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  • Kurokami captures the elegance and extraordinary visual language of historical Japanese portraiture. This beautiful reproduction of a 19th-century gouache painting by an unknown Japanese artist is named for the Japanese word for “black hair”. The work is dominated by the sitter's elaborate coiffure and gilded hair ornaments, set against the vivid vermilion, indigo and softly aged tones of her robes.

    Kurokami

    Kurokami
    £95.00
  • Shizuka takes its name from the Japanese word for “quiet” or “stillness”. This beautiful reproduction of a 19th-century Japanese painting by an unknown artist captures a solitary figure seated against an expanse of warm, textured paper. Her flowing black outer robe reveals flashes of rich vermilion beneath, while the restrained palette, delicate linework and generous use of negative space give the composition its striking sense of calm and intimacy.

    Shizuka

    Shizuka
    £95.00
  • Wagasa takes its name from the traditional Japanese paper parasol that dominates the composition. Dating to around 1850, this colour woodcut depicts a tayū, an elite courtesan, on parade with her two kamuro, or child attendants, while a male attendant holds the great parasol above them. Brilliant vermilion and golden-yellow robes, elaborate textiles and delicate ornamentation turn the procession into a wonderfully theatrical display of colour and pattern.

    Wagasa

    Wagasa
    £95.00
  • Kinryūzan

    Kinryūzan

    Kinryūzan
    £95.00
  • Ama takes its name from Japan’s centuries-old tradition of female free-divers, who descended into coastal waters without breathing apparatus to gather abalone, shellfish and other treasures from the sea. This reproduction of an extraordinary 1870s colour woodcut by Tsukioka Yoshitoshi transforms that real-world tradition into something altogether more fantastical.

    Ama

    Ama
    £95.00
  • Oiran takes its name from the elaborately dressed courtesan portrayed on stage by a male kabuki actor, identifiable through the extraordinary hairstyle, ornamental hairpins, richly patterned robes, and theatrical gesture. This reproduction of an early 1860s colour woodcut by Utagawa Kunikazu captures the actor beneath cascading blossoms, dressed in layers of deep blue, gold, red, and black and carrying an enormous lobster prop.

    Oiran

    Oiran
    £95.00
  • Hanami takes its name from the Japanese tradition of gathering to admire the fleeting beauty of flowers, most famously the spring cherry blossom. This reproduction of an early 1860s colour woodcut by Utagawa Kunikazu depicts kabuki actors in a confrontation beneath cascading blossoms. Richly patterned robes of deep blue, black and gold stand dramatically against the charcoal ground, while the extraordinary sweep of blossom overhead gives the composition both theatricality and a surprising amount of stillne

    Hanami

    Hanami
    £95.00
  • Shōbu takes its name from the Japanese word for a contest or showdown, capturing the tension at the heart of this theatrical scene. This reproduction of an early 1860s colour woodcut by Utagawa Kunikazu depicts a kabuki actor crouched beneath cascading cherry blossom, his sword held at his side. Bold expanses of black, vermilion, and muted blue contrast with the delicacy of the flowers overhead, giving the composition a powerful sense of anticipation.

    Shōbu

    Shōbu
    £95.00
  • Aragoto takes its name from the bold, exaggerated style of kabuki performance associated with powerful, heroic, and often superhuman characters. This reproduction of an early 1860s colour woodcut by Utagawa Kunikazu presents a commanding kabuki actor dressed in an extraordinary robe patterned with crashing waves, clouds, and dragons. His fierce expression, flowing white hair and beard, and imposing stance capture the heightened drama and spectacle of the kabuki stage.

    Aragoto

    Aragoto
    £95.00
  • Kohada takes its name from the Japanese word for gizzard shad, a silver-scaled fish prized in traditional Japanese cuisine. This reproduction of an 1884 Japanese colour lithograph depicts three species: aji, or scad; sappa, or sardinella; and kohada, or gizzard shad. Their shimmering scales and intricate markings are rendered with extraordinary precision against the deep indigo ground. The original appeared in Namima no nishiki, or Brocades of the Waves, a remarkable series of twelve prints devoted to the

    Kohada

    Kohada
    £95.00
  • Kurodai takes its name from the Japanese word for black sea bream. This reproduction of an 1884 Japanese colour lithograph pairs the dark, powerful form of the kurodai with the warmer tones of an amatai, or tilefish. Their beautifully articulated scales, fins and distinctive profiles stand dramatically against the deep indigo ground. The original appeared in Namima no nishiki, or Brocades of the Waves, a remarkable series of twelve prints devoted to the inhabitants of Japanese waters.

    Kurodai

    Kurodai
    £95.00
  • Isaki takes its name from the Japanese word for chicken grunt, a fish found throughout the coastal waters of East Asia. This reproduction of a late-19th-century Japanese colour lithograph depicts isaki alongside shirogisu and aogisu, two species of whiting. Their contrasting forms, subtly patterned scales and flashes of gold and silver are rendered with exceptional precision against the deep indigo ground. The original appeared in Namima no nishiki, or Brocades of the Waves, a remarkable series of twelve

    Isaki

    Isaki
    £95.00
  • Shimadai & Kasugodai brings together two distinctive inhabitants of Japanese waters: the boldly striped beakfish and the warm, copper-toned red sea bream. This reproduction of an 1884 Japanese colour lithograph captures the contrasting forms of the two fish with remarkable delicacy. Their finely rendered scales, translucent fins and subtle natural colouring stand beautifully against the deep indigo ground. The original appeared in Namima no nishiki, or Brocades of the Waves

    Shimadai & Kasugodai

    Shimadai & Kasugodai
    £95.00
  • Kaizu takes its name from a Japanese term for the young black sea bream. This reproduction of an 1884 Japanese colour lithograph pairs kaizu with takanohatai, or spotted-tail morwong. Silvery scales, dark banding and finely articulated fins are set against the deep indigo ground, creating a composition that feels both historic and strikingly modern. The original appeared in Namima no nishiki, or Brocades of the Waves, a remarkable series of twelve prints devoted to the inhabitants of Japanese waters.

