Paul Binnie

Scottish, b. 1967

Study of a Noh Kimono Sleeve in 'Kakitsubata'

oil on wood panel; signed at lower left BINNIE with artist's square Bin seal partially covered by the frame, annotated by the artist on verso: PAUL BINNIE 1999 STUDY OF NOH KIMONO SLEEVE IN "KAKITSUBATA" (杜若) NOH SERIES #50, BINNIE '99

wood panel 19 by 13 3/8 in., 38.4 by 34 cm
brushed-gilt cassetta frame 23 by 17 3/4 in., 58.5 by 45 cm

In the play Kakitsubata, a woman appears to a traveling monk who is enjoying the bloom of water irises on the bank of a stream. The character is wearing a mask because all actors portraying female characters in Noh plays wear masks. She tells the monk that the Heian poet Ariwara no Narihira once composed a five-verse poem where each verse began with one of the five syllables for the Japanese word for water iris: ka-ki-tsu-ba-ta. With evening approaching, the woman invites the monk to stay the night in her humble home. That evening she puts on a shimmering karakoromo-style kimono once owned by Princess Takako (who was mentioned in Narihira's poem) and a diaphanous headdress known as a sukibitai once owned by Narihira himself. She tells the monk that Narihira was the incarnation of a Bodhisattva of song and dance, and that his poems had the power to grant salvation to all living creature including non-sentient plants. She then reveals herself to be the spirit of the water iris. She delivers a poetic chant while performing a mysterious and elegant dance, eventually achieves Buddhist enlightenment, and disappears at dawn.

Binnie chose a wooden panel to paint on which he sized but didn't prime so that the grain of the wood could shine through. All Noh stages have a wooden backboard painted with a single ancient pine tree, and he wanted to give the warm, resonant feel of the acting space in this painting. Much of Binnie's oil painting work is about a balance between looseness and finish, between brushwork and smooth surface, and he considers this painting to be one of the best examples of this.

References:
www.the-noh.com
www.instagram.com/paul_binnie/

(inv. no. C-3455)

SOLD

Paul Binnie

Scottish, b. 1967

Study of a Noh Actor

pencil and watercolor on paper, signed and dated at lower right, BINNIE 94 (1994)

21 1/8 by 14 7/8 in., 53.8 by 37.9 cm

(inv. no. C-2024)

$450

Paul Binnie

Scottish, b. 1967

Shakkyo

oil on canvas; signed at upper left, BINNIE with artist's date seal 98, annotated by the artist on verso canvas with kanji title, 石橋, in English, Shakkyo #11, PAUL BINNIE 1998, and on the stretcher, PAUL BINNIE 1998, 石橋: Shakkyo No SERIES #11, 1998

painting 16 by 12 1/2 in., 40.64 by 31.75 cm
gilt frame 20 5/8 by 16 7/8 in., 52.3 by 43 cm

In the play Shakkyo, a monk stops by a long, narrow stone bridge in China, where a local woodcutter boy tells him that the land beyond the other side of the bridge is the Pure Land belonging to Monju Bosatsu (Manjusri Bodhisattva). Crossing the bridge over a deep gorge is difficult for humans (a symbol of the difficulty of Buddhist ascetic training), but the boy predicts that the monk will see a miracle if he stays long enough at the bridge. Eventually a red-maned lion appears, a guardian messenger of Manjusri Bodhisattva, who plays with the fragrant peony flowers growing nearby. The highlight of the play is lion dance (shishimai), which is only performed by Noh performers with advanced skill. In some versions, a father (white mane) and son (red mane) pair of lions appear and dance.

This play (and its lion dance) has been adapted for performance in several kabuki plays. However, in the original Noh version, the actor wears a shishiguchi (lit. lion mouth) mask rather than stylized kabuki makeup. This painting is in fact a portrait of a mask made by a Living National Treasure that the artist had acquired, rather than a depiction of a particular Noh performance.

