Pigeons scatter across the sand before a vermilion shrine gate

A vermilion-painted shrine gate stands at the centre, its beams picked out with green lattice and a band of gold beneath deep grey tiled roofs, with lower shrine buildings running away on either side. Tall dark pines rise in front of it and lean across the pale blue sky. A short flight of steps leads down to a broad sand forecourt, where a woman in a grey-blue striped coat over a pink-red kimono stands with a child carried on her back. Pigeons cover the sand around her in white and slate grey, most clustered in a feeding knot at her feet, a few walking singly out towards the edges of the sheet.

Hiroshi Yoshida (1876–1950) came to woodblock printing from Western-style oil painting, and brought a painter's eye for light to shin-hanga. He worked first with the publisher Watanabe Shōzaburō and from 1925 ran his own studio, supervising the carving and printing himself and often issuing a single design in several colourways to catch a different hour of the day. His travels through the Japan Alps, India, Egypt, Europe and North America gave the movement its widest geographic range. His prints are held by the British Museum, the Metropolitan Museum of Art and the Museum of Fine Arts, Boston.

Printed as a museum-grade giclée on Hahnemühle fine art paper using 12-ink archival pigment printing. Available handframed in FSC-certified wood with optional float glass, or unframed. Ships worldwide with free delivery to 30+ countries.