Top 10 Japanese ukiyo-e artists of the 19th century

1/ Katsushika Hokusai (1760–1849)

Genre and style: one of the most influential ukiyo-e masters, working in landscapes, everyday scenes, and manga-e (sketch drawings). Hokusai became famous for the landscape series “Thirty-Six Views of Fuji” (1830–1833), with innovative compositions in which nature and the symbolic Mount Fuji are depicted with striking expressiveness. He also published manga albums with sketches on every subject — from plants and animals to scenes of daily life.
Price range: original Hokusai prints are highly valued on the market. Common sheets in good condition sell for tens of thousands of dollars or euros. For example, impressions from the series “Thirty-Six Views of Fuji” often cost 4–5 digit sums (thousands and tens of thousands USD/EUR). Outstanding masterpieces break records — for instance, “The Great Wave” was sold for about $1.1 million in 2020. Hokusai triptychs are rarer, but complete sets can also be valued in the tens of thousands.
Iconic works: besides “The Great Wave” (formally “Under the Wave off Kanagawa”), famous prints include “Red Fuji” (Fine Wind, Clear Morning) — sold for $600,000 in 2019, the series “Waterfalls in Various Provinces,” the albums “Hokusai Manga” (15 volumes of sketches), and the erotic print “The Dream of the Fisherman’s Wife” (1814).
Factors of value: pricing for Hokusai’s works depends on the rarity of the subject, the size of the edition, and the condition of the impression. The most expensive are early impressions with vivid colors and crisp carving, as well as complete series. Worldwide fame (“The Great Wave” became an icon of art) drives demand. Retrospectives (for example, “Hokusai: Beyond the Great Wave” at the British Museum, 2017) strengthened collectors’ interest. The status of the work is also important — key sheets from famous series cost an order of magnitude more than ordinary works.

2/ Andō (Utagawa) Hiroshige (1797–1858)

Genre and style: the greatest landscape master of the late Edo period. Hiroshige introduced the lyrical landscape into ukiyo-e, subtly conveying the changing seasons and weather. His series “The Fifty-Three Stations of the Tōkaidō Road” (1833–34) and “One Hundred Famous Views of Edo” (1856–58) became classics of the genre and influenced Western Impressionists. Hiroshige’s style is characterized by a soft, muted color palette, atmospheric effects — rain, snow, mist — and asymmetrical compositions that convey a sense of the fleeting moment.
Price range: Hiroshige prints are widely represented on the market and relatively accessible for beginner collectors. Good impressions of popular views (for example, sheets from the “Tōkaidō”) can be purchased for a few thousand dollars, often under $6,000. Simpler subjects and later editions may cost a few hundred. Rare early impressions in excellent condition reach tens of thousands. Complete albums are valued highly — for example, a set of five “Tōkaidō” series was sold for $500,000 (1997). Hiroshige triptychs are rare; usually individual sheets are collected.
Iconic works: the series “The Fifty-Three Stations of the Tōkaidō” (especially the sheet “Evening Snow at Kanbara”), the series “One Hundred Views of Edo” (for example, “Sudden Shower at Suzumibashi and Ōtake,” shown above), “Sarusawa Pond under the Moon.” His innovative vertical landscape format in “One Hundred Views of Edo” had a strong influence on European artists.
Factors of value: preservation and edition are crucial — first printings of Hiroshige are famous for the subtlety of color gradations and the “rain effect” (as in the print above), and their price is significantly higher than later reprints. Popularity of the subject also matters: iconic views (bridges, rain, snow scenes) cost more than ordinary works. Thanks to the great variety of Hiroshige’s output, the market includes both very expensive rarities and accessible sheets in the $1,000–2,000 range. This makes him a favorite both among major museums and private collectors.

3/ Kitagawa Utamaro (1753–1806)

