Scenes are drawn to scale: the sofa is 84 in wide, the desk 60 in, the door 80 in tall. Switch sizes above to compare.
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
Under Mannen Bridge at Fukagawa, c. 1831
Fukagawa Mannenbashi shita, from Thirty-six Views of Mount Fuji — Katsushika Hokusai
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 ; 25.4 x 35.6 cm.. 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
Hokusai’s series is called Thirty-six Views of Mount Fuji, but its subject is as much the people of Edo as the mountain, and in this sheet he frames Fuji inside the arch of a bridge in the working east end of the city. Mannen Bridge crossed the Onagi canal at Fukagawa, the district of timber yards and canals; the view under its wooden span, with travellers crossing above, a boat slipping through and a fisherman on the bank, is one of the wittiest compositions in the set.
The device — the distant mountain seen through a man-made frame — is one Hokusai used again and again, and Hiroshige borrowed it for his own Edo series a generation later. The print is quieter in colour than the Wave: browns and greens for the bridge and banks, a grey-blue for the water, the mountain a pale shape in the middle.
The Library of Congress impression is early and has toned to a warm brown, as the paper of these prints does; we have kept that rather than bleaching it, cleaned the dust, and restored the line. At the sheet’s own proportions, not redrawn.
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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