This site requires that you enable Javascript to function properly Scholten Japanese Art | Paul Binnie the Body Illustrated | Kuniyoshi-s Cats and White Cat
Scholten Japanese Art Gallery
  index of the exhibition  
Kuniyoshi-s Cats
White Cat

Paul Binnie, Scottish, b. 1967

A Hundred Shades of Ink of Edo: Kuniyoshi's Cats
(Edo zumi hyaku shoku: Kuniyoshi no neko)

the series title cartouche in the upper right margin, the print title to the left with the first portion, Kuniyoshi no neko, in the style of Kuniyoshi's signature, and cat grooming itself representing the neko, signed in gold kanji, Bin-ni, with artist's cat-shaped seal that forms the letters Binnie, numbered and signed in pencil on the bottom margin, 36/100, Paul Binnie, ca. June 2004

dai oban tate-e 6 7/8 by 11 3/8 in., 42.9 by 29 cm

In this series, inspired by classic ukiyo-e of the 18th and 19th century, Binnie incorporates compositions by major artists in the form of tattoo designs on nudes. In each of the designs Binnie plays on various ukiyo-e themes, subjects and genres. In addition to being one of the leading artists of warrior subjects, Utagawa Kuniyoshi (1798-1861) is fondly remembered for his depictions of cats, and in this first design of the series Binnie chose to commemorate that Edo-period artist's love of felines. Drawing from Kuniyoshi's ca. 1849 composition Cat's Suggested as the Fifty-Three Stations of the Tokaido Road, a triptych which depicts fifty-three cats (or groups of cats) each representing a station of the famous Edo Period highway that connected Edo and Kyoto, the figure's back tattoo contains upwards of eighteen cats in different postures.

Reference:
Paul Binnie: A Dialogue with the Past - The First 100 Japanese Prints, 2007, p. 116, no. 79

$600

Paul Binnie, Scottish, b. 1967

White Cat

red to grey baren sujizuri ground, with artist's circular seal Binnie at lower right corner, numbered, titled and signed in pencil on the bottom margin, 10/30, White Cat, Paul Binnie, ca. June 2004

oban tate-e 16 3/4 by 11 1/2 in., 42.7 by 29.1 cm

For each design in the Edo Ink (Edo zumi) series, Binnie produced non-tattoo versions in smaller editions of only thirty impressions. The alternate palettes emphasize the nudes themselves, juxtaposing the exposed skin against rich red or pink grounds, and eliminating the ukiyo-e references found in the cartouches, signatures and pictogram seals.

Reference:
Paul Binnie: A Dialogue with the Past - The First 100 Japanese Prints, 2007, p. 117, no. 80

$600