Genre and style: the great master of bijin-ga — images of beauties. Utamaro became famous for subtle portraits of elite courtesans and geisha during the height of Edo’s “Pleasure Quarters” (around the 1790s). He introduced innovations in close-up composition, conveying the nuances of feminine beauty and fashion of the time. His graceful, elongated female figures became a model for later ukiyo-e artists. Utamaro is also known as an author of exquisite erotic prints (shunga).
Price range: original Utamaro prints are among the most expensive on the ukiyo-e market. Even relatively common sheets with beauties are valued in the thousands of dollars. Rare early editions in good condition cost tens of thousands. Absolute records belong to Utamaro: for example, his print “Deeply Hidden Love” was sold in 2016 for nearly $884,000 — the second highest price for a Japanese print ever (after Hokusai’s “Wave”). Utamaro’s erotic albums are also extremely valuable: the legendary book “Utamakura” (“Poem of the Pillow,” 1788) is valued at more than $100,000 at auction. Utamaro triptychs are not frequent and can cost from $5,000–10,000 and higher, depending on the subject and condition.
Iconic works: portrait series of beauties such as “Ten Types in the Physiognomy of Women,” “Famous Beauties of the Ages”; individual masterpieces like the “Triple Portrait of Beauties” (showing three leading Edo courtesans); erotic albums “Utamakura” and “Flowers of Love.” Utamaro also collaborated with poets — the book “Insect Viewing” (1788, with vivid illustrations of insects and women) is valued for its artistic originality.
Factors of value: the main factor is rarity and early printing. During his lifetime Utamaro produced relatively small editions, so authentic early impressions are rare. Especially valued are prints with preserved bright mica or special pigments (for example, orange pigment that often fades over time) — its survival immediately increases price. Subject matter also matters: the most expensive are portraits of famous courtesans and shunga scenes. For example, the album “Utamakura” is famous for containing one of the best-known erotic scenes of ukiyo-e (“The Dream of the Fisherman’s Wife”), which makes it extremely desirable for collectors. Overall, Utamaro’s name is synonymous with refined Edo art, and his works consistently hold high auction prices.

4/ Utagawa Kuniyoshi (1798–1861)

Genre and style: the leading master of musha-e (warrior prints) in the late Edo period. Kuniyoshi created epic scenes with samurai, heroes of ancient legends, battles, and fantastic creatures. His style is dynamic, highly detailed, and rich in imagination. He was among the first to introduce the genre of horror stories (kaidan) into ukiyo-e: his triptych with the summoned skeleton ghost is especially famous (see the illustration above). Kuniyoshi also worked in everyday and satirical genres, hiding allegories and humor in his prints (sometimes censored by the shogunate).
Price range: Kuniyoshi prints are highly valued, but their market is less “overheated” than that of Hokusai or Utamaro. Most sheets sell in the range from a few hundred to a few thousand dollars. A typical price for a good single sheet (for example, from his series on “Suikoden” heroes or ghost subjects) is about $300–800. Rare complete triptychs with famous subjects can cost $2,000–5,000. For example, the triptych with a whale (“Miyamoto Musashi and the Giant Whale”) set a price record for Kuniyoshi — sold for more than $100,000 after the 2018 exhibition. The overall trend is that interest in Kuniyoshi has grown in the 21st century, but his works are still relatively accessible compared to Hokusai.
Iconic works: the series “108 Heroes of the Suikoden” (1827) — a Japanese adaptation of the Chinese novel about outlaws, which brought him fame; the triptych series “Taidai-ki Narratives” with heroes and monsters; a number of ghost prints (“Floating Demon Heads,” “The Ghost Woman Oiwa,” etc.) laid the foundations of the horror genre in Japanese prints. Kuniyoshi is also known for satirical “cat” images, where people are allegorically shown as cats.
Factors of value: value is determined by subject and series. Popular heroic scenes and rare horror themes cost more. For example, the triptych “The Skeleton Summoned by the Princess” is one of the most sought-after ukiyo-e horror images among collectors. The condition of triptychs is also critical: sheets are often separated, and a complete set of three parts is valued much higher than the sum of individual sheets. Exhibitions (for example, the Kuniyoshi retrospective in London, 2009) raised his prestige and led to price growth: after 2010, rare sheets doubled in value. Nevertheless, Kuniyoshi prints still often appear at auction for moderate prices — an attractive niche for collectors.

5/ Utagawa Kunisada (Toyokuni III, 1786–1865)

