{"title":"Asia Week NY September 2026","description":"\u003cp\u003eNew and Creative: 20th Century prints by Shin Hanga and Sosaku Hanga Masters\u003c\/p\u003e","products":[{"product_id":"hasui-hakozaki-chikuzen","title":"Hasui 巴水: Hakozaki, Chikuzen 筑前筥崎 (Pre-earthquake)","description":"\u003cp\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Kawase Hasui \u003cspan\u003e巴水 \u003c\/span\u003e(1883-1957)\u003cbr\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e \u003cspan\u003eHakozaki, Chikuzen \u003c\/span\u003e筑前筥崎\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003c\/span\u003e\u003cstrong\u003eSeries:\u003c\/strong\u003e \u003cspan\u003eSelection of Scenes of Japan \u003c\/span\u003e日本風景選集 \u003cspan\u003eNihon fûkei senshû)\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e \u003cspan\u003e1922\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci class=\"\"\u003eNihon fûkei senshû, Chikuzen Hakozaki. \u003c\/i\u003e\u003cspan\u003eA tall stone lantern shades a woman and young girl as they stroll along the coast. This lies within the precints of Hachiman shrine near Hakata Bay in present-day Fukuoka Prefecture. Pre-earthquake design with a limited edition seal, 57\/300, verso.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eProvenance: Formerly in the collection of the late Hasui scholar Hisao Shimizu. This is the exact print shown in the catalog \"The Works of Kawase Hasui\", published by Tokyo Bijutsu in 2013 and written by Hisao Shimizu, number 32, page 38. This is the exact print that is shown full page in the catalog \"Kawase Hasui Print Collection Art Works\", published by Tokyo Bijutsu Co., Ltd in 2019, page 53. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Excellent impression, color and condition.\u003cbr\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e \u003cspan\u003eaiban 30.8 x 22.8 cm\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003ePublisher:\u003c\/strong\u003e Watanabe \u003cspan\u003e Shôzaburô\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eLiterature: \u003c\/strong\u003eKendall H. Brown, Kawase Hasui: The Complete Woodblock Prints, 2008, p. 332, no. 102; Kendall Brown, Water and Shadow: Kawase Hasui and Japanese Landscape Prints, Virginia Museum of Fine Arts, 2014, p. 158, cat. IV.101. \u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e \"The Works of Kawase Hasui\", published by Tokyo Bijutsu in 2013 and written by Hisao Shimizu, number 32, page 38. This is the exact print that is shown full page in the catalog \"Kawase Hasui Print Collection Art Works\", published by Tokyo Bijutsu Co., Ltd in 2019, page 53. \u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eSignature:\u003c\/strong\u003e Hasui with his red artist's seal\u003c\/p\u003e","brand":"Kawase Hasui","offers":[{"title":"Default Title","offer_id":32087219634258,"sku":"HAC102R","price":13000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0079\/3388\/6546\/products\/HAC102G.jpg?v=1584839544"},{"product_id":"hasui-巴水-mount-fuji-from-yuimachi-at-suruga-駿河由比町","title":"Hasui 巴水: Mount Fuji from Yuimachi at Suruga 駿河由比町","description":"\u003cp\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Kawase Hasui 巴水 (1883-1957)\u003cbr\u003e\u003cstrong\u003eTitle: \u003c\/strong\u003eMount Fuji from Yuimachi at Suruga 駿河由比町\u003cstrong\u003e\u003c\/strong\u003e \u003cbr\u003e\u003cstrong\u003eSeries: \u003c\/strong\u003eScenes from the Tokaido 東海道風景選集 \u003cbr\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e 1934 昭和九年二月\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eYui Town, Suruga. Mount Fuji’s snow-covered peak rises above an orange horizon into a gentle mist, the famous contours of its cone softly visible. It seems to be sunset, the landscape in autumn-like colors, but as the treetop at left is bare it is perhaps winter, as the work is dated the second month. A woman descends the path towards a small cluster of villagers; our vantage is from a rather steep decline, the buildings are set in a terraced fashion. We might be on the Tokaido Road itself, perhaps descending towards the foot of Satta Pass. Yui-cho was a town in Ihara District; in 2008 it was merged into Shimizu-ku into the the city of Shizuoka and the Ihara District was dissolved. Yui is still a post town on the Tokaido Road, and this station was most famously depicted by Hiroshige in his Hoeido Tokaido series.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eWith the prewar Watanabe “D” seal, right margin,\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003ethat was in use between 1932 and 1941. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Excellent impression, color and condiition.\u003cbr\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e ôban (39.2 x 26 cm)\u003cbr\u003e\u003cstrong\u003ePublisher:\u003c\/strong\u003e Watanabe\u003cbr\u003e\u003cstrong\u003eLiterature: \u003c\/strong\u003eNarazaki Muneshige, Kawase Hasui mokuhanga shu (Kawase Hasui, Collection of Woodblock Prints), 1979, no. 181. Kendall Brown, Kawase Hasui: The complete woodblock prints, Hotei Publishing, 2003, no. 227. See National Museum of Asian Art, Virginia Museum of Fine Arts collections.\u003cbr\u003e\u003cstrong\u003eSeal:\u003c\/strong\u003e Kawase\u003cbr\u003e\u003cstrong\u003eSignature:\u003c\/strong\u003e Hasui\u003c\/p\u003e","brand":"Kawase Hasui","offers":[{"title":"Default Title","offer_id":40903520125010,"sku":"HAC227R","price":5800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0079\/3388\/6546\/files\/HAS613copy.jpg?v=1713467311"},{"product_id":"hasui巴水-sakurashima-kagoshima-鹿児島桜しま","title":"Hasui 巴水: Sakurashima, Kagoshima 鹿児島桜しま (Pre-earthquake) (SOLD)","description":"\u003cp\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Kawase Hasui 川瀬巴水 (1883-1957)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e Sakurashima, Kagoshima 鹿児島桜しま\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSeries:\u003c\/strong\u003e Selection of Scenes of Japan 日本風景選集  \u003cstrong\u003eDate:\u003c\/strong\u003e \u003cspan\u003e1922 \u003c\/span\u003e大正十一年\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eA line of distant sailboats have their sails reflected in the water against the many-hued blues of the sea. The volcanic island of Sakurajima rises above the blue, its peak bathed in the red of the setting sun, its slopes a verdant green. beneath grassy slopes and red-hued peaks that glow with the red of sunset. Clouds tinged with pink and blue rise up in cottony puffs on either side. A pre-earthquake design from the series “Selection of Scenes of Japan”. Numbered verso with edition number 41\/300. Narazaki wrote “Sakurajima, its mountains aglow in the morning or perhaps evening sun, is enhanced by the blue of the sea and the sky. The technique for illustrating the mountain crevices--which Hasui used around the time of his Shiobara work--once again finds expression in this print.”\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eSakurajima (titled Sakurashima) is located in Kagoshima, and in 1914 a volcanic eruption fused the island with e Osumi peninsula. The peak of Minamidake is still and active volcano, and it is part of the Kirishima-Yaku National Park.\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eThe colors of this example are much stronger and more vivid than the colors shown in the Brown\/Hotei catalogue raisonné.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Excellent impression, color and condition.\u003cbr\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e \u003cspan\u003eaiban (23.3 x 31.1 cm) \u003c\/span\u003e\u003cstrong\u003ePublisher:\u003c\/strong\u003e Watanabe \u003cspan\u003e Shôzaburô\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eSeal:\u003c\/strong\u003e Kawase  \u003cstrong\u003eSignature:\u003c\/strong\u003e Hasui\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLiterature:\u003c\/strong\u003e Narazaki #82 Hotei #82. Kendall Brown, Water and Shadow: Kawase Hasui and Japanese Landscape Prints, Virginia Museum of Fine Arts, 2014, p. 138, cat. IV.81. See Museum of Fine Arts, Boston, Art Institute of Chicago collections.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"Apple-converted-space\"\u003e\u003cstrong\u003ePrice\u003c\/strong\u003e: $19,000\u003c\/span\u003e\u003c\/p\u003e","brand":"Kawase Hasui","offers":[{"title":"Default Title","offer_id":41979266400338,"sku":"HAC082R","price":19000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0079\/3388\/6546\/files\/HAS619copy.jpg?v=1741213763"},{"product_id":"hasui-巴水-evening-showers-at-matsunoshima-松の島の夜雨","title":"Hasui 巴水: Evening Showers at Matsunoshima 松の島の夜雨","description":"\u003cp\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Kawase Hasui 川瀬巴水 (1883-1957)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e Evening Showers at Matsunoshima 松の島の夜雨\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSeries:\u003c\/strong\u003e Mitsubishi Detached Villa 三菱深川別邸の図  \u003cstrong\u003eDate:\u003c\/strong\u003e 1920 大正九年\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eA fabulous, ancient pine tree, its branches supported by wooden supports, spreads on an island in the lake of a classical garden. Atop the dark tones of the print are silver-white strands of falling rain, which fall straight down in the windless night.As Hasui himself\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003enotes “This design can be said to the be the best work in the entire set, even though it is reminiscent of the print Karasaki no you {Night rain in Karasaki” from the series Eight views of Omi ca 1834, by Hiroshige} The black shadows from the sky cast a deep indo-blue light that surrounds the rocks under the pines, flickers of light are seen in the windows of the building s on the opposite bank.” The Iwasaki family, owners, of Mitsubishi, commissioned this set of eight woodblock prints of their villa and gardens. to present to their business clients. First and only edition, this work was printed in 1920. This exact print was published in the Folk Museum of Ota City catalog “Hasui Kawase Exhibition Catalog” (2007), page 25, number 11. Provenance: From the personal collection of the late Hasui scholar Hisao Shimizu.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Excellent impression and condition. Very good color.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e \u003cspan\u003eoban (25.6 x 38.2 cm) \u003c\/span\u003e\u003cstrong\u003ePublisher:\u003c\/strong\u003e Watanabe \u003cspan\u003e Shôzaburô\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eLiterature:\u003c\/strong\u003e \u003cspan\u003eH#82; N82\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eSeal:\u003c\/strong\u003e Kawase  \u003cstrong\u003eSignature:\u003c\/strong\u003e Hasui\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePrice:\u003c\/strong\u003e $25,000\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLiterature:\u003c\/strong\u003e Narazaki Muneshige, Kawase Hasui mokuhanga shu, 1979, number 46. Kendall H. Brown, Kawase Hasui: The complete woodblock prints, 2003, number 46. See Hisao Shimizu’s 2007 catalog from the Ota City Folk Museum, page 25, number 11. See the MFA Boston, VMFA, National Museum of Asian Art, Carnegie Museum of Art.