{"title":"Shin-hanga","description":"\u003cp\u003eShin-hanga maintains the traditional collaborative system of publisher, artist, carver, and printer to capture nostalgic, idealized landscapes, traditional beauties, animals and actors. Highly enhanced printing techniques allow the artists to masterfully render atmosphere and tone. \u003c\/p\u003e","products":[{"product_id":"fumees-de-santal-manchoukuo-paul-jacoulet","title":"Fumées de Santal, Manchoukuo – Paul Jacoulet","description":"\u003cdiv class=\"n6owBd awi2gc\"\u003e\n\u003cmeta charset=\"UTF-8\"\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Paul Jacoulet (1902–1960)\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e Fumées de Santal, Mandchoukuo (Sandalwood Smoke, Manchuria)\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e 1948\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eMedium:\u003c\/strong\u003e Genuine Japanese color woodblock print with mica and embossing\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Dai-ōban yoko-e (large horizontal format)\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003ePaper Size:\u003c\/strong\u003e Approximately 14.25 × 18.5 inches\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThis original Japanese woodblock print is Paul Jacoulet’s \u003cem\u003eFumées de Santal, Mandchoukuo\u003c\/em\u003e (\u003cem\u003eSandalwood Smoke, Manchuria\u003c\/em\u003e), published in December 1948. The print was produced in a limited edition, with numbered impressions documented on the verso; \u003cstrong\u003e81\/250\u003c\/strong\u003e. \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eFumées de Santal\u003c\/em\u003e depicts an elegantly dressed Manchurian woman reclining languidly across a stone balustrade as smoke rises from an elaborate incense burner below. Her richly patterned robe dominates the composition, contrasting with the cool gray background and pale architectural forms surrounding her. Jacoulet uses an unusually restrained palette while lavishing attention on the woman's clothing, jewelry, and elaborate floral headdress. The drifting sandalwood smoke and her half-closed eyes give the scene a dreamy, almost suspended quality.\u003c\/p\u003e\n\u003cp\u003eThe print is particularly notable for its sophisticated printing techniques. Jacoulet used embossing (\u003cem\u003ekarazuri\u003c\/em\u003e or gaufrage) extensively in the woman's robe and the sandalwood smoke, along with mica in the gray background and metallic accents in her clothing and ornaments. These subtle effects are much easier to appreciate in person than in a photograph and are characteristic of the elaborate craftsmanship found in Jacoulet's finest prints. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eInscriptions \u0026amp; Marks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eTitle: \u003cem\u003eFumées de Santal, Mandchoukuo\u003c\/em\u003e — “Sandalwood Smoke, Manchuria”\u003c\/li\u003e\n\u003cli\u003eArtist: Paul Jacoulet\u003c\/li\u003e\n\u003cli\u003eDate: December 1948\u003c\/li\u003e\n\u003cli\u003eSignature: “Paul Jacoulet” within the image at lower right\u003c\/li\u003e\n\u003cli\u003eArtist seal: Red \u003cem\u003emitsu-tomoe\u003c\/em\u003e seal beneath the signature\u003c\/li\u003e\n\u003cli\u003eWatermark: \u003cspan\u003ePaul Jacoulet watermark visible in the paper\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003eCarver: Kentarō Maeda\u003c\/li\u003e\n\u003cli\u003ePrinter: Tetsunosuke Honda\u003c\/li\u003e\n\u003cli\u003eEdition: 81\/250\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Excellent. Full margins with light overall toning consistent with age. Colors remain strong and well balanced, with the delicate gray background, metallic details, and embossed elements retaining good definition. Puncture holes in top corners. Deckled edges remain visible. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Artist:\u003c\/strong\u003e Paul Jacoulet (1902–1960) was a French-born artist who spent most of his life in Japan and became one of the most distinctive figures in twentieth-century Japanese woodblock printmaking. Working with highly skilled Japanese carvers and printers, Jacoulet produced technically elaborate prints characterized by precise linework, unusual pigments, mica, metallics, and extensive embossing. His subjects frequently came from Japan, Korea, China, Micronesia, and other parts of East Asia and the Pacific. His combination of traditional Japanese printmaking techniques with his highly individual style makes his work immediately recognizable, and his prints are now held in major museum collections internationally.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Print:\u003c\/strong\u003e \u003cem\u003eFumées de Santal\u003c\/em\u003e is one of Jacoulet's best-known horizontal compositions and a particularly strong example of his postwar work. Published on December 25, 1948, the design combines a carefully posed figure with some of the elaborate printing techniques for which Jacoulet became famous. The woman's richly embossed robe, shimmering mica, metallic ornamentation, and subtly raised sandalwood smoke turn what initially appears to be a relatively restrained composition into a technically complex print. The \u003cem\u003emitsu-tomoe\u003c\/em\u003e seal seen beneath Jacoulet's signature is also unusual: this is documented as the only Jacoulet design on which he used this particular seal.