Genre and style: the most prolific ukiyo-e master of the 19th century, leaving about 20,000 designs. Kunisada specialized in popular themes: kabuki actors (yakusha-e portraits), beauties (bijin-ga), genre scenes, and illustrations for novels. His style is bright, decorative, and very diverse thanks to collaboration with many publishers. Kunisada excellently conveyed kimono patterns, actors’ facial expressions, and dynamic poses. Although his landscapes are rare (he was surpassed by Hiroshige in that field), Kunisada was unmatched in theatrical poster-like scenes and in Genji-ga illustrations (variations on “The Tale of Genji”).
Price range: due to his enormous output, Kunisada’s works are relatively accessible. Most of his prints at auction sell for hundreds of dollars. A typical price for a single sheet in good condition is $100–300; rare large compositions or diptychs can reach $500–800. Even famous Kunisada triptychs cost noticeably less than works by his contemporaries: many can be found for under $1,000. This is explained by large print runs and wide availability. For example, a color triptych with beauties (like the one above) may cost about $300–500, and popular actor portraits are $150–250 per sheet. The exception is truly unique early editions or specially signed impressions, which are valued higher. Overall, Kunisada is one of the most budget-friendly ukiyo-e masters on today’s market.
Iconic works: numerous series of actor portraits, often in collaboration with theaters. For example, “One Hundred Roles of Danjūrō” — a series of portraits of the famous actor in one hundred roles. Kunisada also illustrated the popular novel “A Modernized Genji” (1829) — creating prints and book illustrations for it. His bijin-ga series “Twelve Hours in Yoshiwara” (courtesans at different times of day) is highly valued for its beauty.
Factors of value: the main factor is collector demand, which for a long time was lower for Kunisada than for Hokusai or Kuniyoshi (Western experts in the 20th century undervalued Kunisada). But in recent years Kunisada’s reputation has been recovering and interest is growing. For now, his prints remain “in the shadow” of more promoted names, so experienced collectors consider them a good investment — excellent quality for moderate sums. In evaluating a specific work, the preservation of colors is important (Kunisada often used delicate pink backgrounds that fade) and the attractiveness of the scene (portraits of top actors and beautiful diptychs are valued higher than simple narrative prints).

6/ Tsukioka Yoshitoshi (1839–1892)

Genre and style: Yoshitoshi is considered the last major master of classical ukiyo-e, who concluded the era of the woodblock print while absorbing new influences. In his youth, a student of Kuniyoshi, he inherited a love of dramatic and mystical subjects — Yoshitoshi’s early series depicted brutal scenes from wars (“The Bloody Brocade,” 1860s). Over time his style became more lyrical and symbolic. His main masterpiece is the series “One Hundred Aspects of the Moon” (1885–1892), where each print is a scene from history or legend connected with the moon. Yoshitoshi virtuously conveyed the mood of night, horror, or beauty, using complex tones and printing techniques with lacquer effects. His work is a bridge between traditional ukiyo-e and the new Meiji print school.
Price range: Yoshitoshi prints are very sought after by collectors today, but due to the large series they are relatively accessible. For example, a single sheet from “One Hundred Aspects of the Moon” can be purchased for $200–500, depending on subject and condition. Popular designs (like the one shown above, with a beauty under the moon) tend to be closer to the upper range or higher. Rare early Yoshitoshi series (such as the small-edition “Bloody Brocade” of the 1860s) are valued more — individual sheets can reach $1,000–2,000. Overall, a significant part of his late works (1880s) survives well and trades for a few hundred per sheet, making Yoshitoshi collecting relatively budget-friendly. Complete series or albums are valued highly — a full set of “One Hundred Aspects of the Moon” (100 sheets) is rare on the market and can cost tens of thousands. Yoshitoshi triptychs also exist (for example, historical scenes of the 1870s) and start from $1,000 and up.
Iconic works: “One Hundred Aspects of the Moon” — the summit of late ukiyo-e, including famous sheets such as “The Moon at Mount Goyō” (a samurai in the night) and “The Fox Tamamo-no-Mae under the Moon.” The series “New Forms of Thirty-Six Ghosts” (1889–1892) — mystical prints continuing Kuniyoshi’s tradition but with realism and psychological depth. Also known is the series “Thirty-Two Aspects of Women’s Daily Life” (1888) — already close to shin-hanga, depicting scenes of modern Meiji women.
Factors of value: popularity of the subject matters — some sheets from “One Hundred Aspects of the Moon” were printed in large editions and are more common and cheaper, while rare subjects (especially bloody or frightening scenes) cost more. Condition is important: Yoshitoshi’s late 19th-century prints were printed on thin paper and often show pigment loss or foxing, which lowers value. At the same time, interest in Yoshitoshi continues to grow, especially after exhibitions (for example, “Tsukioka Yoshitoshi: The Last Samurai of Ukiyo-e” in Tokyo, 1992). As the “last of the classics,” Yoshitoshi attracts collectors with his balance of traditional subject matter and the fresh gaze of the Meiji era — this ensures demand and strong prices for his best works.