\u003c\/p\u003e","brand":"Kawase Hasui","offers":[{"title":"Default Title","offer_id":41979305754706,"sku":"HAC046R","price":25000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0079\/3388\/6546\/files\/HAC046Scopy.jpg?v=1741214078"},{"product_id":"hasui-morning-in-beppu-sold-copy","title":"Hasui 巴水: Morning In Beppu 別府の朝","description":"\u003cp\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Kawase Hasui 巴水 (1883-1957)\u003cbr\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e Morning In Beppu 別府の朝  \u003cstrong\u003eDate:\u003c\/strong\u003e 1922\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSeries:\u003c\/strong\u003e 日本風景選集 Nihon fukei senshu\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eAn unusually scarce, pre-earthquake design from the series “Selection of Scenes of Japan”. An informal fish market seems to be taking place, with a man in an apron holding up what looks to be a tuna. Other villagers gather on the beach, probably inspecting wares that were freshly delivered by the nearby fishing vessels. The small boat at left may be a ferry vessel.\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eThe morning sun is still a bright yellow, glowing behind the mountains. As Narazaki wrote: “Villagers and boat passengers gather along a coastal dune. This is the first work by Hasui that deals with a group of people, whose small forms in this composition are beautifully portrayed. A few fishing boats compose the middle ground, the spa town of Beppu and the faraway mountains are silhouetted in a purplish blue”. Beppu is one of Japan’s most famous hot spring resorts, home to more than two thousand onsen. This view seems to be from Mochigahama Beach; although the view from the sand looks much the same, urban sprawl seems to have completely covered most of the flat lands between the mountains and the sea, and this rural view that could be from hundreds of years ago has captured a charmingly pre-industrial scene that has largely disappeared. From a limited edition, verso, numbered “nine” from an edition of 300 prints.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Excellent impression, color and condition. With perfect color. One tiny pigment accretion in sky, from the time of printing. \u003cstrong\u003eDimensions:\u003c\/strong\u003e aiban 30.6 x 22.7 cm\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003ePublisher:\u003c\/strong\u003e Watanabe Shôzaburô\u003cbr\u003e\u003cstrong\u003eLiterature:\u003c\/strong\u003e H#89 \u003cstrong\u003eSignature:\u003c\/strong\u003e Hasui with his seal\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003ePrice:\u003c\/strong\u003e $28,000\u003c\/p\u003e","brand":"Kawase Hasui","offers":[{"title":"Default Title","offer_id":42058298064978,"sku":"HAC089R","price":28000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0079\/3388\/6546\/files\/HAS634.jpg?v=1748542375"},{"product_id":"koson-小原古邨-bright-songbird-and-peony-in-snow","title":"Koson 小原古邨 : Bright Songbird (Bush Warbler) and Peony in Snow","description":"\u003cp\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Ohara Koson 古邨 \u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e(1877-1945)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTitle: \u003c\/strong\u003eJapanese Bush Warbler and Peony in Snow  \u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e ca. 1930\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eDramatic design of a brightly colored green and yellow Japanese bush warbler perching against a deep black winter sky. Although this bird is identified as a Siberian Bluechat by Newland\/Perrée\/Schaap, the bluechat has a deep blue coloration above that this one lacks. \u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003eIn the 1936 Watanabe catalog (number O34), it is identified as a Japanese Nightingale, today called a Japanese bush warbler. The Japanese bush warbler (\u003cem\u003eHorornis diphone\u003c\/em\u003e) is olive brown above and may have a soft yellow below. Its head and leg coloration do look closer those seen on this Koson design. With thanks to Nick Hamatake, who kindly offered his expert birding eye to confirm that \u003cmeta charset=\"UTF-8\"\u003e\u003cspan\u003ethis is most likely a Japanese bush warbler due to a number of identifying features, including even the shape of the bird's bill and the season of winter\/early spring. He also noted a centuries-old poetic association as this bird as an early harbinger of spring. \u003c\/span\u003e \u003c\/p\u003e\n\u003cp class=\"p1\"\u003eIn any case, this print features a lovely bird peering down from its perch on a snow-covered twig on a protective tentlike shelter that has been erected for an enormous red peony that is blooming despite the elements. The white snow contrasts dramatically with the jet black background, and the deep color of the flower beckons as invitingly as a warm spring morning.\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eThis is sourced from a collection of works that were assembled in Japan before WWII and were never framed.\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eWith the Watanabe “Wa-ta-na-be” personal seal, lower right, often referred to as a “gift” seal. From the paper and the printing, this dealer would judge this to be a prewar printing. There are also no postwar Watanabe seals on the work. A very scarce design that almost never appears on the market. Due to its rarity and lack of postwar reprints, it is probable that the blocks for this design were destroyed during the war.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Excellent impression and color; very good condition. With remnants of an original circular sticker, upper left and minor issues at upper margin.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e 38.6 x 26 cm \u003cstrong\u003ePublisher:  \u003c\/strong\u003e\u003cspan\u003eWatanabe Shôzaburô\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eSeal:\u003c\/strong\u003e artist's seal  \u003cstrong\u003eSignature:\u003c\/strong\u003e Shoson\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReferences:\u003c\/strong\u003e Newland, Perrée, \u0026amp; Schaap, Crows, Cranes \u0026amp; Camellias (2001), checklist no. S26.1; Watanabe 1936 Catalog\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003enumber O34, page 99.\u003c\/p\u003e","brand":"Ohara Kōson","offers":[{"title":"Default Title","offer_id":42142123655250,"sku":"KOC034R","price":3500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0079\/3388\/6546\/files\/KOS223.jpg?v=1757353775"},{"product_id":"maekawa-senpan-mount-kongo-korea-chosen-kongosan-金剛山","title":"Maekawa Senpan: Mount Kongo, Korea (Chosen, Kongosan) 金剛山 (SOLD)","description":"\u003cp\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eMaekawa Senpan 前川千帆 (1888-1960)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eTitle: \u003c\/strong\u003eMount Kongo, Korea (Chosen, Kongosan) 金剛山  \u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eDate:\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003e1940, July\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSeries:\u003c\/strong\u003e 100 Views of New Japan 新日本百景 (Shin Nihon Hyakkei)\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThree men with noticeably dark (tanned?) complexions wearing western clothing and hats and carrying knapsacks pause on their climb along rocky steps to admire the view of the spectacular mountain view on the opposite valley. This is Mount Kumgang, (Kumgangsan in Korean), although in Korea it has different names according to each season. “Kongosan” is the Japanese reading of the same Chinese characters 金剛山, which means “Diamond Mountain”, and this name was used during the Japanese colonial period in Korea. Mount Kumgang is a scenic and culturally important mountain massif located in what is now North Korea; in 2025 Kumgansan was designated as a World Heritage Site by UNESCO. Between 1998 and 2008, South Korean tourists were allowed to visit this treasured area, as it was designated a Tourist Region, although today tours have been completely shut down. Mount Kumgang has been treasured for its scenic beauty since ancient times, also by countless artists over the centuries.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe Korean peninsula was formally annexed by Japan in 1910; colonial rule lasted until 1945. Online one can find a hiking map online in Japanese from 1939 of the whole mountain area. Kawase Hasui also created a print of this mountain range (Samburam Rock, Kumgang Mountain, from Eight Views of Korea) in 1939, when he also made a trip to Korea. Maekawa Senpan served as editor for prints 10 through 39 of this series, and contributed two of the designs himself. Senpan was known to have visited Korea between 1915-1917.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThese scenes of “New Japan” of colonized areas show that perhaps the government was keen to reinforce\/justify the notion of an expanded Japan using art as a medium at a time when the war was ramping up the consequences of all of its territories. Japan would “lose” the Korean peninsula as well as Taiwan in 1945, just a few years after the publication of this series was halted in 1941.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThirty-three artists contributed to this planned series of one hundred works, all members of the Nihon Hanga Kyôkai (Japan Woodblock Print Association). The first work was produced in December of 1938, and the series was halted after publishing  thirty-nine works, in 1941. There were two artist\/editors of the set: numbers 1-9 were by Fujimori Shizuo and Maekawa Senpan took over for numbers 10-39. According to the Art Gallery of New South Wales website, publication of this series was stopped by the Japanese authorities during WWII because they feared that the interior of Japan would become known to its enemies. This would not be surprising given the paranoia of wartime, but it is also probable that there were other factors, including limited supplies and artists conscripted into the war machine. The areas of “New Japan” in this series which are no longer part of today’s Japan make it an interesting artistic time capsule of the period in terms of Japan’s early 20th century expansion.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003e\u003cspan\u003eExcellent impression, color and condition. \u003c\/span\u003eNever framed. The artist’s name has been written in pencil lower right margin, but it is not known if this was written by the artist himself.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLiterature: \u003c\/strong\u003eSee Carnegie Museum of Art 89.28.713.15, British Museum\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003c\/span\u003e \u003cspan\u003e\u003c\/span\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e\u003cspan\u003e 25.2 x 33 \u003c\/span\u003e\u003cspan\u003ecm\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Maekawa Senpan","offers":[{"title":"Default Title","offer_id":42626445705298,"sku":"SNH026","price":1900.