References:
www.the-noh.com
www.instagram.com/paul_binnie/

(inv. no. C-3056)

$5,000

Paul Binnie

Scottish, b. 1967

The Noh play The Stone Bridge
(Shakkyo)

two-color woodblock print on gold paper, sealed in purple kanji at upper right, Bin-ni, with date seal Heisei kyu nen (Heisei 9 [1997]), signed and titled in purple kanji at lower right, Shakkyo, and signed in English, Paul Binnie A/P, ca. March 1997

oban tate-e 16 1/2 by 12 1/8 in., 41.9 by 30.9 cm
frame 25 1/4 by 18 7/8 in., 64 by 48 cm

This composition depicts an actor wearing a shishiguchi (lit. lion mouth) mask from the Noh play Shakkyo (The Stone Bridge). This is the first woodblock print Binnie published depicting the Noh theater, though he crafted a number of paintings of Noh in the 1990s. Unlike kabuki, which was full of motion and action, Noh plays tended to be less physically dynamic. They often employed intricate and heavy costumes, and could have actors standing in a pose and speaking for long stretches of time. This scene, however, includes a unique shishimari, or lion dance, which was a very skill-intensive performance requiring special movements and heightened expressiveness. For this reason, Shakkyo is classified as a hiraki-mono, a ceremonial performance in Noh theater which demonstrates the elevation of a performer to a high level of achievement. Because Shakkyo is a uniquely accessible piece, it is often performed to entertain foreign dignitaries and others unfamiliar with the theater tradition.

Reference:
Paul Binnie: A Dialogue with the Past - The First 100 Japanese Prints, 2007, p. 85, no. 43

(inv. no. C-3457)

$1,600

Paul Binnie

Scottish, b. 1967

Dragon Princess
(Ama)

oil on canvas; signed at upper left BINNIE with artist's date seal 98, annotated by the artist in ink on verso canvas with the kanji title, 海士, and in English, "AMA" No SERIES #9, PAUL BINNIE 1998, in pencil, DRAGON PRINCESS, and on the stretcher in ink, PAUL BINNIE 1998, with kanji title, 海士, and in English, Ama, No SERIES #9, 1998

painting 16 by 12 1/2 in., 40.64 by 31.75 cm
gilt Whistler frame 20 5/8 by 16 7/8 in., 52.3 by 43 cm

In the play Ama, the minister Fujiwara no Fusazaki, the son of Lord Tankai, arrives at Shido-no-ura Bay to hold a memorial service for his mother. He is met by a female diver (ama), who relates a story about how Lord Tankai’s sister, a Tang Dynasty empress, once had a jewel that had been stolen by the Dragon King (Ryujin). Lord Tankai had visited the bay in an attempt to get the jewel back, and ended up having a baby with another local diver. In order to make her baby son Lord Tankai’s heir, the local diver sacrificed herself to go to the Dragon King’s underwater palace to retrieve the jewel. The female diver then reveals to Fusazaki that she is actually his deceased mother and disappears into the ocean. Later, after Fusazaki performs her memorial service to ensure her salvation, the female diver appears, transformed into a Dragon Princess. She then performs a dance to express her delight in attaining enlightenment. The painting depicts the painted and gilded leather dragon crown worn by the Dragon Princess at the end of the play.

The painting was previously owned by the late art critic Brian Sewell who purchased it at a Binnie exhibition at the Horton Gallery in London in 1999. It was returned to the artist after Sewell’s death in 2015.

References:
www.the-noh.com
www.instagram.com/paul_binnie/

Provenance:
Brian Sewell Collection (London, 1931-2015)

(inv. no. C-3057)

SOLD

Paul Binnie

Scottish, b. 1967

Atsumori

conté on paper, titled at lower right, ATSUMORI, signed at lower left, BINNIE with artist's kanji seal Bin-ni, ca. 1994

15 3/8 by 10 5/8 in., 39 by 27 cm

Taira no Atsumori was a beautiful sixteen-year-old Heike aristocrat of the Heian period who was killed by the Genji warrior Kumagai no Naozane in the battle at Ichi-no-tani. In the play Atsumori, the ghost of Atsumori appears to Kumagai, who has renounced the world and taken the priestly name Rensei. Atsumori asks Kumagai to pray for his soul. Atsumori was reputed to be an expert flautist, and his flute can be seen sticking out of the figure’s left sleeve.