7/ Tōshūsai Sharaku (active 1794–1795)

Genre and style: the most enigmatic ukiyo-e master. In a short period (only about 10 months in 1794), Sharaku produced a series of outstanding close-up portraits of kabuki actors. His style sharply differed from his contemporaries: exaggerated facial expressions, dramatic poses, deep psychological intensity. He depicted actors not as idealized beauties but in the tension of performance — which likely displeased the public of the time, and Sharaku’s work stopped as suddenly as it began. Sharaku’s identity is still not definitively established (there are theories that he was an actor himself or an artist working under a hidden name). His unusual style was ahead of its time, and today Sharaku belongs to the pantheon of Japan’s greatest artists.
Price range: original Sharaku prints are extremely rare and almost unavailable on the open market. Of approximately 140 designs, only a few authentic impressions survive. Therefore each is essentially a rarity: at auctions prices are measured in tens and hundreds of thousands of dollars. For example, one Sharaku portrait was sold for a record €396,000 (≈$589,000) at an auction in Paris. Another sheet (similar to the illustration above) reached $296,000 at Sotheby’s in 1997. At the same time, later editions (reprints) of Sharaku can be found on the modern market — they are much cheaper, a few hundred dollars, but only original 1794 impressions have true collector value.
Iconic works: Sharaku managed to produce 28 large-format sheets (ōban) and about 100 smaller ones. The most famous are precisely the large portraits: Ōtani Oniji III (shown above) with the villain’s grimace — which became an ukiyo-e icon and is frequently reproduced; portraits of actors such as Sawamura Sōjūrō III, Ichikawa Ebizō, and others. Sharaku also produced several sumo wrestler prints. All are now held only in major museums (Tokyo National Museum, the British Museum, the Metropolitan Museum).
Factors of value: uniqueness is the key word for Sharaku. Almost every original print exists in only a handful of copies, often with documented provenance (for example, from the Vever collection). Therefore, condition and the completeness of color matter — Sharaku backgrounds often have shimmering black mica; if it is preserved, the price increases. Rare Sharaku discoveries cause auction sensations, so his works consistently set price records among ukiyo-e. Even for major museums, acquiring a Sharaku is an event. In private collections, originals are extremely rare, which only fuels interest in the mystery of the artist.

8/ Toyohara (Yōshū) Chikanobu (1838–1912)

Genre and style: a leading Meiji-period master, representing a new ukiyo-e with elements of Western influence. Chikanobu began with traditional themes (actors, beauties), but after the Meiji Restoration (1868) he shifted toward depictions of imperial court life and modern women. His style combines the brightness and decorativeness of ukiyo-e with realistic details (natural effects, architecture, Western-style clothing). In the famous series “Chiyoda no Ōoku” (1895) he depicted court ladies of the past in luxurious interiors. Chikanobu also created genre triptychs about Meiji urban life, war scenes (the First Sino-Japanese War, 1894–95), and continued the bijin-ga tradition, adapting it to new tastes.
Price range: as a representative of the late, mass-production stage of ukiyo-e, Chikanobu’s works are quite common. Their prices are generally low compared to earlier masters. Most of his single sheets and triptychs sell in the range of $100–300 per sheet. A complete triptych in excellent condition can be valued at $300–800. For example, women’s triptychs like “Evening Cool” (above) cost around $500. Meiji war prints are also inexpensive — often $100–200 for a set, since they were printed in large editions. Nevertheless, some refined Chikanobu works (albums or rare posters) can cost a few thousand, but this is rather the exception. Overall, Chikanobu is one of the most accessible ukiyo-e masters for beginning collectors.
Iconic works: the historical triptych series “Chiyoda no Omote” (1897) and “Chiyoda no Ōoku” (1895) — depicting the life and ceremonies of the shogunal court in detail; the series “Rokumo – Flower Landscapes” (1884) — allegorical scenes of the twelve months with women and flowers; war triptychs such as “The Battle of Pyongyang” (1894). Chikanobu was also known for posters with fashionable women and Meiji actresses. He essentially documented Japan’s transition to modernity through the lens of ukiyo-e.
Factors of value: Western cultural influence in his works makes them interesting to historians, but from the standpoint of the traditional ukiyo-e collectors’ market they were long valued less. Therefore prices remain relatively low. Factors that increase value: a complete well-preserved triptych (many Chikanobu sheets were sold separately, and a full set is rarer), and the brightness of colors (late Meiji aniline pigments can fade). In recent years, interest in the Meiji period has been rising, and Chikanobu prints are beginning to be re-evaluated as an interesting blend of tradition and modernity. For now, they remain a “quiet harbor” for collectors — it is possible to build a large collection for moderate sums.

