Woman Holding a Tortoise-shell Hair-comb - Kitagawa Utamaro
Archival giclée
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Description
A classic Ukiyo-e woodblock print by Kitagawa Utamaro, depicting a woman in a moment of quiet reflection while holding a tortoise-shell comb.
This woodblock print by Kitagawa Utamaro captures a moment of quiet domesticity, focusing on a woman as she holds a large tortoise-shell comb near her face. Utamaro is recognised for his bijin-ga, or pictures of beautiful women, which often emphasised the psychological state of the subject through subtle gestures and expressions. In this composition, the comb acts as a framing device, drawing the viewer towards the subject's eyes and her carefully applied makeup.
The print displays the technical precision characteristic of the Edo period. The artist employs a delicate line quality to define the facial features and the texture of the hair, which is styled in a voluminous, elaborate fashion. The background features a repeating floral pattern, providing a decorative contrast to the smooth, pale skin of the subject. The colour palette remains balanced, using soft earth tones and muted reds that allow the figure to remain the primary focus of the work.
Utamaro often experimented with the 'okubi-e' or large-head portrait style, which allowed for a more intimate engagement with the subject. By cropping the figure at the shoulders, the artist removes extraneous details, forcing an encounter with the woman's gaze. The inclusion of the comb, a common accessory for women of the period, adds a layer of narrative, suggesting a pause in a grooming ritual. This print reflects the aesthetic values of the Ukiyo-e school, where the depiction of urban life and the inhabitants of the pleasure quarters became a primary subject for artists. The work remains a clear example of the mastery of woodblock printing techniques, demonstrating the ability to convey texture, pattern, and human emotion through a limited number of printed blocks.
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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
Woman Holding a Tortoise-shell Hair-comb - 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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