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0079\/3388\/6546\/files\/SNH026.jpg?v=1787609661"},{"product_id":"sakuichi-fukazawa-mount-fuji-from-the-back-side-ura-fuji-裏富士","title":"Sakuichi Fukazawa: Mount Fuji from the Back Side (Ura Fuji 裏富士) (RESERVED)","description":"\u003cp\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eSakuichi Fukazawa (1896-1947)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eTitle: \u003c\/strong\u003eMount Fuji from the Back Side (Ura Fuji 裏富士) \u003cstrong\u003e\u003c\/strong\u003e \u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eDate:\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003eOctober,\u003cstrong\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003e1939\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSeries:\u003c\/strong\u003e 100 Views of New Japan 新日本百景 (Shin Nihon Hyakkei)\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eUnique view of snow reflecting brightly from the eastern summit of Mount Fuji at dawn in winter. The colors are soft pink, lavender, light blue and grey, and our view is from the northern side of the mountain. According to the British Museum notes on this print, on the explanatory sheet accompanying this print in Japanese, the artist describes taking a taxi ride around Lake Kawaguchi in the middle of a cold night in February in order to reach his lodgings, which were directly facing the mountain. From the room in his window he watched the changing aspects of Fuji as the dawn illuminated the majestic mountain. We see here how he captured a specific time of dawn at a specific time of year as well as a specific viewpoint. It is interesting to note that there is a second “white” woodblock on parts of the snow on this print; one can only see this second layer when held up against the light. It seems to use some combination of chalk white and a shiny substrate. This work is also unique in the set in that the title of the print has been embossed (blindprinted) at upper left, perhaps not to distract from the work itself with any additional colors.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eSakuichi Fukazawa was a painter and woodblock print artist born in Niigata prefecture; he exhibited at the Sosaku Hanga Kyokai in 1922 and contributed thirteen prints to the prewar series “One Hundred Views of New Tokyo”. He also took part in the painting events at the 1932 and 1936 Olympic games.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eMore than thirty sosaku-hanga print artists collaborated to create this series of prints, published between 1938-41, as regional conflicts eventually ignited into World War II. Only 39 were ever issued; the last 29 were edited by Maekawa Senpan. According to the Art Gallery of New South Wales website, publication of this series was stopped by the Japanese authorities during WWII who feared that the interior of Japan would become known to its enemies. This would not be surprising given the paranoia of wartime, but it is also probable that there were other factors, including limited supplies and artists conscripted into the war machine.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe series title is stamped on the right margin in red, and the name of the artist’s group “Nihon Hanga Kyokai sen” is stamped lower left. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003e\u003cspan\u003eExcellent impression, color and condition. \u003c\/span\u003eNever framed. The artist’s name has been written in pencil lower right margin, but it is not known if this was written by the artist himself.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLiterature: \u003c\/strong\u003eSee British Museum website for whole series, although many have no photographs. See Carnegie Museum of Art Collection. \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003c\/span\u003e \u003cspan\u003e\u003c\/span\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e\u003cspan\u003e 25 x 33.2 \u003c\/span\u003e\u003cspan\u003ecm\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Sakuichi Fukazawa","offers":[{"title":"Default Title","offer_id":42626452095058,"sku":"SNH028","price":1600.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0079\/3388\/6546\/files\/SNH028.jpg?v=1787611364"},{"product_id":"maeda-toshiro-round-moon-island-at-shirahama-with-1940-automobile","title":"Maeda Toshiro: Round Moon Island at Shirahama with 1940 Automobile (SOLD)","description":"\u003cp\u003e\u003cstrong\u003eArtist: \u003c\/strong\u003eMaeda Toshiro 前田藤四郎\u003cstrong\u003e\u003c\/strong\u003e (1904-1990)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eTitle: \u003c\/strong\u003eShirahama Engetsu-to (Round Moon Island at Shirahama) \u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eDate:\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003e1940\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSeries:\u003c\/strong\u003e 100 Views of New Japan 新日本百景 (Shin Nihon Hyakkei)\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eOur vantage point is from the middle of a road that hugs the coast in the resort town of Shirahama on the southern coast of Wakayama prefecture. In front of us is an automobile, which is a landscape element that is rarely captured in prints from this period. Off the coast to the left we see the island of Engetsu-tô 円月島 , also called Takashima 高嶋, and its famous arch whose carved-out shape echoes that of the full moon. The colors of the sky and its subtle clouds range from pink to light blue, and the colorful cliffs at right cast an unusual lavender shadow on the road in front of us. One of the best designs in this scarce series.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eMaeda Tôshirô was born in Akashi City, and lived most of his life in Osaka, graduating from the Kobe Higher Business School, and then working as a commercial artist at the Matsuzaka-ya department store. He published some very interesting linocuts that incorporated some surrealistic elements, especially later in his career.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eMore than thirty sosaku-hanga print artists collaborated to create this series of prints, published between 1938-41, as regional conflicts eventually ignited into World War II. Only 39 were ever issued; the last 29 were edited by Maekawa Senpan. According to the Art Gallery of New South Wales website, publication of this series was stopped by the Japanese authorities during WWII who feared that the interior of Japan would become known to its enemies. This would not be surprising given the paranoia of wartime, but it is also probable that there were other factors, including limited supplies and artists conscripted into the war machine.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe series title is stamped on the right margin in red, and the name of the artist’s group “Nihon Hanga Kyokai” is stamped lower left. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003e\u003cspan\u003eExcellent impression, color and condition. \u003c\/span\u003eNever framed. The artist’s name has been written in pencil lower right margin, but it is not known if this was written by the artist himself.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLiterature: \u003c\/strong\u003eSee British Museum website for whole series, although many have no photographs. See Carnegie Museum of Art Collection. \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003c\/span\u003e \u003cspan\u003e\u003c\/span\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e\u003cspan\u003e 25 x 33 \u003c\/span\u003e\u003cspan\u003ecm\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Maeda Toshiro","offers":[{"title":"Default Title","offer_id":42626456551506,"sku":"SNH027","price":2100.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0079\/3388\/6546\/files\/SNH027_b090fd18-bff2-4fea-a177-768ea55e2035.jpg?v=1787367200"},{"product_id":"masao-maeda-beach-at-bonin-islands-小笠原母島ogasawara-hahajima","title":"Masao Maeda: Beach at Bonin Islands (小笠原母島 Ogasawara Hahajima) (SOLD)","description":"\u003cp\u003eArtist: Masao Maeda 前田政雄 (1904-1974)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eTitle: \u003c\/strong\u003eBeach at Bonin Islands (小笠原母島Ogasawara Hahajima)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eDate:\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003e1939 \u003cstrong\u003eSeries:\u003c\/strong\u003e 100 Views of New Japan 新日本百景 (Shin Nihon Hyakkei)\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThree green outrigger canoes beached on cream-colored sand against crystalline waters give us an idea that this is an unusual “Japanese” island. This is Hahajima (Mother Island), the second-largest island within the Bonin\/Ogasawara archipelago. The Ogasawara\/Bonin Islands have a unique position in Japanese cultural history, as they were first settled by non-Asian, non-Japanese, and as such there was much cultural intermixing. The first permanent settlers arrived in 1830 on this island that is 1000 km south of Tokyo, and consisted of two Britons, two Americans, one Dane and about twenty Hawaiian Islanders. These settlers assumed that the British claim of territory to this archipelago of more than 30 subtropical and tropical islands were valid. Commodore Perry visited the islands with his Black Ships prior to his visit to Tokyo Bay, and in 1876 the islands became internationally accepted as Japanese territory. The islands were essential bilingual in Japanese and English until the 1930s and Japan’s increased nationalism of the period. During the Pacific war, most of the population were forced to evacuate to the mainland, and after the war Ogasawara was occupied by the US army. The island of Iwo Jima is located in these islands, and is the site of an infamously ferocious battle where thousands of lives were lost, one of the bloodiest battles in Marine Corps history. In 1946, many of the early inhabitants who were western were allowed to return to the islands. The Ogasawara Islands were officially returned to Japan in 1968. Today the Ogasawara Islands are administered by Tokyo, and can be visited by a 24-hour ferry ride. They are now a UNESCO Natural World Heritage site. The population of Hahajima is today only 450 persons, and it is a two-hour ferry ride from Chichijima (Father Island), the largest of the islands.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eImages like this one in this series serve as a time capsule along a complex and fascinating historical timeline. Although other images of territories that were lost to Japan after the war exist in this series, this is a rather far-flung territory that Japan ended up keeping. Authorities at the time of publication no doubt encouraged the artists to depict places that were included in Japan’s stretched borders and occupied territories at the time.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eMaeda was born in Hakodate, Hokkaido; he met Hiratsuka there in 1923. He trained as an oil painter, but learned woodblock print making and became a member of Onchi’s First Thursday Society (Ichimoku-kai), eventually turning exclusively to printmaking.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eMore than thirty sosaku-hanga print artists collaborated to create this series of prints, published between 1938-41, as regional conflicts eventually ignited into World War II. Only 39 were ever issued; the last 29 were edited by Maekawa Senpan. According to the Art Gallery of New South Wales website, publication of this series was stopped by the Japanese authorities during WWII who feared that the interior of Japan would become known to its enemies. This would not be surprising given the paranoia of wartime, but it is also probable that there were other factors, including limited supplies and artists conscripted into the war machine.