Katsushika Hokusai, View of Mount Fuji from a Mountain Pass\., 1835, Woodcut

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Woodcut print on paper. Plate 23 from the series "Fugaku Hyakkei" (One Hundred Views of Mount Fuji). Original double-page monochrome … Read more Woodcut print on paper. Plate 23 from the series "Fugaku Hyakkei" (One Hundred Views of Mount Fuji). Original double-page monochrome woodblock print (sumizuri-e / ehon page) on paper Inscribed with the series title and plate identification in the blocks. A fine, well-balanced double-page monochrome illustration from Volume 2 of Katsushika Hokusai’s universally celebrated masterpiece of book design, Fugaku Hyakkei (One Hundred Views of Mount Fuji). Conceived in his seventies under his preferred moniker "The Old Man Mad About Painting," this three-volume compendium represents Hokusai's absolute mastery over black-and-white printmaking (sumizuri-e), relying entirely on fine line work, cross-hatching, and subtle gray gradations to depict the sacred volcano. The composition masterfully showcases a bustling scene from rural Edo-period life juxtaposed with the timeless, snow-capped presence of Mount Fuji in the background. On the right panel, a traveler guides a heavily burdened pack buffalo across a narrow, wooden trestle bridge framed by an expressive, twisted pine tree. On the left panel, the narrative shifts toward a rustic thatched-roof dwelling where rural workers carry stacked supplies and heavy circular objects. Hokusai uses this layout to beautifully frame the majestic peak of Fuji directly within the valley gap, highlighting how the sacred landmark subtly interacts with the daily labor of common people. The item consists of a single double-page book sheet with a clean central vertical fold line where the two pages were originally bound. The black ink impression remains strong and crisp, retaining the fine textures of the landscape lines and the delicate dotting (ten-po) technique in the foliage. The fine Japanese paper exhibits minor, uniform age-toning and very faint handling marks along the wide outer margins, typical of authentic ehon leaves. Hand-written architectural notations in pencil are visible along the lower right mount boundary. This piece is attributed to the mentioned designer/maker. It has no attribution mark and no
official proof of authenticity,
however it is well documented in design history. I take full responsibility for any authenticity



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