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":63104459571571,"sku":null,"price":6500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1008\/3549\/2211\/files\/YGP00267_63274bbe-9717-49f8-bf43-34972208de8a.jpg?v=1784157589"},{"product_id":"tiger-toshi-yoshida","title":"Tiger - Toshi Yoshida","description":"\u003cdiv class=\"\"\u003e\n\u003csection class=\"text-token-text-primary w-full focus:outline-none has-data-writing-block:pointer-events-none [\u0026amp;:has([data-writing-block])\u0026gt;*]:pointer-events-auto R6Vx5W_threadScrollVars scroll-mb-[calc(var(--scroll-root-safe-area-inset-bottom,0px)+var(--thread-response-height))] scroll-mt-(--sticky-padding-top)\" dir=\"auto\"\u003e\n\u003cdiv class=\"text-base my-auto mx-auto pt-12 [--thread-content-margin:var(--thread-content-margin-xs,calc(var(--spacing)*4))] @w-sm\/main:[--thread-content-margin:var(--thread-content-margin-sm,calc(var(--spacing)*6))] @w-lg\/main:[--thread-content-margin:var(--thread-content-margin-lg,calc(var(--spacing)*16))] px-(--thread-content-margin)\"\u003e\n\u003cdiv class=\"[--thread-content-max-width:40rem] @w-lg\/main:[--thread-content-max-width:48rem] mx-auto max-w-(--thread-content-max-width) flex-1 group\/turn-messages focus-visible:outline-hidden relative flex w-full min-w-0 flex-col\"\u003e\n\u003cdiv class=\"flex max-w-full flex-col gap-4 grow\"\u003e\n\u003cdiv dir=\"auto\" class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal outline-none keyboard-focused:focus-ring [.text-message+\u0026amp;]:mt-1\"\u003e\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden items-end rtl:items-start\"\u003e\n\u003cdiv class=\"corner-superellipse\/0.98 relative min-w-0 overflow-hidden rounded-[22px] px-4 py-2.5 leading-6 user-message-bubble-color max-w-(--user-chat-width,70%)\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/section\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"\"\u003e\n\u003csection class=\"text-token-text-primary w-full focus:outline-none has-data-writing-block:pointer-events-none [\u0026amp;:has([data-writing-block])\u0026gt;*]:pointer-events-auto R6Vx5W_threadScrollVars scroll-mb-[calc(var(--scroll-root-safe-area-inset-bottom,0px)+var(--thread-response-height))] scroll-mt-[calc(var(--header-height)+min(200px,max(70px,20svh)))]\" dir=\"auto\"\u003e\n\u003cdiv class=\"text-base my-auto mx-auto pb-8 [--thread-content-margin:var(--thread-content-margin-xs,calc(var(--spacing)*4))] @w-sm\/main:[--thread-content-margin:var(--thread-content-margin-sm,calc(var(--spacing)*6))] @w-lg\/main:[--thread-content-margin:var(--thread-content-margin-lg,calc(var(--spacing)*16))] px-(--thread-content-margin)\"\u003e\n\u003cdiv class=\"[--thread-content-max-width:40rem] @w-lg\/main:[--thread-content-max-width:48rem] mx-auto max-w-(--thread-content-max-width) flex-1 group\/turn-messages focus-visible:outline-hidden relative flex w-full min-w-0 flex-col agent-turn\"\u003e\n\u003cdiv class=\"flex max-w-full flex-col gap-4 grow\"\u003e\n\u003cdiv dir=\"auto\" class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal outline-none keyboard-focused:focus-ring [.text-message+\u0026amp;]:mt-1\" tabindex=\"0\"\u003e\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden\"\u003e\n\u003cdiv class=\"safari-katex-mathml markdown prose dark:prose-invert wrap-break-word w-full light markdown-new-styling\"\u003e\n\u003cp\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Tōshi Yoshida (1911–1995)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e Tiger\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDesign Date:\u003c\/strong\u003e 1987\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMedium:\u003c\/strong\u003e Genuine Japanese color woodblock print\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Vertical format\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaper Size:\u003c\/strong\u003e Approximately 11.5 × 8.75 inches\u003c\/p\u003e\n\u003cp\u003eThis genuine Japanese color woodblock print is Tōshi Yoshida’s \u003cem\u003eTiger\u003c\/em\u003e, created in 1987.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTiger\u003c\/em\u003e presents the animal head-on, crouched low with its enormous front paws extended toward the viewer. Yoshida removes nearly all background detail, concentrating attention on the tiger’s powerful form, striped coat, and intense yellow eyes. Fine black linework creates the texture of the fur, while the restrained orange, gray, and black palette gives the image an almost illustrative quality. The direct gaze and compressed pose create a striking combination of stillness and tension, capturing the tiger at a moment that feels both calm and potentially explosive.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eInscriptions \u0026amp; Marks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eTitle: \u003cem\u003eTiger\u003c\/em\u003e, block-printed in English in the lower left margin\u003c\/li\u003e\n\u003cli\u003eArtist: Tōshi Yoshida\u003c\/li\u003e\n\u003cli\u003eSignature: “Toshi Yoshida,” pencil signed in English in the lower right margin\u003c\/li\u003e\n\u003cli\u003eArtist seal: Red Yoshida seal within the image at lower right\u003c\/li\u003e\n\u003cli\u003eDesign Date: 1987\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very Good. Light overall toning consistent with age, with slightly more pronounced toning along the margins. Minor handling wear and faint scattered surface marks. A few light horizontal creases or pressure marks are visible around the tiger’s face and whiskers. Colors remain strong, with vivid yellow eyes and good definition throughout the fine black linework. Full margins. Please review the photographs carefully, as they form part of the condition description.