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe series title is stamped on the right margin in red, and the name of the artist’s group “Nihon Hanga Kyokai” is stamped lower left. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003e\u003cspan\u003eExcellent impression, color and condition. \u003c\/span\u003eNever framed. The artist’s name has been written in pencil lower right margin, but it is not known if this was written by the artist himself.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLiterature: \u003c\/strong\u003eSee British Museum website for whole series, although many have no photographs. See Carnegie Museum of Art Collection. \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003c\/span\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e\u003cspan\u003e 25 x 33 \u003c\/span\u003e\u003cspan\u003ecm  Sealed: Artist's seal, in red, lower right\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Masao Maeda","offers":[{"title":"Default Title","offer_id":42626474180690,"sku":"SNH029","price":1500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0079\/3388\/6546\/files\/SNH029.jpg?v=1787608482"},{"product_id":"taninaka-yasunori-okawabata-on-the-sumida-river","title":"Taninaka Yasunori: Okawabata on the Sumida River (SOLD)","description":"\u003cp\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Taninaka Yasunori 谷中安規 (1897-1946)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eTitle: \u003c\/strong\u003eOkawa Bank Okawabata 大川端  \u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eDate:\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003e1940 \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSeries:\u003c\/strong\u003e 100 Views of New Japan 新日本百景 (Shin Nihon Hyakkei)\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eOur view is Okawabata, a small public garden in Hama-cho in Tokyo that overlooks the Sumida River. It is evening, and we see an active water fountain and a key-shaped area, perhaps designed to evoke Japan’s famous ancient keyhole-shaped mounds (kofun). The lighting and coloration very skillfully give the feeling of either dusk or a brightly lit full moon, which has something of a disarming, quasi-reality effect. Could the white we see be snow, or is it reflecting white concrete? Part of the charm of this image are the figures shown in shadow on the path beyond the borders of the garden. To the left a woman pulls a two-wheeled cart, and to the right a larger figure wearing an apron seems to be vigorously negotiating with a small child who seems to be pulling away. The title of the print is written using negative space in the scroll-shaped entity at lower right, next to the artist’s name. \u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eThis is number 33 in the series.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eSmith 1994: “The original printed slip on translucent paper gives a rather unclear account, typical of the artist's fanciful imagination, of how he came to choose this scene. The bleakness of the scene is heightened by the use of just two colours - yellow and a cold blue - apart from the black key-block. He has also inserted the picture in a thick black line like a picture- or window-frame. The title of the print means simply 'By the Big River', an alternative name for the Sumida River. ”\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eTaninaka Yasunori was born in Nara prefecture, and following the death of his mother when he was only six, his father moved with him to Korea and opened a food store there. Taninaka returned to Tokyo in 1915 for some time, and received some education at a Buddhist middle school. He met Onchi Koshiro and other leaders of the Nihon Sosaku-hanga Kyokai in the late 1920s. He’s considered something of a bohemian as he was sometime unhoused, and his works often have a supernatural and fantasy element to them, and he later became associated with the Surrealists. There was a retrospective of this artist at the Machida City Museum of Graphic Arts in 2014.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eMore than thirty sosaku-hanga print artists collaborated to create this series of prints, published between 1938-41, as regional conflicts eventually ignited into World War II. Only 39 were ever issued; the last 29 were edited by Maekawa Senpan. According to the Art Gallery of New South Wales website, publication of this series was stopped by the Japanese authorities during WWII who feared that the interior of Japan would become known to its enemies. This would not be surprising given the paranoia of wartime, but it is also probable that there were other factors, including limited supplies and artists conscripted into the war machine.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe series title is stamped on the right margin in red, and the name of the artist’s group “Nihon Hanga Kyokai sen” (\"Selected by the Japanese Print Association\") is stamped lower left. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003e\u003cspan\u003eExcellent impression, color and condition. \u003c\/span\u003eNever framed. The artist’s name has been written in pencil lower right margin, but it is not known if this was written by the artist himself.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLiterature: \u003c\/strong\u003eSee British Museum website for whole series, although many have no photographs. See Carnegie Museum of Art Collection. Smith, Lawrence, 'Modern Japanese Prints 1912-1989: Woodblocks and Stencils', BMP, London, 1994, p. 36 and no. 19. Sekino, Jun'ichiro, \"\"Watashi ga hangaka meimeiroku\", I - Taninaka Yasunori\", 'Hanga geijutsu', 11, autumn 1975, pp.97-101. Merritt, Helen, and Yamada, Nanako, 'Guide to Modern Japanese Woodblock Prints 1900-1975', University of Hawaii Press, Honolulu, 1992, p. 150. Merritt, Helen, 'Modern Japanese Woodblock Prints: The Early Years', University of Hawaii Press, Honolulu, 1990, pp. 235-9. Kanagawa Prefectural Museum of Modern Art, 'Senkyuhyaku-sanju-nendai no hangakatachi (Taninaka Yasuo to Fujimaki Yoshio o chushin to shite)', exh. cat., 1987.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003c\/span\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e\u003cspan\u003e 25 x 33 \u003c\/span\u003e\u003cspan\u003ecm  Sealed: Artist's seal, in red, lower right\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Masao Maeda","offers":[{"title":"Default Title","offer_id":42626554232914,"sku":"SNH016","price":1900.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0079\/3388\/6546\/files\/SNH016.jpg?v=1787201531"},{"product_id":"kobayashi-asaji-winter-landscape-of-ski-slope-at-shiga-heights","title":"Kobayashi Asaji: Winter Landscape of Ski Slope at Shiga Heights (SOLD)","description":"\u003cp\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Kobayashi Asaji (1898-1939)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eTitle: \u003c\/strong\u003eWinter Landscape by Night at Shiga Heights (Shiga Kôgen yoruyuki)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eDate:\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003e1939, December \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSeries:\u003c\/strong\u003e 100 Views of New Japan 新日本百景 (Shin Nihon Hyakkei)\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCharming view from a porch looking out over a gentle ski slope along a moonlit valley. Next to us in our cozy vantage point is a wicker rocker and what looks to be a birdcage at right. Not far below we see two skiers who have either just finished a run and are taking in the moonlight on the snow, or they are contemplating another run. The very strong cropped foreground elements even bring to mind Hiroshige, the OG in cropping elements in landscape design. There is something of a storybook quality to the design, and the colors are quite cheerful. Even though the moon is shown only half full, the snow all around must make it bright enough to enjoy the magical view, and there are prominent shadows on the two figures. There are today 18 ski areas that make Shiga Kogen one of Japan’s premier winter resorts. This view looks like it could be from what is now the Shiga Kogen Ski Resort. There was a hotel known from postcards from ca. 1940 known as “Hotel Shiga Heights” that was surrounded by hills; sports included a ski lift, ski jump and toboggan slide from its location on\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003ea plateau surrounded by lakes and birch forests. It is not known if this view was from the hotel itself, but it is perhaps possible. It was replaced with more modern hotels after the war.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe artist Asaji Kobayashi was trained as a physician and became an opthamologist, and he competed in the painting event at the 1936 Summer Olympics in Berlin. (It is news to this dealer that art competitions were part of the Olympic program from 1912 to 1948.)\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eMore than thirty sosaku-hanga print artists collaborated to create this series of prints, published between 1938-41, as regional conflicts eventually ignited into World War II. Only 39 were ever issued; the last 29 were edited by Maekawa Senpan. According to the Art Gallery of New South Wales website, publication of this series was stopped by the Japanese authorities during WWII who feared that the interior of Japan would become known to its enemies. This would not be surprising given the paranoia of wartime, but it is also probable that there were other factors, including limited supplies and artists conscripted into the war machine.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe series title is stamped on the right margin in red, and the name of the artist’s group “Nihon Hanga Kyokai sen” (\"Selected by the Japanese Print Association\") is stamped lower left. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003e\u003cspan\u003eExcellent impression, color and condition. \u003c\/span\u003eNever framed. The artist’s name has been written in pencil lower right margin, but it is not known if this was written by the artist himself.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLiterature: \u003c\/strong\u003eSee British Museum website for whole series, although many have no photographs. See Carnegie Museum of Art Collection. \u003cspan\u003e\u003c\/span\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e\u003cspan\u003e 25 x 32.8 \u003c\/span\u003e\u003cspan\u003ecm  \u003cstrong\u003eSealed: \u003c\/strong\u003eArtist's seal, in red, lower right\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Masao Maeda","offers":[{"title":"Default Title","offer_id":42626558197842,"sku":"SNH015","price":1800.