosai. The three periods he worked under (Meiji, Taiso, and Showa) are set and named after the ruling Japanese Emperors. As the Emperor's changed, so did the styles of prints. Likewise, Ukiyo- e artists commonly created images that reflected concerns of the time, as they were in high demand. From the Battery at Mount Ogon, Port Arthur, the Russian Forces Bombard our Warship, is from the same collection and in the same theme. These prints embody all the finest characteristics of the art form, with fantastic composition and dramatic foreground figures, they are politically charged images that serves well in documenting important news of the time.

Lot # 1164: *Kawase Hasui (Japan, 1883-1970)*

Other classic Ukiyo-e artists grace this exciting sale, including Utagawa Kuniyoshi, Utagawa Toyokuni, and many others. There are also fine examples of more modern artists in the tradition, Kawase Hasui, [Lot #1164] Hiroshi Yoshida, [Lot# 1415] Mori Yoshitoshi, [Lot # 1231] Maki Haku, [Lot #1236] among others in the upcoming auction. These modern examples demonstrate how the tradition continues to develop and change to reflect the sensibilities of the time, and the changing demands of the public. While the golden age of the art form may have passed, Ukiyo-e is alive and well today.

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