From Yoshida's Ten Views of Mount Fuji series. Fuji subjects carry a 30–50% premium over comparable Japanese landscapes, driven by the mountain's universal appeal to both Japanese and international collectors. The more dramatically lit compositions — dawn, sunset, and snow scenes — achieve the highest figures within this subject category.
Miho Peninsula — the pine-forested spit of land curving into Suruga Bay in Shizuoka Prefecture — has served as the foreground for some of Japan's most celebrated views of Mount Fuji since the Edo period. Yoshida's 1935 print uses this compositional tradition: the curve of the peninsula's white beach and dark pine canopy frame a view across open water toward Fuji's perfect cone rising on the horizon. The ocean view separates the viewer from the mountain, rendering it more purely atmospheric than the close-range Alpine prints — a presence defined by light and distance rather than geological detail. The pine trees, associated with eternity and Japan's coastal imagination, provide an elegant frame.
Wakasa Kugushiko
1920
Color woodblock print; oban
Woodblock print
1934
Color woodblock print; oban
n.d.
Woodblock print; ishizuri-e, section of harimaze sheet
Curated cross-cuts that include this print.
Fujiyama from Miho was created by Hiroshi Yoshida (吉田博) in 1935.
Fujiyama from Miho uses Bokashi, Nishiki-e, and Moku-hanga, on color woodblock print.
Fujiyama from Miho was published by Yoshida Studio (1935).
Fujiyama from Miho depicts landscapes and mount fuji, set at Mount Fuji.
Fujiyama from Miho measures 40.3 × 26.7 cm (Oban format).