Reference:
www.the-noh.com

(inv. no. C-1452)

$700

Paul Binnie

Scottish, b. 1967

The Swordsmith
(Kokaji)

oil on canvas; signed at lower left BINNIE with artist's date seal 98, annotated by the artist in ink on the verso canvas, Paul Binnie No SERIES #31 1998 "KOKAJI" 16 x 12 40.5 BY 30.5 cm Paul Binnie; and on the stretcher, PAUL BINNIE 1998, with title in kanji, 小鍛冶, and English, KOKAJI, No SERIES #31, 1998

painting 16 by 12 in., 40.5 by 30.5 cm
black and gilt cassetta frame 24 1/2 by 20 1/8 in., 61.5 by 51.2 cm

In the play Kokaji, Sanjo no Kokaji Munechika, a renowned swordsmith, has been ordered to forge a sword. Munechika insists that he lacks a partner swordsmith with sufficient skill to help him in the task, but his protestations fall on deaf ears. He then visits the Inari Shrine and prays for assistance. The deity of Inari, transformed into the spirit of a fox, later appears at Munechika’s home and offers to be his smithing partner. Together, they successfully forge a sword called Kogitsune-maru. It is engraved with the name Kokaji Munechika on its face and Kogitsune (Little Fox) on the back of the blade as proof that the deity had apprenticed himself to Munechika. While the golden mask is the center point of the painting, Binnie takes pains to also capture the texture of costume’s fabric.

References:
www.the-noh.com
www.instagram.com/paul_binnie/

(inv. no. C-3454)

$5,000

Paul Binnie

Scottish, b. 1967

Yamamba

mounted conté on paper drawing, titled at lower left, Yamamba, signed at lower right BINNIE with artist's seal Bin (ca. 1998)

9 5/8 by 7 5/8 in., 24.5 by 19.5 cm

In the play Yamamba, a beautiful dancer famous for her portrayal of a yamamba (mountain crone) and her retainers meet a middle-aged woman who offers them lodging for the night when the sun prematurely sets. The woman says she will reveal her true identity if the dancer would recite her play and perform her dance in the middle of the night after the moon had risen. The woman reappears that night in her true guise as the mountain crone of Mount Agero and performs a dance to demonstrate how a genuine mountain crone journeys around mountains.

Reference:
www.the-noh.com

(inv. no. C-1451)

$500

Paul Binnie

Scottish, b. 1967

Sutra of Great Wisdom
(Daihannya)

oil on canvas; signed at lower right BINNIE with artist's date seal 98, annotated by the artist in ink on the verso canvas, Paul BINNIE, NO SERIES #32 "DAIHANNYA" 16 x 12" 40.5 x 30.5 cm, Paul BINNIE, and on the stretcher, PAUL BINNIE 1998, with the title in kanji, 大般若, and in English DAIHANNYA No SERIES #32, 1998

painting 16 by 12 in., 40.5 by 30.5 cm
black and gilt cassetta frame 24 1/2 by 20 1/8 in., 61.5 by 51.2 cm

The Daihannya Tendoku is one of the most important rituals of Japanese Buddhism. It features rolling reading of the Great Sutra on the Perfection of Wisdom, one of the central texts of Mahayana Buddhism and the longest text in the Buddhist canon. The play Daihannya, however, is no longer a regular part of the Noh canon and is very infrequently performed. Binnie depicts the horned, 'snake-mouth' demon of the play wearing a necklace made out of skulls. The demon is male, and the actor portraying him sports a mask called otoko ja (snake man).

Reference:
www.instagram.com/paul_binnie/

(inv. no. C-3456)

$5,000

Paul Binnie

Scottish, b. 1967

Onoe Baiko VII as the Snake Spirit in Musume Dojoji

fan print; the print title written in pencil at lower left, signed in sumi kanji, Bin-ni with red artist's seal Bin-ni within the fan, red artist's seal Bin-ni and date seal Heisei rokunen (Heisei 6 [1994]) at upper right, and pencil-numbered and -signed at lower right 22/35, Paul Binnie

aiban uchiwa-e 9 1/4 by 12 1/4 in., 23.5 by 31 cm

The actor Onoe Baiko VII (1915-1995) is in the role of the snake spirit from the play Musume Dojoji (The Maiden at the Dojo Temple). The play begins with the installation of a new bell at Dojo Temple. It would be the first bell in the temple in many years, and for that reason was causing great anxiety amongst the monks. The last bell had been destroyed by the beauty Kiyohime, who was the spurned lover of one of the Dojo priests. She had chased the priest back to the temple, where he hid beneath the bell. In her fury, she turned into a massive snake and coiled around the bell. The heat of her passion melted the brass and killed her lover. Legend has it that she drowned, however the monks were afraid that a new bell may bring her spirit back. Their fears were justified, as the very day the new bell was being installed Kiyohime's snake spirit returned, disguised as the dancer Hanako. She danced for the monks before dramatically revealing her true form and jumping atop the bell, preparing to raise it to heaven.

