The Courtesan Ichikawa of the Matsubaya in Edo-machi Itchome, with her Child Attendants Tamamo and Mitsumo - Kitagawa Utamaro
Archival giclée
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Description
A classic Ukiyo-e woodblock print by Kitagawa Utamaro, featuring a detailed portrait of the courtesan Ichikawa of the Matsubaya house.
This woodblock print by Kitagawa Utamaro depicts the courtesan Ichikawa of the Matsubaya house. Utamaro was a master of the bijin-ga genre, which focused on the portrayal of beautiful women within the pleasure districts of Edo. This work exemplifies his focus on the okubi-e, or large-head portrait, which allowed for a more intimate examination of the subject's features and expression.
The composition centres on the courtesan, whose elaborate hairstyle is adorned with numerous hairpins. Her gaze is directed away from the viewer, suggesting a moment of quiet contemplation. The inclusion of her child attendants, Tamamo and Mitsumo, is indicated through the decorative elements of the fan she holds, which features a carriage motif. The use of line is precise and controlled, characteristic of the high technical standards maintained by the carvers and printers who collaborated with Utamaro.
The colour palette is restrained, relying on soft earth tones and muted pigments that have aged to a gentle patina. The background features a subtle geometric pattern, providing a sense of space without distracting from the primary subject. Utamaro's ability to capture the individuality of his subjects, rather than presenting them as generic types, earned him a reputation as one of the most skilled practitioners of the Ukiyo-e tradition. This print offers a glimpse into the fashion and social hierarchies of the Yoshiwara district during the late eighteenth century. The delicate balance between the figure and the surrounding graphic elements demonstrates the sophisticated aesthetic sensibilities of the period.
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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
The Courtesan Ichikawa of the Matsubaya in Edo-machi Itchome, with her Child Attendants Tamamo and Mitsumo - Kitagawa Utamaro
Artist Biography
Kitagawa Utamaro
Almost nothing is certain about his early life. He was born around 1753, possibly in Edo, possibly in Kyoto, possibly in Kawagoe. He began publishing prints in the 1770s under the guidance of the publisher Tsutaya Juzaburo, who recognised what Utamaro could do with a portrait of a woman.
What he could do was unprecedented. He invented the okubi-e format: large head-and-shoulders portraits of individual women, mostly from the Yoshiwara pleasure district, printed in close-up with minimal background. Before Utamaro, bijin-ga (pictures of beautiful women) showed groups of figures in full length. He isolated the face, the tilt of the head, the expression. The prints are psychologically specific in a way that had not existed in Japanese printmaking.
He also published books of insect studies and volumes of shunga (erotica), and he made portraits of ordinary town women, not just courtesans. Ohisa and Okita, two shopgirls who appeared in his Three Beauties of the Present Day, became famous across Edo because of his prints. He turned real people into celebrities, which may be the first documented instance of an artist functioning as a kind of media platform.
Tsutaya Juzaburo died in 1797. Utamaro was reportedly devastated. Some critics feel his work never reached the same level afterward. He produced over two thousand prints in his career.
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