9/ Toyohara Kunichika (1835–1900)

Toyohara Kunichika (original name Kappei Ojima) was a master of kabuki actor portraits and genre scenes of late Edo to early Meiji. (Due to the volume of material, a detailed block on Kunichika is omitted.)
Genre and style: Kunichika specialized in theatrical prints and images of beauties, continuing the Utagawa school. His works bridge traditional ukiyo-e and Meiji lithography, often reflecting fashionable novelties (for example, newspapers, lanterns, photography) within the prints.
Price range: Kunichika’s works are inexpensive on today’s market. Most sheets are $50–150; triptychs are $200–400. Kunichika was printed in large editions, so truly rare works are few (the exception being panorama posters).
Iconic works: series “Thirty-Six Famous Actors,” “One Hundred Roles of Baikō,” and triptychs on kabuki play themes. Especially famous is a diptych with the actor Bandō Hikozaburō as a ghost role (1870) — an expressive image with a mirror.
Factors of value: actor portraits in good condition are valued (clean background, without fading of aniline pigments). The large number of works restrains price growth, but for lovers of theatrical prints Kunichika remains one of the key authors.

10/ Torii Kiyonaga (1752–1815)

Genre and style: although Kiyonaga belongs to an earlier generation (his peak was around the 1780s), without him the list of top Japanese print authors would be incomplete. Kiyonaga became famous for the genre of beauties and courtly scenes. His style is elegant and classically balanced: figures with elongated proportions, natural poses, often multi-layered compositions with several characters. Kiyonaga introduced the fashion for large-format horizontal diptychs and triptychs with courtesans’ walks, bath scenes, and similar subjects, giving bijin-ga monumental scale.
Price range: original Kiyonaga prints are rare today, but they appear at auctions. The price range is extremely broad: from a few dollars to hundreds of thousands. Simple sheets in mediocre condition may sell for $100–200, while recognized masterpieces on thick paper and in early impressions, on the contrary, reach six-figure sums. For example, Kiyonaga’s diptych “Snowball Fight” (1787) — one of his early masterpieces — was sold for $142,000 at auction. On average, Kiyonaga’s beauty prints are valued in the thousands — a good sheet can cost $2,000–5,000, reflecting his historical importance.
Iconic works: diptych series such as “Favorite Pastimes in the Green House” (courtesans’ walks and entertainments), triptychs “Festivals in the Yoshiwara Quarter,” and individual prints “Women in a Bathhouse” (illustration above) and “Under a Summer Umbrella” are considered the peak of Edo aesthetics. Kiyonaga also created theatrical scenes (kabuki actors), but he is known primarily as the singer of feminine beauty of the Kansei era.
Factors of value: rarity of early editions is the main factor. Kiyonaga worked in a period when print runs were still small, and paper was often thin. Therefore, few sheets survive in excellent condition. Complete sets (diptychs/triptychs) are especially valued, since they were often split. The narrative quality of his large compositions attracts museums — most top works are already in institutional collections, so each appearance on the market is valued extremely highly. Nevertheless, among collectors Kiyonaga’s bijin-ga is considered essential — his style formed the standard for beauty images for the next half century. Investment-grade Kiyonaga prints justify themselves: a sales range from $5 to $142,000 shows that his best works are rare jewels that trigger bidding on major platforms.

Conclusion

Japanese prints of the 19th century represent a diversity of styles — from the classical landscapes of Hokusai and Hiroshige to kabuki dramas by Kuniyoshi and the expressive late masters like Yoshitoshi. Each artist corresponds to their own genres and their own collector audience. The value of ukiyo-e is influenced by rarity, condition, demand for the subject, and historical significance. In recent decades the Japanese print market has revived significantly: previously undervalued names (for example, Kunisada) attract new admirers, while masterpieces by Hokusai, Utamaro, and Sharaku set price records at auctions. Collecting ukiyo-e combines aesthetic pleasure with investment appeal. Studying the work of ten outstanding masters of the 19th century, we understand how rich the “world of fleeting beauty” is — and how each ukiyo-e sheet continues to live, moving from the past into collections around the world today.

Note: prices are given approximately as of the 2020s and may depend on specific examples and market conditions.

Sources: the material was prepared based on data from auction houses, museum collections, and research on ukiyo-e art, including publications by Antique Trader, Artelino, Christie’s, and others.