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by Hiyoshi Mamoru (a.c. 1950s) - 日吉守
|Artist:||Hiyoshi Mamoru (a.c. 1950s) - 日吉守|
|Series:||Series on Korean Subjects|
|Publisher:||Kyoto Hanga-In - 京都版画院|
|Medium:||Woodblock - 木版画|
|Format:||Oban - 大判,|
|Condition:||Some slight age toning and spotting in top margin. Remnants of folder tip mounting verso, otherwise fine.|
|Notes:||This is the most popular print of the Korean series. Publisher seal in right margin. Artist seal and signature at lower right of image area.|
|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:||Hiyoshi Mamoru (a.c. 1950s) (See more prints by this artist)|