Japanese Woodblock Print, originally published 1800, this is a Showa era edition printed from recarved woodblocks

SIZE IN INCHES: oban triptych, each panel 10.5 x 15.5 inches; 31.5 x 15.5 overall

A RARELY SEEN TRIPTYCH, "The Scoop Net" depicts a scene where a pleasure boat on the Sumida River at night encounters scoop net fishing boat. Such scoop nets were particularly used to fish for whitebait in spring, and it is likely that such an association is intended in this design -- so the fish already in the bottom of the boat must be whitebait. The unlikely preponderance of women in the design is a fabrication common the many Ukiyo-e. Copies of this print are in the collections of the British Museum, The Art Institute of Chicago, and the Museum of Fine Arts Boston.

KITAGAWA UTAMARO, (1753-1806), was a Japanese printmaker and painter who was one of the greatest artists of the ukiyo-e movement; he is known especially for his masterfully composed portraits of sensuous female beauties.

Probably born in a provincial town, he went to Edo (now Tokyo) with his mother. There, under the name of Toyoaki, he started painting and designing rather unoriginal wood-block prints of women. He also occupied himself with nature studies and published many illustrated books, of which Gahon chusen (1788; Insects) is best known.

About 1791 Utamaro gave up designing prints for books and concentrated on making half-length single portraits of women rather than prints of women in groups as favored by other ukiyo-e artists. In 1804, at the height of his success, he made some prints depicting the military ruler Toyotomi Hideyoshi's wife and concubines. Consequently, he was accused of insulting Hideyoshi's dignity and was ordered to be handcuffed for 50 days. The experience crushed him emotionally and ended his career as an artist. Among his best known works are the wood-block-print series Ten Physiognomies of Women, Twelve Hours at the Gay Quarters, The Seven Beauties of the Gay Quarters, and Women in Love.