View of Mitsumata in the Eastern Capital - Utagawa Kuniyoshi
Archival giclée
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Description
A woodblock print by Utagawa Kuniyoshi depicting boat maintenance on the banks of the Sumida River in Edo.
This woodblock print by Utagawa Kuniyoshi depicts the Mitsumata area of Edo, known today as Tokyo. It belongs to the series Views of the Eastern Capital, a collection that documents the urban geography and daily life of the city during the late Edo period. The composition focuses on the riverbank, where two men tend to a fire beneath a boat, a process used to heat and soften the wood for maintenance or repair. A thick column of dark smoke rises from the flames, contrasting with the clear blue sky and the calm water of the Sumida River.
In the background, the Eitai Bridge spans the river, connecting the bustling districts of the city. Kuniyoshi employs a clear, linear style to define the architectural elements and the figures, while the use of Prussian blue provides a sense of depth to the water. The print captures a specific moment of industrial activity within the city, showing the intersection of human labour and the natural environment. The inclusion of small boats and distant buildings provides a sense of scale, grounding the scene in the reality of the period. Kuniyoshi, a master of the Ukiyo-e tradition, demonstrates his ability to balance technical precision with atmospheric observation. The print serves as a record of the maritime culture that defined Edo, where the river served as a primary artery for transport and commerce. The work reflects the artist's interest in the changing appearance of the city, documenting both the permanent structures and the transient actions of its inhabitants.
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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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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
View of Mitsumata in the Eastern Capital - Utagawa Kuniyoshi
Artist Biography
Utagawa Kuniyoshi
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.
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