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Artist:\u003c\/strong\u003e Tōshi Yoshida (1911–1995) was one of the most important Japanese woodblock artists of the twentieth century and the eldest son of renowned shin-hanga master Hiroshi Yoshida. Raised within the Yoshida family studio, he learned drawing, painting, carving, and traditional woodblock printing from an early age. Although his early work naturally reflected his father’s influence, Tōshi went on to develop a remarkably varied and independent career that included landscapes, city scenes, abstract compositions, and wildlife. His animal prints became an especially important part of his later work, combining close observation with the precision and craftsmanship of traditional Japanese woodblock printing.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Print:\u003c\/strong\u003e \u003cem\u003eTiger\u003c\/em\u003e belongs to the later period of Tōshi Yoshida’s career, when animals had become one of his most recognizable subjects. Yoshida had a lifelong interest in wildlife and traveled extensively, producing prints of animals ranging from birds and domestic cats to lions, leopards, and other large mammals. In these later works, he often stripped away elaborate settings to concentrate on the character and physical presence of the animal itself. \u003cem\u003eTiger\u003c\/em\u003e is a particularly direct example of this approach: the empty background and frontal composition leave almost nothing between the viewer and the animal’s penetrating gaze.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/section\u003e\n\u003c\/div\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":63104474055027,"sku":null,"price":800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1008\/3549\/2211\/files\/YGP00274_7c15f2d5-9a3c-43c1-9730-5d65e1cc0e06.jpg?v=1784159783"},{"product_id":"supper-wagon-toshi-yoshida","title":"Supper Wagon - Toshi Yoshida","description":"\u003cdiv class=\"n6owBd awi2gc\"\u003e\n\u003cmeta charset=\"UTF-8\"\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eArtist\u003c\/strong\u003e\u003cbr\u003eTōshi Yoshida (1911–1995)\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTitle\u003c\/strong\u003e\u003cbr\u003eSupper Wagon (\u003cem\u003eYataimise\u003c\/em\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSeries\u003c\/strong\u003e\u003cbr\u003eTokyo at Night (\u003cem\u003eYoru no Tokyo\u003c\/em\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDesign Date\u003c\/strong\u003e\u003cbr\u003e1938 (Shōwa 13) - posthumous print, date unknown\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMedium\u003c\/strong\u003e\u003cbr\u003eOriginal Japanese color woodblock print\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFormat\u003c\/strong\u003e\u003cbr\u003eChūban yoko-e (horizontal format)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaper Size\u003c\/strong\u003e\u003cbr\u003eApproximately 7.5 × 10.625 inches\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDescription\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis original Japanese woodblock print was designed by \u003cstrong\u003eTōshi Yoshida in 1938\u003c\/strong\u003e as part of his early \u003cem\u003eTokyo at Night\u003c\/em\u003eseries. The design is held in the collections of both the Fukuoka Art Museum and Edo-Tokyo Museum. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSupper Wagon\u003c\/em\u003e captures a quiet Tokyo street at night, where customers gather around brightly curtained food stalls selling inexpensive dishes such as sushi, beef, udon, tonkatsu, and sake. A woman carrying a child pauses nearby while a dog waits beside one of the stalls. Yoshida uses muted blues, grays, and warm yellows to capture the subdued glow of the shops after dark. Rather than depicting Tokyo as a grand modern metropolis, he focuses on an ordinary neighborhood moment—the small restaurants, street vendors, and people that gave the city its character.\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eTranslation \u0026amp; Inscriptions\u003c\/strong\u003e\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eSeries:\u003c\/strong\u003e Tokyo at Night (\u003cem\u003eYoru no Tokyo\u003c\/em\u003e)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTitle:\u003c\/strong\u003e Supper Wagon\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eDesign Date:\u003c\/strong\u003e Shōwa 13 (昭和十三年) — 1938\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSignature:\u003c\/strong\u003e Block-signed “Toshi Yoshida” in English in the lower right margin\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eEnglish Title:\u003c\/strong\u003e “Supper Waggon,” block-printed in the lower left margin\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eArtist Seal:\u003c\/strong\u003e Yoshida (吉田), lower right within the image\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCondition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVery Good.\u003c\/strong\u003e Full margins with light overall toning consistent with age. Minor scattered foxing and surface soiling are visible in the margins, with light handling wear. Colors remain strong and well preserved. Block-printed title and artist signature remain clearly visible in the lower margin. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Artist\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eTōshi Yoshida (1911–1995) was a major twentieth-century Japanese woodblock artist and the eldest son of renowned shin-hanga master Hiroshi Yoshida. Trained within the Yoshida family's printmaking tradition, Tōshi began producing woodblocks at an early age and developed a career that bridged the shin-hanga movement of his father's generation with the increasingly experimental Japanese printmaking of the postwar period. His work ranged from atmospheric Japanese landscapes and city scenes to abstract compositions and highly detailed images of wildlife. Although inevitably influenced by his famous father, Tōshi ultimately developed an independent style and became an important printmaker in his own right.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSupper Wagon\u003c\/em\u003e, created in 1938 when Tōshi was only 27, shows his early interest in depicting contemporary urban Japan rather than the monumental landscapes for which his father was best known. The nighttime setting, subdued palette, artificial light, and intimate street-level viewpoint connect the print to the shin-hanga tradition while giving it a distinctly modern character. \u003c\/p\u003e\n\u003cbr\u003e\u003c!--TgQPHd||[]--\u003e\n\u003c\/div\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":63109734367603,"sku":null,"price":500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1008\/3549\/2211\/files\/YGP00298_509f7156-5c68-4589-9a4c-3dc41847f116.jpg?v=1784304375"},{"product_id":"vieil-aino-chikabumi-hokkaido-paul-jacoulet","title":"Vieil Aino, Chikabumi, Hokkaido - Paul Jacoulet","description":"\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eArtist\u003c\/strong\u003e\u003cbr\u003ePaul Jacoulet (1902–1960)\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTitle\u003c\/strong\u003e\u003cbr\u003eOld Ainu Man, Chikabumi, Hokkaido, Japan (\u003cem\u003eVieil Aïno, Chikabumi, Hokkaido, Japon\u003c\/em\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDate\u003c\/strong\u003e\u003cbr\u003e1950\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMedium\u003c\/strong\u003e\u003cbr\u003eOriginal Japanese color woodblock print with mica and embossing\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFormat\u003c\/strong\u003e\u003cbr\u003eDai-ōban\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePaper Size\u003c\/strong\u003e\u003cbr\u003eApproximately 17.125 × 13.625 inches\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDescription\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis original Japanese woodblock print was designed by \u003cstrong\u003ePaul Jacoulet in 1950\u003c\/strong\u003e and depicts an elderly Ainu man from Chikabumi in Hokkaido, northern Japan. Jacoulet presents his sitter at close range, giving extraordinary attention to his flowing white hair and beard, weathered face, and boldly patterned robe. The restrained palette and shimmering dark mica background give the portrait a quiet monumentality, while extensive embossing adds texture and dimension to the man's hair and beard. The result is an unusually intimate and dignified portrait and a striking example of the technical sophistication of Jacoulet's postwar work. Museum collections identify the subject as an Ainu man from Chikabumi, Hokkaido. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eInscriptions \u0026amp; Edition Details\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eTitle:\u003c\/strong\u003e \u003cem\u003eVieil Aïno, Chikabumi, Hokkaido, Japon\u003c\/em\u003e — \"Old Ainu Man, Chikabumi, Hokkaido, Japan\"\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eArtist:\u003c\/strong\u003e Paul Jacoulet\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eDate:\u003c\/strong\u003e 1950\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eEdition:\u003c\/strong\u003e Edition of 350 but number is missing on the verso\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSignature:\u003c\/strong\u003e Pencil signed by Paul Jacoulet\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCarver:\u003c\/strong\u003e Maeda Kentarō\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePrinter:\u003c\/strong\u003e Honda Tetsunosuke\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSpecial Techniques:\u003c\/strong\u003e Mica embellishment and detailed embossing\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eReference:\u003c\/strong\u003e Richard Miles, \u003cem\u003eThe Prints of Paul Jacoulet\u003c\/em\u003e, no. 108\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCondition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFair.\u003c\/strong\u003e Moderate overall toning and discoloration consistent with age, with more pronounced toning and scattered foxing along the margins. Light handling wear and occasional creasing are present, with minor edge and corner wear. The image remains strong, with the mica background and detailed embossing of the hair and beard still visible. Inscriptions are present in the lower margin. Pencil signature is faded. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Artist\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003ePaul Jacoulet (1902–1960) was a French-born artist who spent most of his life in Japan and became one of the most distinctive figures in twentieth-century Japanese woodblock printmaking. Working within the traditional collaborative system of Japanese print production, Jacoulet created technically elaborate portraits distinguished by rich color, unusual pigments, mica, embossing, and exceptionally fine carving and printing. His subjects frequently came from Japan, Korea, China, and the Pacific islands, reflecting his extensive travels and interest in the people and traditional cultures of the region. Today his prints are held by major museum collections in Japan, Europe, and the United States.