References:
Arendie and Henk Herwig, Heroes of the Kabuki Stage, 2004, pp. 211-215 (re: play)
Paul Binnie: A Dialogue with the Past - The First 100 Japanese Prints, 2007, p. 67, no. 25

(inv. no. C-0906)

$350

Paul Binnie

Scottish, b. 1967

The Demon Ibaraki
(Ibaraki)

kappazuri (stencil print) on black washi paper, with highlights in gold, silver and copper pigment, signed in red pigment, Binnie, with artist's seal, Binnie, hand numbered go (5) out of an edition of 20 impressions, date seal Heisei nana-nen (Heisei 7 [1995])

This composition is a memorial portrait of Onoe Baiko VII (1915-1995). The beloved onnagata is depicted in the last role he ever performed, the Ibaraki demon who lives at Rashomon gate from the play Ibaraki (Ibaraki) in May 1993. Baiko VII was designated a Living National Treasure by the Japanese government in 1968 as a recognition of his sensitive yet masterful performances. Binnie, and coincidentally another contemporary print artist, Tsuruya Kokei (b. 1946), watched Baiko VII in this final performance.

The actor is in a Noh style kimono and rendered in copper-colored mica. The demon holds its separated hand, which was wrenched from its wrist by the warrior Watanabe no Tsuna. The demon escaped with its life, and returned to the warrior's mansion disguised as an old woman to steal the limb back. Though the demon has retrieved her arm and should be fleeing the scene, Binnie captures the actor in a profound moment of stillness.

References:
Paul Binnie: A Dialogue with the Past - The First 100 Japanese Prints, 2007, p. 70, no. 28
Encyclopedia Britannica (Britannica.com), Onoe Baiko VII: Japanese Actor, accessed 9/29/16 (re: actor)
(inv. no. C-1977)

$800

Paul Binnie

Scottish, b. 1967

Dojoji: Mask

oil on canvas; signed at lower right BINNIE with artist's date seal 98, annotated by the artist on verso canvas with kanji title, 道成寺, and in English, "Dojoji: Mask" NO SERIES #13, Paul BINNIE 1998, and on the stretcher, Paul BINNIE 1998, 道成寺, DOJOJI, NO SERIES #13, 1998

painting 16 by 12 1/2 in., 40.64 by 31.75 cm
silver-white cassetta frame 24 3/8 by 20 7/8 in., 62 by 53 cm

In the play Dojoji, a shirabyoshi (a female dancer wearing a male costume) asks to be allowed to perform a dance for a Buddhist rite to consecrate the hanging of a renewed bell at the Dojo Temple. She hides under the bell when it is lowered to the ground. The temple priests pull the hanging bell up to reveal that the woman has been transformed into a monstrous poisonous snake. She is a demonic reincarnation of a woman who had been betrayed a long time ago by one of the temple’s priests. After a battle with the temple priests, the snake burns herself with her own flames.

Binnie depicts the snake demon wearing a traditional hannya mask, one that represents a horned female demon. (A daihannya mask featured in another painting in this exhibition illustrates the type of mask used for horned male demons.) In addition, the triangles on the silver brocade of the demon’s costume are intended to suggest the serpent’s scales.

References:
www.the-noh.com
www.instagram.com/paul_binnie/

(inv. no. C-3058)

$4,500

Paul Binnie

Scottish, b. 1967

The Maiden at Dojo Temple
(Musume Dojoji)

signed in sumi ink, Binnie, with red artist's seal Bin-ni and red date seal Heisei nananen (Heisei 7 [1995]) and numbered juhachi (18) of an edition estimated at 45 impressions, pencil-signed on the bottom margin, Paul Binnie

dai oban tate-e 16 3/8 by 11 3/8 in., 41.6 by 28.9 cm

The actor Bando Tamasaburo V (b. 1950) is in the role of the dancer Hanako, who is in reality the snake spirit of Kiyohime, from the play Musume Dojoji (The Maiden at Dojo Temple) which he performed at the Kabuki-za in Tokyo in December 1994. After Kiyohime turned into a snake and melted the original bell at Dojo Temple, the priests were leery of installing a new one for fear that her spirit would return. However, they decided that a new bell would not pose a danger as long as all women were forbidden from the temple premises. As it happens, this policy was not enforced for long. Just when the bell was being put into place, the charming dancer Hanako appeared at the temple gate, asking permission to enter. Displaying a lapse in judgement, they allow her to enter. Hanako danced for the monks, all the while staring up at the bell, as enchanted by it as the monks were by her grace, unaware that she is moments away from reverting to her true form as a snake spirit.

