Artwork Details for Tokuriki, Tomikichiro "A Goldfish Vendor"


Tokuriki, Tomikichiro - A Goldfish Vendor - 金魚売り

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A Goldfish Vendor - 金魚売り
by Tokuriki, Tomikichiro - 徳力富吉郎

Artist:Tokuriki, Tomikichiro - 徳力富吉郎
Title:A Goldfish Vendor - 金魚売り (1)
Date:1950s/60s
Publisher:Kyoto Hanga-In - 京都版画院
Medium:Woodblock - 木版画
Format:Oban - 大判, 9 1/2" x 14 1/4" (sheet size)
Condition:A couple spots in margin as shown, not serious (see photo). In excellent condition overall with fine original color and detail. No holes, tears, damage, or repairs to report. Print is not backed.
Price:$210 (EMS Express worldwide shipping: $30)
Artwork Code:8470-Tokuriki_Tomikichiro
Notes:Scene of a goldfish vendor at a summer festival. Artist signed, "Tomikichiro".
(1) This artwork is either untitled or the title is unknown.
Artist Biography:
TOKURIKI TOMIKICHIRO(1902 - 1999) - Tokuriki was born and raised in Kyotoand was influenced by the local art scene from childhood. He stayed in Kyotofor his entire career and was a leader of the Kyoto Sosaku Hanga. He graduated from the KyotoCity School of Fine Arts and Crafts and after that from the KyotoCity Specialist School of Painting. While he began his career in the painting field, he found his true calling in the woodblock print field and was enthusiastic about the reemergence of woodblock prints in 20th century Japanese art. He was influential in the development of new artists later in his career and set up his own publishing company called Matsukyu.
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.
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