Three Young Men or Women - Kitagawa Utamaro Art Print

Fine Art Prints

Forget cheap reproductions and printable posters. Only the best will do. Velvety matte fine art paper (warm white, archival-grade, 200gsm) with bold, vibrant, non-toxic pigment inks. 

High-definition print lab techniques give you sharper details, deeper saturation and true-to-life tones.

The matte surface keeps glare down and archival-grade materials mean the colors you fall for stay vivid for decades.

Framed Fine Art Prints

Your print arrives framed and ready to hang, so it goes straight from the box to your wall.

Chevron cut wooden frames make a timeless statement in three distinctive colors: black, white and natural.

Each frame is made of sustainably sourced FSC® certified European knotless pine, finished with ultra-clear perspex glaze that’s lighter than glass and shatter-resistant.

Float Framed Canvas Prints

Luscious artist-grade cotton canvas, hand-stretched and finely textured, gives every detail depth and precision. Its natural white surface catches light and color with striking clarity.

A precisely measured floating frame leaves a slim gap around the canvas, so it seems to hover with a sleek, gallery-worthy effect.

Your choice of a black, white or natural frame: all made from sustainably sourced FSC® certified European knotless pine.

Giclée Printing

Kitagawa Utamaro’s Three Young Men or Women stages a riddle in costume, three faces pressed close beneath a teal lacquered hat crowned by a coral-and-white peony. This ukiyo-e woodblock print smells of the Yoshiwara pleasure quarter in Edo period Japan, where geisha played swaggering boys for the Niwaka festival. And it belongs to the years of the Kansei Reforms, when shogunate censors frowned on luxury and pleasure-quarter glamour. Utamaro kept drawing it anyway.

A sage-striped robe slouches over a knotted kerchief at left, one pale hand testing a katana hilt wrapped in navy diamonds. Borrowed bravado. At right a hachimaki headband cinches ink-black hair above an ichimatsu checkered kimono in persimmon and cream, and a folding fan clicks open toward the slate-blue banner where the kanji 清 hangs like a shop sign.

Utamaro made his name with bijin-ga, portraits of beauty sold by the sheet to Edo townsfolk. Here the genre turns playful and gender becomes a sash anyone can untie by dawn. His brushed signature drops down the cream margin of this Japanese wall art, a column of sumi ink beside three powdered faces waiting for the festival drums. Hang this Asian wall decor and the indigo flag lettered 清 seems to snap in a wind off the Sumida River, three red-lipped faces leaning toward a gust of anticipation.