References:
Arendie and Henk Herwig, Heroes of the Kabuki Stage, 2004, pp. 211-215 (re: play)
Paul Binnie: Dialogues with the Past - The First 100 Japanese Prints, 2007, p. 71, no. 29

(inv. no. C-0908)

$650

Paul Binnie

Scottish, b. 1967

Hat Dance in Musume Dojoji
(Dojoji boshi odori)

signed in sumi ink on lower left, Binnie, with date seal, Heisei hachi nen (Heisei 8 [1996]), and numbered in pencil, 16/50, 1996

otanzaku tate-e 14 1/4 by 6 3/4 in., 36.1 by 17.1 cm

This print depicts the actor Bando Tamasaburo V (b. 1950) in the role of the temple dancer from the play Musume Dojojias performed at the Kabuki-za in Tokyo in December 1994. In the play the character changes and alters her costume nine times (in reference to the belief in ancient Japan that a snake would shed its skin the same number of times).

Reference:
Paul Binnie: A Dialogue with the Past- The First 100 Japanese Prints, 2007, p. 82, no. 40

(inv. no. C-3155)

$300

Paul Binnie

Scottish, b. 1967

Danjuro as Matsuomaru
(Dan no matsu)

sumi ink sketch on paper, titled at lower left, Dan no matsu, signed and sealed at lower right, BINNIE, with artist's date seal Heisei hachi nen (1996)

19 1/2 by 12 3/8 in., 49.5 by 31.5 cm

A caricature portrait of the actor Ichikawa Danjuro (1946-2013) in the role of Toneri Matsuomaru, one of the triplets from the play Sugawara's Secrets of Calligraphy (Sugawara Denju Tenarai Kagami). Matsuomaru and his two brothers were each named for one of their father's favorite trees- in Matsuomaru's case, the pine (matsu). In the play, he would be disowned by his father after they found themselves on opposing sides of a conflict involving the exiled statesman Sugawara. Matsuomaru's tragedy is more complex than a lost inheritance, once in Sugawara's company, he is faced with the task of protecting the disgraced Sugawara's son Kan Shusai from the statesman's enemy Fujiwara Shihei and his retainers who have surrounded the small village where the boy is hiding. Because he is the only man who can positively identify the child, Matsuomaru switches his own son out for Sugawara, allowing his child to be killed in the place of Kan Shusai.

Reference:
Arendie and Henk Herwig, Heroes of the Kabuki Stage, 2004, pp. 156-165 (re:play)

(inv. no. C-3458)

SOLD

Paul Binnie

Scottish, b. 1967

Bando Mitsugoro in the Role of an Evil Aristocrat
(Bando Matsugoro - Kugeaku)

lithograph with stencil details, highlights in gold metallic ink, signed at upper left in sumi ink, Binnie, with actor's name in the lower left corner, Bando Mitsugoro, and date seal Heisei hachi nen (Heisei 8 [1996]), signed again and numbered Paul Binnie, 12/20

dai oban tate-e 16 1/2 by 11 3/4 in., 42 by 29.7 cm

This composition is a portrait of the actor Bando Mitsugoro IX (1929-1999) in the role of the kugeaku (noble villain) Kiyo no Takehira as performed at the Kabuki-za in November 1995. The kugeaku is a trope for an evil figure of high social standing who invariably is involved in some sort of devious plot, and is often played in the aragato (rough) style as portrayed in this design.

Reference:
Paul Binnie: A Dialogue with the Past, The First 100 Japanese Prints, 2007, p. 78, cat. no. 36

(inv. no. C-0897)

$650

Paul Binnie

Scottish, b. 1967

Utaemon as Yatsuhashi
(Yatsuhashi no Uta)

sumi ink sketch on paper, titled at upper left, Yatsuhashi no Uta, and signed at lower left, BINNIE below artist's date seal Heisei hachi nen (1996)

19 1/2 by 12 3/8 in., 49.5 by 31.5 cm

A caricature portrait of the actor Nakamura Utaemon (1917-2001) in the role of the ill-fated oiron (high-ranking courtesan) Yatsuhashi.