    Kaizu

    Kaizu
    £95.00
  • Tai takes its name from the Japanese word for sea bream, a fish traditionally associated with celebration and good fortune. This reproduction of a late-19th-century Japanese colour lithograph presents the fish in magnificent isolation. Its powerful body, intricate scales and dark copper colouring stand against the deep blue ground, enclosed by a delicate ornamental border. The original appeared in Namima no nishiki, or Brocades of the Waves, a remarkable series of twelve prints devoted to the inhabitants

    Tai

    Tai
    £95.00
  • Hirame takes its name from the Japanese word for olive flounder. This reproduction of an 1884 Japanese colour lithograph presents two views of the same remarkable fish: its pale underside and its dark upper surface. The dramatic contrast between them, combined with the flounder’s extraordinary flattened anatomy, gives the composition an almost sculptural quality. The original appeared in Namima no nishiki, or Brocades of the Waves

    Hirame

    Hirame
    £95.00
  • A richly detailed botanical study of deadly nightshade, or Atropa belladonna, one of history’s most notorious poisonous plants. Its dark berries and dusky purple flowers belie a toxic reputation that has linked belladonna with medicine, cosmetics, folklore, and poison for centuries. The illustration originates from an 1855 hand-coloured engraving by J. Johnstone, published in Glasgow by Blackie & Son as part of a wider study of poisonous plants.

    Deadly Nightshade

    Deadly Nightshade
    £95.00
  • A striking botanical study of black henbane, or Hyoscyamus niger, a poisonous plant with a long and unsettling history. Used medicinally since antiquity but dangerous in uncontrolled doses, henbane became entwined with folklore, witchcraft, hallucinogenic preparations, and poison. The illustration originates from an 1855 hand-coloured engraving by J. Johnstone, published in Glasgow by Blackie & Son as part of a study of four poisonous plants: hemlock, henbane, poisonous lettuce and autumnal meadow saffron.

    Black Henbane

    Black Henbane
    £95.00
  • A dramatic botanical study of monkshood, or Aconitum napellus, instantly recognisable by its extraordinary violet-blue flowers. Beautiful but highly poisonous, the plant has a long and sinister history in folklore, medicine, and poisoning, earning it another enduring name: wolfsbane. The illustration originates from an 1855 hand-coloured engraving by J. Johnstone, published in Glasgow by Blackie & Son as part of a wider study of poisonous plants.

    Monkshood/Wolfsbane

    Monkshood/Wolfsbane
    £95.00
  • A finely detailed botanical study of common hemlock, or Conium maculatum, one of history’s most infamous poisonous plants. Used as a method of execution in the ancient world, hemlock is forever associated with the death of the Greek philosopher Socrates, who was sentenced to drink the poison in 399 BC. The illustration originates from an 1855 hand-coloured engraving by J. Johnstone, published in Glasgow by Blackie & Son as part of a study of four poisonous plants: hemlock, henbane, poisonous lettuce an

    Common Hemlock

    Common Hemlock
    £95.00
  • A beautifully delicate botanical study of autumnal meadow saffron, or Colchicum autumnale. Its elegant crocus-like flowers conceal a potent toxicity: the plant contains colchicine, a compound that can be deadly but has also played an important role in medicine for centuries. The illustration originates from an 1855 hand-coloured engraving by J. Johnstone, published in Glasgow by Blackie & Son as part of a study of four poisonous plants: hemlock, henbane, poisonous lettuce and autumnal meadow saffron. This

    Autumnal Meadow Saffron

    Autumnal Meadow Saffron
    £95.00
  • A finely observed botanical study of poisonous lettuce, or Lactuca virosa, a wild relative of the familiar garden lettuce with a rather darker reputation. Its milky sap, known as lactucarium, was historically used for its sedative and pain-relieving properties, earning the plant the evocative nickname “lettuce opium.” The illustration comes from an 1855 hand-coloured engraving by J. Johnstone, published in Glasgow by Blackie & Son as part of a study of four poisonous plants: hemlock, henbane, poisonous let

    Poisonous Lettuce

    Poisonous Lettuce
    £95.00
  • A striking reproduction of a c.1870 chromolithograph of fuchsia, after H. Briscoe and originally published in London by Groombridge & Sons. Cascading crimson flowers and deep green foliage capture the theatrical beauty of one of the Victorian era’s most fashionable garden plants. 

    Fuchsia

    Fuchsia
    £95.00
  • A reproduction of a mid-19th-century watercolour of Strelitzia reginae, better known as the bird of paradise or crane flower. Native to South Africa, its extraordinary orange and blue flowers give the impression of an exotic bird in flight. Introduced to Britain in 1773, the plant was named in honour of Queen Charlotte of Mecklenburg-Strelitz.

    Bird of Paradise

    Bird of Paradise
    £95.00