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Love Letter - 恋文
by Kiyoshi Nakajima - 中島潔
|Artist:||Kiyoshi Nakajima - 中島潔|
|Title:||Love Letter - 恋文|
|Series:||Woodblock Print Collection - 木版画集|
|Publisher:||Kyoto Hanga-In - 京都版画院|
|Medium:||Woodblock - 木版画|
|Format:||Large Oban - 大大判, 24.6 x 42.7cm (image size)|
|Condition:||Fine. Some very light near-invisible printer's creases (present in most copies of this scene that I have seen). Untrimmed full margins. Unbacked, verso clean.|
|Notes:||These gorgeous bijin-ga prints by Nakajima are quite rare and well sought-after items here in Japan. Pencil-signed by the artist in the lower right margin, along with signature and seal at lower right in image area. Title in upper right margin. Kyoto Hanga-In publisher's seal in lower left margin.|
|Publisher Notes:||Here are some notes from Daiwa Shinagawa (current owner of Kyoto Hanga-In, 2014) regarding the woodblocks and their survival (or not):|
He is quite clear in his explanation that all the blocks held by Nishinomiya were *completely* destroyed in an air-raid circa 1945 (including Bakufu's Fish series and Wada's Occupations series). This is quite strong evidence to support the suggestion that the blocks used after the war for these series' reprints were completely recarved.
He goes on to say that, due to the poor economic climate after the war, Kyoto Hanga-In did not have the finances to purchase new cherry blocks for each new print scene. As a result, whenever a new scene was to be published they used a block from a previously published scene (i.e., carving the block flat and then recarving the new scene). That is quite a revelation that I would never have expected. As a result of all the recarving of blocks, there are no surviving woodblocks from prior to the 1960s, so the blocks for all the usual 1950s scenes by Bakufu, Hiyoshi, Wada, etc. no longer exist.
|Search:||Kiyoshi Nakajima (See more prints by this artist)|