The sketch bears a notable similarity to Binnie's woodblock print of the same actor in the role of Agemaki from the play Sukeroku which he produced a year after this work. This caricature and the 1997 print make an interesting comparison with Ota Gako (1892-1975) woodblock print 1954 portrait of Utaemon portraying the same role of Yatsuhashi much earlier in his career.

(inv. no. C-3459)

SOLD

Paul Binnie

Scottish, b. 1967

A Great Mirror of the Actors of the Heisei Period: Nakamura Utaemon as Agemaki in Sukeroku (TP II)
(Heisei yakusha o-kagami: Utaemon - Agemaki)

with light mica dusted over the printed coral background; the series title, Heisei yakusha o-kagami, and print title, Utaemon - Agemaki, at upper left, with numbed limited edition cartouche, TP II / 100, signed in sumi kanji, Bin-ni with artist's seal Binnie, date seal Heisei kyu-nen (Heisei 9 [1997]), pencil-numbered, signed, and dated on the bottom margin, TP II, Paul Binnie, 1997

dai oban tate-e 16 7/8 by 11.38 in. 42.8 by 28.8 cm.

This impression is a test print with shomenzuri (burnishing) of the geometric pattern on the pink inner-collar. Binnie was not satsified with the effect and decided to forgoe the embellishment on the edition. The composition is the first design from the Heisei yakusha o-kagami series of five designs published in 1997 which was the artist's third kabuki actor series and featured actors in roles that he saw performed live in his capacity as an ear piece guide at the Kabuki-za in Tokyo.

This print depicts the actor Nakamura Utaemon VI (1917-2001) in the role of Agemaki from the play Sukeroku (Sukeroku). Agemaki is a sometimes intoxicated courtesan of the Edo pleasure district who is deeply in love with a hot-headed patron, Sukeroku. Sukeroku, as it turns out, has ulterior motives for picking fights around the pleasure houses. His father was murdered, and their family's ancestral sword was stolen. In enticing other guests to draw their swords, he is hoping to come upon the sword that was stolen. Driven by her love, Agemaki assists Sukeroku in his investigation, and stands by him when he finally encounters his foe, the evil samurai Ikyu.

Utaemon VI was regarded as one of the greatest post-war onnagata, and formally designated a Living National Treasure by the Japanese government in 1968. In spite of the advanced age which shows on his face, one can be assured that this man had the strength to perform what was a physically demanding role. The elaborate wig alone was a great burden, and one which he wore with grace.

References:
Arendie and Henk Herwig, Heroes of the Kabuki Stage, 2004, pp. 103-108 (re: play)
Paul Binnie: A Dialogue with the Past - The First 100 Japanese Prints, 2007, p. 86, no. 44

(inv. no. C-1755)

$650

Paul Binnie

Scottish, b. 1967

Jakuemon as Yatsuhashi
(Jaku no Yatsuhashi)

sumi ink sketch on paper, titled, signed and sealed at lower left, Jaku no Yatsuhashi, BINNIE, with artist's date seal Heisei hachi nen (1996)

19 1/2 by 12 3/8 in., 49.5 by 31.5 cm

A caricature sketch of the actor Nakamura Jakuemon IV (1920-2012) in the role of the tragic oiron (high-ranking courtesan) Yatsuhashi who is fated to be murdered by her spurned patron, Jirozaemon. Jakuemon was designated a Living National Treasure by the Japanese Government in 1991.

(inv. no. C-3460)

SOLD

Paul Binnie

Scottish, b. 1967

Large-head Kabuki Portraits: Nakamura Jakuemon as the Wisteria Maiden
(Kabuki okubi-e: Nakuamura Jakuemon- Fuji Musume)

with gold metallic printing on the yellow of the umbrella, the outlines of the leaves on the robe and the leaf pattern on the red lacquer comb, and fine silver mica on the entire purple background; signed at upper right, Binnie, with artist's circular kanji seal Bin-ni, the print title along the right margin, Fuji Musume- Nakamura Jakuemon, from a limited edition of 100, with date seal Heisei hachi-nen (Heisei 8 [1996]), and signed in pencil on the bottom margin, Paul Binnie, released ca. February-March 1997

dai oban tate-e 17 1/4 by 12 1/8 in., 43.9 by 30.8 cm

The actor Nakamura Jakuemon IV (1920-2012), designated a Living National Treasure by the Japanese government in 1991, is in the role of the Wisteria Maiden from the dance Fuji Musume (The Wisteria Maiden). Taught by the legendary onnagata Nakamura Utaemon VI (1917-2001), Jakuemon IV was likewise an accomplished onnagata and over his career performed in leading roles including Agemaki in Sukeroku, Hanako in Musume Dojoji, and Kasane in Kasane.