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Print\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eJacoulet created companion portraits of an \u003cstrong\u003eOld Ainu Man\u003c\/strong\u003e and \u003cstrong\u003eOld Ainu Woman\u003c\/strong\u003e at Chikabumi, Hokkaido, in 1950. Chikabumi, near Asahikawa, was home to an important Ainu community, and Jacoulet's portraits focus closely on the individuals rather than treating them as figures within a larger landscape. This design is particularly notable for its sophisticated printing: the slate-gray background incorporates mica, while the man's enormous beard is rendered with extensive embossing that gives the paper a sculptural quality. A catalogued Heritage impression measures 18¾ × 14 inches and carries an edition seal of 350 on the verso.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":63109745541491,"sku":null,"price":600.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1008\/3549\/2211\/files\/YGP00270_08003512-f206-4c67-93eb-98b7cb7ffdca.jpg?v=1784304637"},{"product_id":"mount-fuji-seen-from-nashigahara-ito-takashi","title":"Mount Fuji Seen from Nashigahara - Itō Takashi","description":"\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Itō Takashi (1894–1982)\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e Mount Fuji Seen from Nashigahara\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e February 1959\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eMedium:\u003c\/strong\u003e Genuine Japanese color woodblock print\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Ōban yoko-e (horizontal format)\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003ePaper Size:\u003c\/strong\u003e 15.5 X 10.25 in\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThis original Japanese color woodblock print is Itō Takashi’s \u003cem\u003eMount Fuji Seen from Nashigahara\u003c\/em\u003e, dated February 1959.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eMount Fuji Seen from Nashigahara\u003c\/em\u003e presents Mount Fuji rising beyond a quiet, snow-covered forest. Tall, dark tree trunks dominate the foreground, creating a natural screen through which the mountain gradually comes into view. Scattered evergreens and touches of yellow and rust-colored foliage break up the snowy landscape, while Fuji is rendered in soft shades of blue, white, and pale pink against a muted winter sky. \u003c\/p\u003e\n\u003cp\u003eRather than presenting Mount Fuji as an isolated monument, Itō places the viewer deep within the landscape. The strong vertical rhythm of the trees contrasts with the broad mass of Fuji in the distance, creating a striking sense of depth and making the mountain seem to emerge between the trunks. The restrained palette and stillness of the scene are characteristic of Itō’s atmospheric approach to landscape.\u003c\/p\u003e\n\u003cp\u003eThis print is similar to, yet distinct from View of Mount Fugi from Yamanaka. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eInscriptions \u0026amp; Marks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eTitle:\u003c\/strong\u003e \u003cem\u003eMount Fuji Seen from Nashigahara\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eArtist:\u003c\/strong\u003e Itō Takashi\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eDate:\u003c\/strong\u003e February 1959\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSignature:\u003c\/strong\u003e Takashi, lower left\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eArtist Seal:\u003c\/strong\u003e Red seal beneath the signature\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTechnique:\u003c\/strong\u003e Japanese color woodblock print\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very Good. Light overall toning consistent with age. Colors remain strong and attractive, particularly the subtle pink and lavender tones of the sky, the dark forest foreground, and the blues of distant Mount Fuji. Please review the photographs carefully, as they form part of the condition description.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Artist:\u003c\/strong\u003e Itō Takashi (1894–1982) was a Japanese landscape artist associated with the shin-hanga movement and is particularly admired for his atmospheric depictions of mountains, forests, temples, and rural Japan. He worked extensively with the influential publisher Watanabe Shōzaburō and produced a relatively small body of woodblock designs compared with artists such as Kawase Hasui and Yoshida Hiroshi. His landscapes are distinguished by their quiet mood, carefully constructed depth, and sensitivity to changing light, weather, and season. Itō frequently used trees, buildings, mist, and other foreground elements to frame distant views, giving his landscapes an unusually immersive quality.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Print:\u003c\/strong\u003e \u003cem\u003eMount Fuji Seen from Nashigahara\u003c\/em\u003e dates from late in Itō Takashi’s career and is a particularly strong example of his mature landscape style. Created in 1959, the print approaches one of the most familiar subjects in Japanese art from an unusual viewpoint. Instead of placing Fuji prominently in an open landscape, Itō partially obscures the mountain behind a dense stand of trees. The viewer encounters Fuji almost incidentally, glimpsed through the forest in the distance. The combination of snow, bare trunks, scattered color, and the softly illuminated mountain gives the scene the quiet, contemplative atmosphere for which Itō’s landscapes are particularly admired.