Fine Art Poster
From $120
A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
Fifth Print from A Low Tide Pentaptych - Utagawa Kuniyoshi
Regular price
$120.00 NZD
Sale price
$120.00 NZD
Regular price
Archival giclée
Frames arrive ready to hang
Secure checkout
Made to order
Description
A woodblock print by Utagawa Kuniyoshi depicting a woman gathering shellfish on a mudflat, part of a larger series on low tide activities.
This woodblock print by Utagawa Kuniyoshi belongs to a larger pentaptych series depicting scenes of low tide. The composition focuses on a woman standing on the exposed mudflats, her posture slightly bent as she engages in the collection of shellfish. She wears a striped kimono, rendered with precise line work that defines the folds and texture of the fabric. Beside her sits a woven basket and a small rake, tools essential for the task at hand. In the background, the scene expands to include other figures working along the shoreline and a small boat moored in the distance. The artist employs a muted colour palette, relying on soft blues, earthy browns, and cream tones to convey the atmosphere of a coastal landscape at low tide. The inclusion of calligraphic text in the upper portion of the print provides context, a common feature in Ukiyo-e works of this period. Kuniyoshi, known for his versatility and technical skill, captures the quiet activity of the shore with clarity and restraint. The print demonstrates the artist's ability to balance human subjects with their environment. The figures in the background are smaller in scale, which creates a sense of depth across the horizontal expanse of the mudflats. The lines are clean and controlled, reflecting the high standards of woodblock production in mid-nineteenth-century Japan. This work offers a glimpse into the daily lives of coastal workers, presented with the observational detail characteristic of Kuniyoshi's genre studies.
Return policy
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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We ship worldwide, printing at the production hub nearest to your delivery address. Delivery times and costs vary by destination — you'll see the options available to you at checkout.
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.
Care and materials
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
Complete The Look
Fifth Print from A Low Tide Pentaptych - Utagawa Kuniyoshi
Regular price
From $120.00 NZD
Sale price
From $120.00 NZD
Regular price
Fine Art Poster / Small Square (30x30 cm) / -
Artist Biography
Utagawa Kuniyoshi
Kuniyoshi's father was a silk dyer in Edo. The boy helped with pattern design, which gave him an instinct for colour and textile decoration that shows in every print he made. At twelve he caught the attention of Utagawa Toyokuni, the head of the Utagawa school, and was admitted as a student. He was given the name Kuniyoshi in 1814 and became independent.
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.
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.
Made to order
Choose your finish
Every piece is printed to order. These are the five finishes, and what makes each one different.
Fine Art Framed
From $250
The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
Canvas
From $130
Hand-stretched canvas with neat gallery-wrapped edges, giving the artwork surface texture and depth. Arrives ready to hang.
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