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0079\/3388\/6546\/files\/SNH015.jpg?v=1787608082"},{"product_id":"takeda-shintaro-hozu-valley-in-summer-保津峡","title":"Takeda Shintaro: Hozu Valley in Summer 保津峡 (SOLD)","description":"\u003cp\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Takeda Shintarô (1886-1957)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eTitle: \u003c\/strong\u003eHozu Valley in Summer 保津峡 \u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eDate:\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003e1939, August \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSeries:\u003c\/strong\u003e 100 Views of New Japan 新日本百景 (Shin Nihon Hyakkei)\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eA wooden boat flying a red-striped flag is rowed down the scenic Hozu River, which begins in the mountains northwest of Kyoto. On the left bank are colorful, faceted rocks in shades of mauve, and to the right are smoother rocks lining the river, with pine forests seen retreating into the the distance. The small figures seem both dwarfed and enveloped by nature as they float along down the valley.\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eAt this point on the river, the water is calm and smooth and the artist has skillfully indicated its ripples. One can still hire a hand-rowed boat from Kameoka and travel down the river to Arashiyama. Scarce, as are all the works from this series.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cmeta charset=\"utf-8\"\u003eTakeda Shintarô was born in Nagano prefecture and graduated in 1913 from the Tokyo School of Fine Arts. He was a pioneer in the Kyoto Sosaku-Hanga Kyôkai and a member of the Nihon Hanga Kyôkai from 1932, and also taught in Kyoto and Nara. He was active in the 1920s promoting hanga in schools.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eMore than thirty sosaku-hanga print artists collaborated to create this series of prints, published between 1938-41, as regional conflicts eventually ignited into World War II. Only 39 were ever issued; the last 29 were edited by Maekawa Senpan. According to the Art Gallery of New South Wales website, publication of this series was stopped by the Japanese authorities during WWII who feared that the interior of Japan would become known to its enemies. This would not be surprising given the paranoia of wartime, but it is also probable that there were other factors, including limited supplies and artists conscripted into the war machine.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe series title is stamped on the right margin in red, and the name of the artist’s group “Nihon Hanga Kyokai sen” (\"Selected by the Japanese Print Association\") is stamped lower left. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003e\u003cspan\u003eExcellent impression, color and condition. \u003c\/span\u003eNever framed. The artist’s name has been written in pencil lower right margin, but it is not known if this was written by the artist himself.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLiterature: \u003c\/strong\u003eSee British Museum website for whole series, although many have no photographs. \u003cspan\u003e\u003c\/span\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e\u003cspan\u003e 25 x 32.8 \u003c\/span\u003e\u003cspan\u003ecm  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eSigned: \u003c\/strong\u003eShin (in cursive Romaji)\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Masao Maeda","offers":[{"title":"Default Title","offer_id":42626695462994,"sku":"SNH010","price":1200.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0079\/3388\/6546\/files\/SNH010.jpg?v=1787607679"},{"product_id":"kitamura-imazo-hanshin-park-in-autumn","title":"Kitamura Imazo: Hanshin Park in Autumn (SOLD)","description":"\u003cp\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Kitamura Imazo 北村今三 (1900-1946)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eTitle: \u003c\/strong\u003eHanshin Park 阪神パーク (Hanshin Paaku)  \u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eDate:\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003e1939, May\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSeries:\u003c\/strong\u003e 100 Views of New Japan 新日本百景 (Shin Nihon Hyakkei)\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eIn the foreground are hatted men gesturing with excitement; are they dazzled by the monkeys or are they cheering on the people on the ride that flies to the right? This is Hanshin Park in Nishinomiya, a spectator’s view overlooking a primate exhibit and an amusement park ride that seems to feature flying planes to the right. This amusement park included electrical amusement rides as well as an aquarium and zoo, and was adjacent to a horse-racing track. The park was soon repurposed for military purposes as the war progressed. Somehow the simplicity of the carving fits perfectly with the childlike atmosphere of the scene. A scarce design, as with all works from this series.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eKitamura Imazô formed the Sankokai in Kobe with Kawanishi Hide and Harumura Tadao. Merritt notes that his style is characterized by simple carving and that he was strongly influenced by Kawanishi Hide. He died towards the end of World War II.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eMore than thirty sosaku-hanga print artists collaborated to create this series of prints, published between 1938-41, as regional conflicts eventually ignited into World War II. Only 39 were ever issued; the last 29 were edited by Maekawa Senpan. According to the Art Gallery of New South Wales website, publication of this series was stopped by the Japanese authorities during WWII who feared that the interior of Japan would become known to its enemies. This would not be surprising given the paranoia of wartime, but it is also probable that there were other factors, including limited supplies and artists conscripted into the war machine.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe series title is stamped on the right margin in red, and the name of the artist’s group “Nihon Hanga Kyokai sen” (\"Selected by the Japanese Print Association\") is stamped lower left. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003e\u003cspan\u003eExcellent impression, color and condition. \u003c\/span\u003eNever framed. The artist’s name has been written in pencil lower right margin, but it is probable that this was written by someone other than the artist.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLiterature: \u003c\/strong\u003eSee Carnegie Museum of Art 89.28.713.13, British Museum, Art Gallery of NSW online collections.  \u003cstrong style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eDimensions:\u003c\/strong\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e 24.9 x 32.3 \u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003ecm \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eSigned: \u003c\/strong\u003eImazo\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Masao Maeda","offers":[{"title":"Default Title","offer_id":42626699886674,"sku":"SNH014","price":1500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0079\/3388\/6546\/files\/SNH014.jpg?v=1787607341"},{"product_id":"onchi-koshiro-a-view-of-mount-unzen-unzen-ikkei-雲仙一景","title":"Onchi Koshiro: A View of  Mount Unzen (Unzen ikkei 雲仙一景) (SOLD)","description":"\u003cp\u003e\u003cstrong\u003eArtist:  \u003c\/strong\u003eOnchi Kôshirô (1891-1955)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003eA View of\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eMount Unzen (Unzen ikkei 雲仙一景) \u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eDate:\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003e1938\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSeries:\u003c\/strong\u003e 100 Views of New Japan 新日本百景 (Shin Nihon Hyakkei)\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eA deceptively peaceful view beckons in shades of green; Mount Unzen, located in Nagasaki prefecture in Kyushu, is actually an active stratovolcano, erupting most recently in 1991 in a catastrophic way. Situated near the volcano are hot springs, some bubbling from surrounding barren fields known as the Hells (jigoku), which contain steam vents, bubbling mud pits and fumaroles. With this in mind we can guess that the cloud in the middle of the design is actually rising steam, and the two other clouds that hug the hills may also be from steam vents. We see a shapely tree in the foreground, anchored in and becoming part of the mountain.\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eThis area is today a national park.\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eThere is unique texture in the green of the hills that comes from an intentional application of the green pigment, characteristic of Onchi’s sophisticated approaches to both design and color.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eAs noted by Smith (1990): \"Following the successful completion of the series 'One Hundred New Views of Tokyo', to which Onchi was the most important contributor, this even more ambitious series was begun in 1938 as an act of confidence by the Creative Print Movement under Onchi's by now generally admitted leadership, but had reached only no. 39 by 1941 when it had to be discontinued because of the expansion of war... Of Onchi's many achievements perhaps the greatest is his unerring colour sense, well demonstrated in this subtle view of a Kyushu spa resort.\"\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eOnchi was the\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003emost prominent of the artists contributing to this series. The Honolulu Museum of Art possesses the largest collection of prints by Onchi outside of Japan, and it recently celebrated the 70th anniversary of the artist’s passing with a retrospective in 2025. Number 36 in the series.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThirty-three artists contributed to this planned series of one hundred works, all members of the Nihon Hanga Kyôkai (Japan Woodblock Print Association). The first work was produced in December of 1938, and the series was halted after publishing  thirty-nine works, in 1941. There were two artist\/editors of the set: numbers 1-9 were by Fujimori Shizuo and Maekawa Senpan took over for numbers 10-39. According to the Art Gallery of New South Wales website, publication of this series was stopped by the Japanese authorities during WWII because they feared that the interior of Japan would become known to its enemies. This would not be surprising given the paranoia of wartime, but it is also probable that there were other factors, including limited supplies and artists conscripted into the war machine. The areas of “New Japan” in this series which are no longer part of today’s Japan make it an interesting artistic time capsule of the period in terms of Japan’s early 20th century expansion.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cmeta charset=\"utf-8\"\u003eThe series title is stamped on the right margin in red, and the name of the artist’s group “Nihon Hanga Kyokai sen” (\"Selected by the Japanese Print Association\") is stamped lower left. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003e\u003cspan\u003eExcellent impression, color and condition. \u003c\/span\u003eNever framed. The artist’s name has been written in pencil lower right margin, but it is not known if this was written by the artist himself.