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":63938764833139,"sku":null,"price":800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1008\/3549\/2211\/files\/YGP00300_b1268dd4-51b6-49aa-a54c-f57ebb7bdb31.jpg?v=1786228935"},{"product_id":"cheoneunsa-temple-mount-chiri-korea-hasui-kawase","title":"Cheoneunsa Temple, Mount Chiri, Korea - Hasui Kawase","description":"\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Kawase Hasui (1883–1957)\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e Cheoneunsa Temple, Mount Chiri, Korea (\u003cem\u003eChōsen Chiizan Sen'inji\u003c\/em\u003e)\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eJapanese Title:\u003c\/strong\u003e 朝鮮智異山泉隠寺\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eSeries:\u003c\/strong\u003e Selected Korean Landscapes, Continued (\u003cem\u003eZoku Chōsen Fūkei\u003c\/em\u003e)\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eDesign Date:\u003c\/strong\u003e 1940 (Shōwa 15)\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003ePublisher:\u003c\/strong\u003e Watanabe Shōzaburō\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eMedium:\u003c\/strong\u003e Genuine Japanese color woodblock print\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Ōban tate-e\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003ePaper Size:\u003c\/strong\u003e Approximately 15.5 × 10.75 inches\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThis original Japanese woodblock print is Kawase Hasui’s \u003cem\u003eCheoneunsa Temple, Mount Chiri, Korea\u003c\/em\u003e, from the 1940 series \u003cem\u003eSelected Korean Landscapes, Continued\u003c\/em\u003e, published by Watanabe Shōzaburō. \u003c\/p\u003e\n\u003cp\u003eHasui places the viewer within the deep shadows of the temple complex, looking outward into a small courtyard where several figures dressed in white go about their work. Heavy wooden beams, rough stone walls, buckets, tools, and the circular cover of a well fill the foreground. Beyond them, the courtyard catches the light, drawing the eye through the dark architectural framework toward the figures and buildings in the distance.\u003c\/p\u003e\n\u003cp\u003eThe composition is particularly striking for its dramatic handling of light and depth. Instead of presenting the temple as a conventional architectural view, Hasui places us inside it. The nearly black beams and walls create a natural frame around the brighter courtyard, while the small figures give the scene an intimate, lived-in quality. The restrained browns, grays, and muted earth tones make this one of Hasui’s quieter and more unusual architectural compositions.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eInscriptions \u0026amp; Marks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eTitle:\u003c\/strong\u003e \u003cem\u003eCheoneunsa Temple, Mount Chiri, Korea\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eJapanese Title:\u003c\/strong\u003e 朝鮮智異山泉隠寺\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSeries:\u003c\/strong\u003e \u003cem\u003eZoku Chōsen Fūkei\u003c\/em\u003e (Selected Korean Landscapes, Continued)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eArtist:\u003c\/strong\u003e Kawase Hasui\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eDate:\u003c\/strong\u003e 1940 (Shōwa 15)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSignature:\u003c\/strong\u003e Hasui, lower right\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eArtist Seal:\u003c\/strong\u003e Red seal beneath signature\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePublisher:\u003c\/strong\u003e Watanabe Shōzaburō\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eReference:\u003c\/strong\u003e Hara Shobo #445\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Excellent. Full margins with light overall toning consistent with age.Some waviness along the upper edge. Colors remain strong, with particularly good definition in the deep brown and black passages of the shadowed foreground. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Artist:\u003c\/strong\u003e Kawase Hasui (1883–1957) was one of the most important landscape printmakers of the twentieth century and a central figure in the \u003cem\u003eshin-hanga\u003c\/em\u003e movement. Working closely with publisher Watanabe Shōzaburō, Hasui created hundreds of woodblock designs depicting Japan and, occasionally, Korea and other regions he visited. His work is particularly admired for its atmospheric treatment of rain, snow, moonlight, dusk, and quiet architectural settings. Rather than simply recording famous places, Hasui often sought out ordinary streets, temples, waterways, and rural landscapes, transforming them through carefully controlled light, color, and perspective.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Series:\u003c\/strong\u003e \u003cem\u003eSelected Korean Landscapes, Continued\u003c\/em\u003e (\u003cem\u003eZoku Chōsen Fūkei\u003c\/em\u003e) was produced in 1940 and followed Hasui’s earlier Korean landscape designs. The series depicts locations Hasui encountered in Korea during the period of Japanese colonial rule, including temples, gates, historic sites, rivers, and cities. Other designs depict Kaesong, Suwon, Gongju, Gyeongju, and Pyongyang. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eCheoneunsa Temple\u003c\/em\u003e is particularly distinctive within the group because Hasui focuses less on a recognizable monument than on the experience of being inside the temple complex. The dark foreground architecture, utilitarian objects, and figures engaged in everyday activity give the scene an almost documentary intimacy. The National Museum of Modern Art, Tokyo holds an impression of the design, as do the Aichi Prefectural Museum of Art and Hyogo Prefectural Museum of Art.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":63938767028595,"sku":null,"price":1700.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1008\/3549\/2211\/files\/YGP00342.jpg?v=1786230009"},{"product_id":"night-rain-at-shinobazu-pond-shiro-kasamatsu","title":"Night Rain at Shinobazu Pond - Shirō Kasamatsu","description":"\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Shirō Kasamatsu (1898–1991)\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e Night Rain at Shinobazu Pond (\u003cem\u003eYau Shinobazu no Ike\u003c\/em\u003e)\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eJapanese Title:\u003c\/strong\u003e 夜雨 不忍池\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eDesign Date:\u003c\/strong\u003e January 1938\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003ePublisher:\u003c\/strong\u003e Watanabe Shōzaburō\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eMedium:\u003c\/strong\u003e Genuine Japanese color woodblock print\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Ōban tate-e\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003ePaper Size:\u003c\/strong\u003e Approximately 15.25 × 10.25 inches\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThis genuine Japanese color woodblock print is Shirō Kasamatsu’s \u003cem\u003eNight Rain at Shinobazu Pond\u003c\/em\u003e, originally published by Watanabe Shōzaburō in January 1938. The design is a classic example of prewar \u003cem\u003eshin-hanga\u003c\/em\u003e and of Kasamatsu’s particular talent for atmospheric night, rain, and snow scenes. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eNight Rain at Shinobazu Pond\u003c\/em\u003e depicts a solitary figure walking beneath an umbrella on a rainy winter night in Tokyo’s Ueno district. A tall illuminated streetlamp dominates the foreground, while the warm windows and lanterns of buildings beyond provide small points of light in the otherwise cool blue-gray landscape. Rain falls across the entire scene, softening the trees and buildings and almost dissolving the background into the night.\u003c\/p\u003e\n\u003cp\u003eThe reflections in the foreground are particularly effective. Kasamatsu allows the lantern light to break into irregular patches of yellow across the wet pavement, providing almost the only warmth in the composition. The lone pedestrian, receding pathway, dark bridge railing, and oversized streetlamp create a strong sense of depth and solitude. Like some of Hasui’s finest night scenes, it turns an ordinary walk through the city into something quiet and cinematic.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eInscriptions \u0026amp; Marks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eTitle:\u003c\/strong\u003e \u003cem\u003eNight Rain at Shinobazu Pond\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eJapanese Title:\u003c\/strong\u003e 夜雨 不忍池\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eArtist:\u003c\/strong\u003e Shirō Kasamatsu\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eDesign Date:\u003c\/strong\u003e January 1938 (Shōwa 13)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSignature:\u003c\/strong\u003e Shiro, lower left\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eArtist Seal:\u003c\/strong\u003e Red Shiro seal beneath signature\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePublisher:\u003c\/strong\u003e Watanabe Shōzaburō, 6mm seal in margin\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTechnique:\u003c\/strong\u003e Japanese color woodblock print\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very Good. Full margins with light overall toning consistent with age. Minor scattered foxing and surface marks are visible primarily in the margins, along with slight handling wear and waviness along the upper edge. Colors remain strong and atmospheric, with particularly good blue-gray tonal gradations and strong contrast in the illuminated lamps and their reflections. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Artist:\u003c\/strong\u003e Shirō Kasamatsu (1898–1991) was an important twentieth-century Japanese printmaker whose career bridged both the \u003cem\u003eshin-hanga\u003c\/em\u003e and \u003cem\u003esōsaku-hanga\u003c\/em\u003e movements. He studied under Kaburagi Kiyokata, and in 1919 his work attracted the attention of publisher Watanabe Shōzaburō. Kasamatsu went on to design more than fifty prints for Watanabe through the late 1940s. He later worked extensively with the Kyoto publisher Unsōdō and also produced prints that he carved, printed, and published himself. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eKasamatsu was particularly accomplished at depicting snow, rain, evening light, and other atmospheric effects. While his work shares some qualities with Kawase Hasui, Kasamatsu often employed stronger outlines and a somewhat more graphic treatment of form. His prewar Watanabe designs are an important part of his career and place him firmly within the classic period of the \u003cem\u003eshin-hanga\u003c\/em\u003e movement. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Print:\u003c\/strong\u003e \u003cem\u003eNight Rain at Shinobazu Pond\u003c\/em\u003e was designed in 1938 during Kasamatsu’s long collaboration with Watanabe and has become one of his better-known prewar night scenes. Shinobazu Pond lies within Ueno Park in Tokyo, but Kasamatsu largely avoids the recognizable landmarks of the location. Instead, he concentrates on the experience of walking through the neighborhood in rain—the glowing lamps, wet pavement, bare trees, and almost empty path.\u003c\/p\u003e\n\u003cp\u003eThe design was sufficiently successful that Watanabe continued printing it after the war, and both later Shōwa-period and Heisei-period impressions are known.\u003c\/p\u003e\n\u003cp\u003ehttps:\/\/pages.uoregon.edu\/jsmacollections\/home\/artists\/shiro-kasamatsu-1898-1991-\/rainy-night-at-shinobazu-pond.html\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":63938776138099,"sku":null,"price":1000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1008\/3549\/2211\/files\/YGP00340.jpg?v=1786230508"},{"product_id":"house-at-okutama-shiro-kasamatsu","title":"House at Okutama - Shiro Kasamatsu","description":"\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e\u003cspan\u003e Shiro Kasamatsu (1898–1991)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eHouse at Okutama\u003c\/em\u003e\u003cspan\u003e (\u003c\/span\u003e\u003cem\u003eOkutama no Ie\u003c\/em\u003e\u003cspan\u003e, 奥多摩の家)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e\u003cspan\u003e 1955\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMedium:\u003c\/strong\u003e\u003cspan\u003e Original color woodblock print\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePublisher:\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eUnsodo (芸艸堂), Kyoto\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEdition:\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eLifetime impression\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSignature:\u003c\/strong\u003e\u003cspan\u003e Block-signed Shiro within the image\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMarks:\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eUnsodo publisher seal and carver\/printer seals in the left margin\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003c\/strong\u003e\u003cstrong\u003eSize:\u003c\/strong\u003e 16 X 10.75 in\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThis \u003cstrong\u003eoriginal lifetime woodblock print by Shiro Kasamatsu\u003c\/strong\u003e depicts a traditional rural house in Okutama, the mountainous region west of Tokyo. Kasamatsu builds the composition around the heavy tiled roofs and stone retaining wall, with autumn foliage providing restrained flashes of yellow and red against the atmospheric gray mountains beyond.\u003c\/p\u003e\n\u003cp\u003eThe Japanese title \u003cstrong\u003eOkutama no Ie (奥多摩の家), “House in Okutama,”\u003c\/strong\u003e appears in the upper left margin. This impression belongs to Kasamatsu’s postwar period, when he increasingly produced and published his own woodblock prints rather than working through the publisher Watanabe Shōzaburō.\u003c\/p\u003e\n\u003cp\u003eKasamatsu’s handling of the distant mountains is particularly effective here. Rather than outlining the landscape sharply, he uses a dense, textured gray field that gives the background the appearance of mist or low cloud, while the architectural details of the house remain crisp and graphic in the foreground.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eInscriptions \u0026amp; Marks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eJapanese title \u003cstrong\u003e奥多摩の家 (Okutama no Ie)\u003c\/strong\u003e in the upper left margin\u003c\/li\u003e\n\u003cli\u003eArtist signature within the image\u003c\/li\u003e\n\u003cli\u003eArtist\/publisher seals in the left margin\u003c\/li\u003e\n\u003cli\u003eOriginal Japanese color woodblock print\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good overall. The sheet retains full margins with visible deckled edges. Minor toning, handling wear and small areas of discoloration are consistent with age. Colors remain attractive, including strong yellow, red, gray and earthy brown tones. Please review all photographs carefully, as they form part of the condition description.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAbout the Artist:\u003c\/strong\u003e Shiro Kasamatsu (1898–1991) was an important 20th-century Japanese printmaker associated with both the \u003cstrong\u003eshin-hanga and sōsaku-hanga movements\u003c\/strong\u003e. He initially worked with the influential publisher Watanabe Shōzaburō, producing atmospheric landscapes in the shin-hanga tradition. Beginning in the 1950s, Kasamatsu increasingly carved, printed and published his own works, giving him greater control over the entire printmaking process.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":63938899149171,"sku":null,"price":900.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1008\/3549\/2211\/files\/YGP00318.jpg?v=1786234647"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1008\/3549\/2211\/collections\/YGP00267_63274bbe-9717-49f8-bf43-34972208de8a.jpg?v=1786132261","url":"https:\/\/blueskyprintshop.com\/collections\/shin-hanga.oembed","provider":"Blue Sky Print Shop","version":"1.0","type":"link"}