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Actor Ichikawa Komazo in the Role of Shiga Daishichi - 二世市川高麗蔵の志賀大七
by Sharaku, Toshusai (a.1794-95) - 東洲斎写楽
|Artist:||Sharaku, Toshusai (a.1794-95) - 東洲斎写楽|
|Title:||Actor Ichikawa Komazo in the Role of Shiga Daishichi - 二世市川高麗蔵の志賀大七|
|Date:||1794 (this item: 1950s/60s)|
|Publisher:||Kyoto Hanga-In - 京都版画院|
|Medium:||Woodblock - 木版画|
|Format:||Oban - 大判, 26 x 39cm (sheet size)|
|Condition:||Fine. Gorgeous dark mica background. Tip-mounted to original folder. Kyoto Hanga-In publisher seal on verso. Expertly applied background embossing to simulate the broken mica and creased state of the 200 year old originals.|
|Price:||$170 (EMS Express worldwide shipping: $30)|
Buy two or more from this series/set and receive a 20% discount off each item. Discount and excess shipping cost will be refunded to your PayPal account after your purchases. Cannot be combined with a 'daily discount' (the greater discount will apply).
|Notes:||Publisher seal of Kyoto Hanga-In on the print verso. Included with each woodblock print is a windowed folder for viewing your print, and a full explanation of the scene (in Japanese).Publisher seal of Kyoto Hanga-In on the print verso. These Sharaku prints by the publisher Kyoto Hanga-In are the most authentic later edition prints of the original works I have seen, even surpassing those of the renown publisher Takamizawa. The dark thick mica background is not overly "glossy" like other editions, and the simulation of cracked mica by heavy embossing is very realistic.|
|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:||Sharaku, Toshusai (a.1794-95) (See more prints by this artist)|
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