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLiterature: \u003c\/strong\u003eSee British Museum website, Art Gallery of NSW. \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003c\/span\u003e \u003cspan\u003e\u003c\/span\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e\u003cspan\u003e 25.5 x 33 \u003c\/span\u003e\u003cspan\u003ecm\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Koshiro Onchi 1891-1955","offers":[{"title":"Default Title","offer_id":42626708144210,"sku":"SNH013","price":2100.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0079\/3388\/6546\/files\/SNH013.jpg?v=1787365885"},{"product_id":"hasui-巴水-kanetsuki-hall-bell-tower-okayama-岡山之かねつき堂","title":"Hasui 巴水: Kanetsuki Hall Bell Tower Okayama 岡山之かねつき堂","description":"\u003cp\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Kawase Hasui 川瀬巴水 (1883-1957)\u003cbr\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e Kanetsuki Hall Bell Tower Okayama 岡山之かねつき堂\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e 1947\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eView of the historic Okayama Castle town bell tower (kanetsukidô), which was located beneath Okayama Castle itself. During the Edo period, the bell was sounded by retainers throughout the day upon the hour to announce the time. This bell tower itself was destroyed by Allied bombing in 1945, so this 1947 work is interesting as an homage to a landmark that was destroyed by war. Hasui seems to have used a photograph taken before the war to create this print, as the angle and the details are very similar to the known photograph. He removed some utility poles and added the rain and rain-slicked streets. Hasui also seems to have added the kimono-clad man walking away from us with a yellow umbrella at left. The only other Hasui prints that this dealer can think of that were based on photographs are the Washington Monument design and several of the World War II troop designs that the military government must\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003ehave insisted upon.\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eIt seems that the bell tower itself was never rebuilt, and only the damaged original bell and a scale\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003emodel remain preserved locally in a museum.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eWith the round postwar Watanabe seal in red, lower right that is consistent with a first edition print that was printed during the artist’s lifetime.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Excellent impression, color and condition.\u003cbr\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e ôban (38.8 x 26.5 cm)\u003cbr\u003e\u003cstrong\u003ePublisher:\u003c\/strong\u003e Watanabe Shôzaburô \u003cbr\u003e\u003cstrong\u003eLiterature:\u003c\/strong\u003e Hotei #501. See Art Institute of Chicago, LACMA, National Museum of Asian Art, Chazen Museum of Art, Minneapolis Institute of Art \u003cstrong\u003eSeal:\u003c\/strong\u003e Kawase \u003cstrong\u003eSignature:\u003c\/strong\u003e Hasui\u003c\/p\u003e","brand":"Kawase Hasui","offers":[{"title":"Default Title","offer_id":42630252560466,"sku":"HAC501R","price":4300.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0079\/3388\/6546\/files\/HAC501R.jpg?v=1787611680"},{"product_id":"hasui-yugashima-ito","title":"Hasui 巴水: Yugashima, Ito 伊豆湯ケ島 (SOLD)","description":"\u003cp\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Kawase Hasui  川瀬巴水 (1883-1957)\u003cbr\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e Yugashima, Ito 伊豆湯ケ島  \u003cstrong\u003eDate:\u003c\/strong\u003e 1936\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eSpring view of the river near Yugashima hot springs in the town of Amagi, Yugashima. Our view is of the smoothly flowing Kano River, the trees and hillsides bursting with a palette of fresh green. Blooming cherry trees offer a burst of pink in the center. Today the area remains blessedly nature-filled and is replete with rustic inns that retain a nostalgic ambiance. Yugashima is now in Shizuoka Prefecture in central Izu peninsula.\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eHasui rarely gives us a perspective that is entirely free of humans or human constructions, so he must have felt completely enveloped by nature in this place. With the Watanabe “D” seal right margin, in use between 1932 and 1941, so this may be considered a first edition.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Excellent impression, color and condition.\u003cbr\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e ôban (38.5 x 26 cm)\u003cbr\u003e\u003cstrong\u003ePublisher:\u003c\/strong\u003e Watanabe Shôzaburô\u003cbr\u003e\u003cstrong\u003eLiterature:\u003c\/strong\u003e Narazaki #354; Hotei #391. See the Art Institute of Chicago collection.\u003cbr\u003e\u003cstrong\u003eSeal:\u003c\/strong\u003e Kawase  \u003cstrong\u003eSignature:\u003c\/strong\u003e Hasui\u003c\/p\u003e","brand":"Kawase Hasui","offers":[{"title":"Default Title","offer_id":42630254002258,"sku":"HAC391R","price":6700.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0079\/3388\/6546\/files\/HAC391R.jpg?v=1787617549"},{"product_id":"koson-小原古邨-lapwing-and-reeds","title":"Koson 古邨 : Lapwing and Reeds","description":"\u003cp\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Ohara Koson 小原古邨 (1877-1945)\u003cbr\u003e\u003cstrong\u003eTitle: \u003c\/strong\u003eLapwing Amidst Reeds  \u003cstrong\u003eDate:\u003c\/strong\u003e ca. 1920s-1930s\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eA northern lapwing (Vanellus vanellus) stands with one leg raised, seeming to calmly eye the viewer with mild curiosity. A few reedy grasses are in the foreground, completing the painterly effect of the work. This striking shorebird is a winter visitor to Japan, and is recognized by its striking plumage and long, wispy crest. Koson has here also captured its strongly angled forehead as well.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Excellent\/very good impression, color and condition.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e 36 x 19 cm \u003cstrong\u003ePublisher:  \u003c\/strong\u003e\u003cspan\u003eDaikokuya\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eSeal:\u003c\/strong\u003e Koson  \u003cstrong\u003eSignature:\u003c\/strong\u003e Koson\u003c\/p\u003e","brand":"Ohara Kōson","offers":[{"title":"Default Title","offer_id":42630522699858,"sku":"KOC112T","price":1400.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0079\/3388\/6546\/files\/KOC112T.jpg?v=1787614026"},{"product_id":"koson-小原古邨-fox-at-water-s-edge-by-moonlight","title":"Koson 小原古邨 : Fox at Water’s Edge by Moonlight","description":"\u003cp\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Ohara Koson (1877-1945)\u003cbr\u003e\u003cstrong\u003eTitle: \u003c\/strong\u003eFox at Water’s Edge by Moonlight \u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e ca. 1934\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eA fox cautiously enters the shallows, its eyes straight ahead and one paw in the water. It likely has spied some waterfowl in the distance that it will try to sneak up on. It is at the edge of a river or lake, with waving reeds lining the shore. Three ducks are seen landing in the distance, which is perhaps a hint of what the fox is fixated upon. This is a scarce design, and the colors are very soft and subtle, much as what would be seen in person in the early evening. There is another version of this design in the collection of the Minneapolis Institute of Art that is published with this exact design in reverse, with the fox looking left and no geese flying and its coat a much brighter orange. The publisher for that design is Kawaguchi Jiro, and Koson’s signature looks quite different. A design would be seen in a reverse image if the original print was pasted face-up to cut the keyblock for the copied design, rather than a drawing being pasted face-down on the keyblock for carving. With the Watanabe “C” seal left margin, which was in use between 1930-1942. Works that were printed with the publisher Watanabe by this artist are signed “Shoson”, as here. A rather seldom seen design, especially in this excellent condition.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eExcellent impression, color and condition. \u003cbr\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e 26.2 x 38.7 cm\u003cbr\u003e\u003cstrong\u003eLiterature: \u003c\/strong\u003eAmy Newland et. al., Crows, Cranes \u0026amp; Camellias: The Natural World of Ohara Koson 1877-1945, 2001, checklist S41.4 and Watanabe 1936 catalog. \u003cbr\u003e\u003cstrong\u003eSignature:\u003c\/strong\u003e Shoson \u003c\/p\u003e","brand":"Ohara Kōson","offers":[{"title":"Default Title","offer_id":42630534234194,"sku":"KOS259","price":3200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0079\/3388\/6546\/files\/KOS259.jpg?v=1787615520"},{"product_id":"koson-古邨-two-japanese-cranes-丹頂","title":"Koson 古邨 : Two Japanese Cranes 丹頂 (RESERVED)","description":"\u003cp\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Ohara Koson 小原古邨 (1877-1945)\u003cbr\u003e\u003cstrong\u003eTitle: \u003c\/strong\u003eTwo Japanese Cranes 丹頂  \u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e ca. early 1900s\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eTwo magnificent Japanese Red-crowned cranes (\u003cem\u003eGrus japonensis\u003c\/em\u003e) stand out against a greyish blue backdrop of dusk, the sky merging with the inferred water that they wade in. The white plumage of the two birds also serves to merge them together, with only the softest cream coloration on the foreparts of the crane in the front. This is one of the rarest cranes in the world, and has long symbolized peace, fidelity and longevity in Japan. There is today still a resident population in eastern Hokkaido, where the birds nest in wetlands and marshes. The woodgrain in the sky is very strong, with a very skillful bokashi blend. The artist has also chosen a sophisticated cropping of both of the birds, making the composition surprisingly dynamic.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Excellent impression, color and condition.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReferences\u003c\/strong\u003e: Crows, Cranes and Camellias (2001), number 106 and checklist K4.5. See Rijksmuseum Amsterdam.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e 36 x 19.1 cm \u003cstrong\u003ePublisher:  \u003c\/strong\u003e\u003cspan\u003eDaikokuya?\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eSeal:\u003c\/strong\u003e Koson  \u003cstrong\u003eSignature:\u003c\/strong\u003e Koson\u003c\/p\u003e","brand":"Ohara Kōson","offers":[{"title":"Default Title","offer_id":42630711476306,"sku":"KOS262","price":2100.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0079\/3388\/6546\/files\/KOS262.jpg?v=1787615893"},{"product_id":"koson-古邨-crow-perching-on-a-cherry-branch","title":"Koson 古邨 : Crow Perched on a Cherry Branch (RESERVED)","description":"\u003cp\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Ohara Koson 小原古邨 (1877-1945)\u003cbr\u003e\u003cstrong\u003eTitle: \u003c\/strong\u003eCrow Perching on a Cherry Branch \u003cstrong\u003e\u003c\/strong\u003e \u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e ca. early 1900s\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eA large-billed crow (\u003cem\u003eCorvus macrorhynchos\u003c\/em\u003e), a bird formerly referred to as a jungle crow, perches on a slender cherry branch, its claws shown curving around the thin twig. It is evening, and the sky features prominent woodgrain and lots of skillful bokashi. Each flower is given dimensionality by bokashi as well, and the centers of each flower contain carefully printed yellow pistils. There is burnishing (\u003cem\u003eshomenzuri\u003c\/em\u003e), creating shiny black areas on some feathers of the crow. Koson is famous for his crows, and this one presents a very detailed, painterly study of one of his favorite subjects. A very painterly print from the artist famous for this technique. Scarce.