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Step 1 — set the scale. Drag the slider until the gold bar on the photo is the height of a standard doorway (80 in / 203 cm). Every size you pick is then drawn true to life.
Step 2 — drag the print to where it would hang, and change size or frame above to compare.
Japanese Woodblock Prints
The Great Wave off Kanagawa, c. 1831
Kanagawa oki nami ura, from Thirty-six Views of Mount Fuji — Katsushika Hokusai, published by Nishimuraya Yohachi, Edo
From the Library of Congress, Prints & Photographs Division, Japanese prints collection · 1831
$129Charged in USD at checkout; local currency shown for reference.
Source scan:LOC (Prints & Photographs Division, Japanese prints). Rights statement of the archive: “No known restrictions on publication. Ukiyo-e print by an artist who died before 1930; the impression itself was published before 1930 — public domain in the United States, Japan and the EU.” Original print: Katsushika Hokusai, 1831, 1 print : woodcut, color.. Verified 2026-09-13.
This product is a new archival print made from a restored scan of that print. It is not an original antique and is not sold as one.
The story of this print
The most reproduced image in Japanese art is a print of a wave about to swallow three boats. Hokusai designed it around 1831, when he was over seventy, as the opening sheet of Thirty-six Views of Mount Fuji, and it was cut in cherry wood and printed in a run of perhaps a few thousand by the publisher Nishimuraya Yohachi. Fuji is in it — small, snow-capped, in the trough between the waves — but nobody looks at Fuji.
What made the print possible was a pigment. Prussian blue had only just become cheap enough in Japan to use on a popular print, and Hokusai built the whole sea out of it, graded from near-black in the trough to a pale wash at the crest, with the foam left as bare paper. The claw of the wave and the fishermen flattened in the bottoms of their oshiokuri boats are the two things everyone remembers; the third is that the composition is a Western one, with a low horizon and perspective, learned from Dutch engravings that reached Nagasaki.
The Library of Congress holds an early impression, which is what we have restored: the blues still deep, the key-block line crisp, with the light toning and a few specks of a sheet nearly two centuries old. This is not a redrawn version; it is the archive’s scan of the impression itself, printed at the sheet’s own proportions.
Printed to order on archival matte paper or canvas, framed in the country of delivery.
Before and after
Left: the archive scan exactly as published. Right: the file that goes to the printer.
Restoration notes
Restoration: trimmed the mount and scanner margins, balanced levels while keeping the paper tone and the flat colour blocks of the woodblock impression (85% of the original colour retained), removed dust and specks, applied gentle sharpening. Toning, wormholes, the printer's registration and the collector's seals are kept where they belong to the object; nothing is redrawn.
Every print carries its archive credit on the packing slip. Paper tone and small imperfections of the original are kept on purpose; nothing is redrawn.
Pairs well with
Hang them together — 10% off the second framed print
Informational purposes only, no warranties, not professional advice. All products are new archival prints made from restored scans of historical maps held by public archives; they are not original antiques. Colours vary by screen and by paper.
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