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Excellent impression, color and condition.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReferences\u003c\/strong\u003e: Crows, Cranes and Camellias (2001), number 46 and checklist K5.5.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e 36 x 18.7 cm \u003cstrong\u003ePublisher:  \u003c\/strong\u003e\u003cspan\u003eDaikokuya?\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eSeal:\u003c\/strong\u003e Koson  \u003c\/p\u003e","brand":"Ohara Kōson","offers":[{"title":"Default Title","offer_id":42630775898194,"sku":"KOS261","price":2100.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0079\/3388\/6546\/files\/KOS261.jpg?v=1787616213"},{"product_id":"koson-古邨-bats-and-willow-against-full-moon","title":"Koson 古邨 : Bats And Willow Against Full Moon","description":"\u003cp\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Ohara Koson 小原古邨 (1877-1945)\u003cbr\u003e\u003cstrong\u003eTitle: \u003c\/strong\u003eBats And Willow Against Full Moon \u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e ca. 1920s-1930s\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eTwo bats are shown with wings outstretched, the upper one large and silhouetted against the full moon, the lower one smaller and shown flying upside down. The composition is anchored by the willow tree, its trunk extending the length of the print, its branches hanging down with delicacy. The moon itself is shaded a very faint pink; the very soft pink is also the same hue in the Muller example in the National Museum of Asian Art.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Excellent impression, color and condition.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReferences\u003c\/strong\u003e: Crows, Cranes and Camellias (2001), number 135 and checklist K41.3.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e 36.7 x 19 cm \u003cstrong\u003ePublisher:  \u003c\/strong\u003e\u003cspan\u003eDaikokuya?\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eSeal:\u003c\/strong\u003e Koson  \u003cstrong\u003eSignature:\u003c\/strong\u003e Koson\u003c\/p\u003e","brand":"Ohara Kōson","offers":[{"title":"Default Title","offer_id":42630795362386,"sku":"KOS263","price":975.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0079\/3388\/6546\/files\/KOS263.jpg?v=1787366874"},{"product_id":"koson-古邨-two-sparrows-in-flight-with-snowflakes","title":"Koson 古邨 : Two Sparrows in Flight with Snowflakes (RESERVED)","description":"\u003cp\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Ohara Koson 小原古邨 (1877-1945)\u003cbr\u003e\u003cstrong\u003eTitle: \u003c\/strong\u003eTwo Sparrows in Flight with Snowflakes  \u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e ca. early 1900s\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eTwo tree sparrows (\u003cem\u003ePasser montanus\u003c\/em\u003e) are shown flying towards the ground against a darkening sky. There is beautiful bokashi in the sky, and especially around the forms of the birds. There are also snowflakes that have been applied with blown\/spattered gofun (shell white), which makes each print unique. Koson has captured the personalities and even some of the drama of the lives of these birds. Scarce.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Excellent impression, color and condition.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReferences\u003c\/strong\u003e: Crows, Cranes and Camellias (2001), number 50 and checklist K33.6.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e 36.6 x 19 cm \u003cstrong\u003ePublisher:  \u003c\/strong\u003e\u003cspan\u003eDaikokuya?  \u003c\/span\u003e\u003cstrong\u003eSigned:\u003c\/strong\u003e Koson  \u003c\/p\u003e","brand":"Ohara Kōson","offers":[{"title":"Default Title","offer_id":42632234860626,"sku":"KOS260","price":1600.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0079\/3388\/6546\/files\/KOS260.jpg?v=1787366587"},{"product_id":"hasui-巴水-yudaki-waterfall-in-nikko-日光湯滝","title":"Hasui 巴水: Yudaki Waterfall in Nikko 日光湯滝 (SOLD)","description":"\u003cp\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Kawase Hasui  川瀬巴水 (1883-1957)\u003cbr\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e Yudaki Waterfall in Nikko 日光湯滝 \u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e \u003c\/span\u003e\u003cstrong style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eDate:\u003c\/strong\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e \u003c\/span\u003e1941昭和十六年\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eYudaki Waterfall flows across many boulders, a tree in the foreground with a blooming pink bush in the background. Flowing water must be one of the most challenging natural processes to capture for a woodblock print artist. Hokusai, Eisen and Hiroshige all used unique methods to graphically give life to waterfalls in the 19th century. This is one of the few waterfalls that Hasui depicted, and this one takes up pretty much the entire sheet, giving the viewer a sense of its breathtaking scale. The way the artist has depicted the leaves of the tree growing from the rock at the foot of the falls also seems to be indicating movement, another visual stratagem that Hasui had up his sleeve. Yudaki Falls is located on the southern edge of Lake Yunoko and has an elevation of 70 meters and a length of 110 meters. This area is still surrounded by nature and is very scenic. With the Watanabe publisher’s seal, lower right, that was in use between 1932-1941 (Seal “D”), this may be considered a first edition.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Excellent impression, color and condition.\u003cbr\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e ôban (39 x 26.7 cm)\u003cbr\u003e\u003cstrong\u003ePublisher:\u003c\/strong\u003e Watanabe Shôzaburô\u003cbr\u003e\u003cstrong\u003eLiterature:\u003c\/strong\u003e Narazaki #364; Hotei #450. See the VMFA collection.\u003cbr\u003e\u003cstrong\u003eSeal:\u003c\/strong\u003e Kawase  \u003cstrong\u003eSignature:\u003c\/strong\u003e Hasui\u003c\/p\u003e","brand":"Kawase Hasui","offers":[{"title":"Default Title","offer_id":42632246591570,"sku":"HAS664","price":6700.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0079\/3388\/6546\/files\/HAS664.jpg?v=1787618068"},{"product_id":"hasui-巴水-baishinji-beach-iyo-伊予梅津寺の浜","title":"Hasui 巴水: Baishinji Beach, Iyo 伊予梅津寺の浜 (SOLD)","description":"\u003cp\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Kawase Hasui 川瀬巴水 (1883-1957)\u003cbr\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e Baishinji Beach, Iyo 伊予梅津寺の浜  \u003cstrong\u003eDate:\u003c\/strong\u003e 1950\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eA single small boat with a tiny sail captures our focus in the center of this composition. More than half of the design is filled with rocks, of hues that range from almost peach to brown in color. We feel far away from civilization, but on the far shore to the left we see a row of houses peeking out, almost looking like rocks themselves. These three distinctive, small, rocky islets must be Shijima, also called Turner Island, located offshore from the beach. Baishinji is now part of the city of Matsuyama and is located in Ehime prefecture on Shikoku island. In one of his essays (online, in Japanese, from May 31, 2022) the curator of the Ota City Folk Museum noted that in May of 1948, Hasui sketched\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eviews of Baishinji and Shijima.\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eIn the essay, Hasui’s diary entries for each part of his sketching trips are detailed, and Hasui wrote about the many places he visited, as well as detailing many of the meals that he enjoyed, as well as visits to hot springs. We can feel Hasui’s joy and ease in traveling and capturing views of so many places in Japan that he found compelling.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eWith the round postwar Watanabe seal in red, lower left that is consistent with a first edition print that was printed during the artist’s lifetime.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Excellent impression, color and condition. Mint. \u003cbr\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e ôban (26.8 x 39 cm)\u003cbr\u003e\u003cstrong\u003ePublisher:\u003c\/strong\u003e Watanabe Shôzaburô \u003cbr\u003e\u003cstrong\u003eLiterature:\u003c\/strong\u003e See Art Institute of Chicago, VMFA collections online. Hotei# 549, Narazaki #522.  \u003cstrong\u003eSeal:\u003c\/strong\u003e Kawase \u003cstrong\u003eSignature:\u003c\/strong\u003e Hasui\u003c\/p\u003e","brand":"Kawase Hasui","offers":[{"title":"Default Title","offer_id":42632589082706,"sku":"HAS665","price":4600.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0079\/3388\/6546\/files\/HAS665.jpg?v=1787366263"},{"product_id":"toyonari-actor-in-a-chinese-opera","title":"Toyonari: Actor in a Chinese Opera (SOLD)","description":"\u003cp\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Yamamura Kōka (Toyonari) (1885-1942)\u003cbr\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e Actor in a Chinese Opera  \u003cstrong\u003eDate:\u003c\/strong\u003e ca. 1924\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eBold, surprising, design of an actor in a dramatic performance that is not kabuki. His makeup (mask?), headdress and fringed face covering, as well as what looks to be even more elaborate portions of his costume, fill up the entire background, so his expressive eyes must be working overtime to convey his role. We also see part of his hand raised in a gesture. This must be for a performance of Peking opera,\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003ewhich featured costumes with a highly codified theatrical language which identified the character’s status and type; in this way it shares traits with kabuki. There were performances of this type staged in Tokyo at around this time. The Metropolitan Museum has a strong collection of costumes from Chinese Opera.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThere is karazuri (\"blind printing\") on the large white tassel that dangles from his headpiece. This comes from a group of ten prints that were published with the support of the Yamamura Koka Hanga Kankokai, ca. 1924. This is the only actor in this innovative group. Scarce. Provenance: Shoichiro Watanabe\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e 40 x 28 cm \u003cstrong\u003ePublisher:\u003c\/strong\u003e Yamamura Koka Hanga Kankokai\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Excellent impression, color and condition.  \u003cstrong\u003eSealed:\u003c\/strong\u003e Toyonari\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReferences:  \u003c\/strong\u003eAmy Reigle Newland, et. al., Printed to Perfection: Twentieth Century Japanese Prints from the Robert O. Muller Collection, Sackler Gallery, Smithsonian Institution, 2004, p. 83, no. 67; Koyama Shuko, Beautiful Shin Hanga- Revitalization of Ukiyo-e,Tokyo Metropolitan Edo-Tokyo Museum, 2009, p. 183, no. 4-62; Andreas Marks, Seven Masters: 20th Century Japanese Woodblock Prints from the Wells Collection, pp. 64-73, and Minneapolis Institute of Art, 2015, Yamamura Koka (Toyonari) Exhibition History, p. 211.\u003c\/p\u003e","brand":"Yamamura Kōka","offers":[{"title":"Default Title","offer_id":42632612118610,"sku":"TNR012","price":2900.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0079\/3388\/6546\/files\/TNR012.jpg?v=1787111260"},{"product_id":"hiroshi-yoshida-吉田博-the-summit-of-fujiyama-山頂剣ヶ峯-kengamine-summit","title":"Hiroshi Yoshida 吉田博: The Summit of Fujiyama (山頂剣ヶ峯 Kengamine Summit)","description":"\u003cp\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Yoshida Hiroshi (1876-1950)\u003cbr\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e The Summit of Fujiyama (山頂剣ヶ峯 Kengamine Summit) \u003cstrong\u003eDate:\u003c\/strong\u003e 1928\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSeries:\u003c\/strong\u003e Ten Scenes of Mount Fuji\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eSeveral hikers have stopped to rest and catch their breath, looking out over the cloudy abyss to the right. To the left are clusters of climbers who seem eager to be near the trail’s peak; most wear the distinctive white Fuji-ascending garments that were donned for this pilgrimage\/ascent. The Japanese title of this print indicates that we are approaching the summit of Kengamine, the highest of the eight peaks around Fuji-san’s enormous summit crater. They are taking a rest at about 12,300 feet, on what is probably “Uma-no-se” (”Horse’s Back”), a short but steep ridge just below Kengamine. A few years after this print was published, the government placed a weather station building atop Kangamine itself, in 1936. So even what we might imagine to be a timeless view still has still undergone significant change since the time of printing. Today’s view shows a large cluster of buildings and measuring equipment comprising the Fuji Special Regional Meteorological Observatory; this would take up most of the view captured here in 1928 which is comprised of rocks and sky. Apparently Yoshida himself remarked that although Fuji’s summit looks almost flat from a distance, from up close it is formed of jagged, sharp peaks. \u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003ePencil signed, with the “jizuri” (self-printed) seal, indicating a lifetime impression. Provenance: From the personal collection of the late Herbert Egenolf.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCondition: \u003c\/strong\u003eExcellent impression, color and condition. A couple of very minor spots on right side. Never framed. \u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e ôban (27 x 40 cm)\u003cbr\u003e\u003cstrong\u003ePublisher:\u003c\/strong\u003e Self-published by the artist.\u003cbr\u003e\u003cstrong\u003eLiterature:\u003c\/strong\u003e Abe catalog number 53. See National Museum of Asian Art, Carnegie Museum of Art, Honolulu Museum of Art. \u003cstrong\u003eSeal:\u003c\/strong\u003e Jizuri (“self-printed”) in ink and red artist's seal lower left\u003cbr\u003e\u003cstrong\u003eSignature:\u003c\/strong\u003e Yoshida in ink (Japanese) and Hiroshi Yoshida in pencil (Romaji)\u003c\/p\u003e","brand":"Yoshida Hiroshi","offers":[{"title":"Default Title","offer_id":42632655470674,"sku":"YOS244","price":2600.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0079\/3388\/6546\/files\/YOS244.jpg?v=1787110534"},{"product_id":"hasui-kamino-bridge-fukagawa-深川上の橋","title":"Hasui 巴水: Kamino Bridge, Fukagawa 深川上の橋 (SOLD)","description":"\u003cp\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Kawase Hasui 巴水 (1883-1957)\u003cbr\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e Kamino Bridge, Fukagawa 深川上の橋\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSeries:\u003c\/strong\u003e Twelve Scenes of Tokyo (東京十二題 Tokyo jûnidai) \u003cstrong\u003eDate:\u003c\/strong\u003e 1920, Summer\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eWater and sky are almost ablaze in the glow of a dazzling orange sunset, our focus on a two-masted wooden boat gliding on the glassy river, framed perfectly beneath the darkened wooden posts and girders that form the Kamino Bridge. Our view seems to be where the Sendai Canal meets the Sumida River.\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eHasui has outdone himself in capturing a very specific moment at a specific place and time. It could almost be a film still, as the boats are gliding along, the colors of the setting sun are shifting by the second, and the people on the bridge are certainly in motion. This lovely wooden bridge is long gone, and a Tokyo that looks like this is also only a memory. Note also the brilliance of the printing, with the rough textures of the bridge that have the baren marks showing, contrasted with the glassy surfaces of the water and sky. Hasui himself wrote the following about this print in his diary: “The wooden Kami(no) Bridge connects the Fukagawa districts of Saga and Kiyosumi. The setting in this work is a summer evening. The shadows beneath the bridge at twilight contrast the light of the sunset, creating a fine impression. A sailboat moves slowly down the river: this ordinary scene was one that delighted me. Across the river is Nakazu. No incongruous western-style buildings are visible there, and I could not help but think that this area recalled the period when Hokusai designed his Sumidagawa ryôgan ichiran”. From the series “Twelve Scenes of Tokyo”. The sky and water in this print are a much deeper orange than the print depicted in Narazaki and Hotei, which has a more yellow-based color palette. Colors are also deeper here than the Balcer example at the VMFA and the Muller example at the National Museum of Asian Art. This deep orange is probably a variant coloration, but one that this dealer prefers for its intense drama. A rare, pre-earthquake design, especially in this condition and with these colors.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Excellent impression, color and condition.\u003cbr\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e ôban (26.5 x 38.4 cm) \u003cstrong\u003ePublisher:\u003c\/strong\u003e Watanabe\u003cbr\u003e\u003cstrong\u003eLiterature:\u003c\/strong\u003e Hotei #31 Narazaki #31. See Water and Shadow number IV.31 from the Balcer collection, now at the VMFA. See National Museum of Asian Art \u003cstrong\u003eSeal:\u003c\/strong\u003e Kawase \u003cstrong\u003eSignature:\u003c\/strong\u003e Hasui\u003c\/p\u003e","brand":"Kawase Hasui","offers":[{"title":"Default Title","offer_id":42632656781394,"sku":"HAC031R","price":35000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0079\/3388\/6546\/files\/HAC031R_a1354bca-1794-4099-82fe-5a0f94f936be.jpg?v=1787110098"},{"product_id":"hasui-巴水-ishinomaki-in-the-snow-石巻の暮雪-first-edition-1","title":"Hasui 巴水: Ishinomaki in the Snow 石巻の暮雪 (First edition)","description":"\u003cp\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Kawase Hasui 巴水 (1883-1957)\u003cbr\u003e\u003cstrong\u003eTitle: \u003c\/strong\u003eIshinomaki in the Snow 石巻の暮雪\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSeries:\u003c\/strong\u003e Collection of Scenic Views of Japan, Eastern Japan Edition 東日本篇 東日本篇\u003cbr\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e 1935\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eQuiet pervades this scene of waterside wooden buildings being softly blanketed with snow. As Narazaki wrote: “The tranquil evening snow has been skilfully designed, the painterly mood of the work is evinced in such elements as the two moored boats. The complex and sloped appearance of the snow-covered mountain in the upper right and the depiction of the dark distant mountain conveys a profoundly elegant mood.” Early editions like this one have a very soft palette, as would be experienced by someone there in person during a time of low light and falling snow. This may be considered the first edition of this work, with the Watanabe “D” seal that was in use between 1932 and 1941.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Excellent impression, color and condition.\u003cbr\u003e\u003cstrong\u003eDimensions:\u003c\/strong\u003e ôban (26.2 x 38.8 cm)\u003cbr\u003e\u003cstrong\u003ePublisher:\u003c\/strong\u003e Watanabe\u003cbr\u003e\u003cstrong\u003eLiterature: \u003c\/strong\u003eNarazaki Muneshige, Kawase Hasui mokuhanga shu (Kawase Hasui, Collection of Woodblock Prints), 1979, no. 218. Kendall Brown, Kawase Hasui: The complete woodblock prints, Hotei Publishing, 2003, no. 309. See Chazen, Virginia Museum of Fine Arts collections.\u003cbr\u003e\u003cstrong\u003eSeal:\u003c\/strong\u003e Kawase  \u003cstrong\u003eSignature:\u003c\/strong\u003e Hasui\u003c\/p\u003e","brand":"Kawase Hasui","offers":[{"title":"Default Title","offer_id":42632666218578,"sku":"HAC309R","price":6800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0079\/3388\/6546\/files\/HAC309R.jpg?v=1787616886"},{"product_id":"hiroshi-yoshida-takahama-port-on-the-inland-sea-せと奈いかい-高濱港","title":"Hiroshi Yoshida: Takahama Port on the Inland Sea せと奈いかい　高濱港","description":"\u003cp\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Yoshida Hiroshi 吉田博 (1876-1950)\u003cbr\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e Takahama Port on the Inland Sea せと奈いかい　高濱港\u003cstrong\u003eDate:\u003c\/strong\u003e 1928\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eBeautiful evening view of a pink-hued sky lowering to dusk, bright lights twinkling along the far shore and creating long reflections. We see sailboats returning to harbor, not a motor in sight. Although small, this work punches above its size in its atmospheric power. Yoshida created a number of these miniature works in 1928.\u003cspan class=\"Apple-converted-space\"\u003e  \u003c\/span\u003eThese miniature-sized works are rather scarce.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Excellent impression, color and condition. Minor spot in margin. \u003cstrong\u003eDimensions: \u003c\/strong\u003e18 x 25.8 cm (paper size)\u003cbr\u003e\u003cstrong\u003ePublisher:\u003c\/strong\u003e Self-published by the artist.\u003cbr\u003e\u003cstrong\u003eLiterature:\u003c\/strong\u003e Abe catalog number 109. See Minneapolis Institute of Art.\u003cbr\u003e\u003cstrong\u003eSeal:\u003c\/strong\u003e artist’s red seal, lower right \u003cbr\u003e\u003cstrong\u003eSignature:\u003c\/strong\u003e H. Yoshida in margin in pencil. Also titled by the artist in pencil, lower left \"In the Insland Sea\"\u003c\/p\u003e","brand":"Yoshida Hiroshi","offers":[{"title":"Default Title","offer_id":42632676507730,"sku":"YOC112T","price":1600.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0079\/3388\/6546\/files\/YOC112T.jpg?v=1787110980"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0079\/3388\/6546\/collections\/HAC031R.jpg?v=1787107271","url":"https:\/\/egenolfgallery.com\/collections\/asia-week-ny-september-2026.oembed?page=3","provider":"Egenolf Gallery Japanese Prints","version":"1.0","type":"link"}