Fuji Musume is a transfixing performance with the onnagata presented as a spectacle of beauty, containing the traditional sections of a kabuki dance performed with accompanying lyrics: de (entrance dance); monogatari (narrative); kudoki (lamentation); odoriji (rhythmic finale); and chirashi (ultimate finale or scattering). While the lyrics are highly allusional, the poignant dance explores the universal themes of feminine love and heartbreak. That the role of Wisteria Maiden is reserved for only the most accomplished onnagata provides insight into the reverence which kabuki theater holds for that tradition, and the extent to which a master onnagata can still shape notions of femininity, grace, and beauty.

References:
James R. Brandon and Samuel L. Leiter, Kabuki Plays On Stage Darkness and Desire, 1804-1864, 2002, pp. 166-169 (re: play)
Paul Binnie: A Dialogue with the Past - The First 100 Japanese Prints, 2007, p. 84, no. 42

(inv. no. C-3141)

$650

Paul Binnie

Scottish, b. 1967

Nakamura Baigyoku as Togashi
(Nakamura Baigyoku no Togashi)

sumi ink on paper, titled in kanji at upper left, Nakamura Baigyoku no Togashi, signed at lower left BINNIE with artist's square date seal Heisei hachinen (Heisei 8 [1996])

19 3/8 by 13 in., 49.2 by 33 cm

Nakamura Baigyoku IV (b. 1946) performed this role in a production of Kanjincho (The Subscription List) at the Shinbashi Enbujo in February 1996 when Binnie was in Tokyo. Togashi Saemon, an aristocrat, was the guardian of the barrier who confronts Benkei, suspecting that he is harboring Minamoto Yoshitsune and his party disguised as wandering priests.

Reference:
www.kabuki21.com

$400

Paul Binnie

Scottish, b. 1967

Large-head Kabuki Portraits: Nakamura Ganjiro in the Love Suicides at Sonezaki
(Kabuki okubi-e: Ganjiro- Sonezaki Shinju)

with white mica highlights on the collar and hair ornament; signed at lower right, Binnie, with artist's circular kanji seal Bin-ni, the print title at upper right, Sonezaki Shinju- Nakamura Ganjiro, numbered in pencil at lower right, 21/100, with date seal Heisei hachi-nen (Heisei 8 [1996]), and signed in pencil on the bottom margin, Paul Binnie, ca. September 1996

dai oban tate-e 16 1/4 by 11 3/8 in., 41.3 by 29 cm

The actor Nakamura Ganjiro III (Sakata Tojuro IV, b. 1931) is in the role of Ohatsu from a performance in September 1994, depicted in the moment she agrees to commit suicide with her lover, from the play Sonezaki Shinju (The Love-Suicides at Sonezaki). The play was written for the puppet theater by the legendary playwright Chikamatsu Monzaemon (1653-1725), and was first staged on June 20, 1703. The play was based on a historical love-suicide, which occurred on May 22, 1703, less than a month before the play was first produced. A few years later, Sonezaki Shinju was adapted for the kabuki stage.

Ganjiro III was awarded the title National Living Treasure in the same year as this performance. He was involved in a number of Chikamatsu revival tours in the early 2000s, performing in Japan and abroad, as far afield as England, Russia, China, and the United States. Twice, he performed the role of Ohatsu opposite one of his sons in the role of Hiranoya Tokube, Ohatsu's tragic lover. In 1995, he performed with his younger son Nakamura Senjaku III (b. 1960) in Osaka, then in 2003 he performed in Russia with Nakamura Kanjaku (Nakamura Ganjiro IV, b. 1959). As of 2009, Ganjiro III had played Ohatsu on at least 1300 different occasions.

References:
Aubrey S. and Giovanna M. Halford, The Kabuki Handbook, 1956, pp. 303-306 (re: play)
Donald Keene, Major Plays of Chikamatsu, 1961, pp. 39-56 (re: play text)
Paul Binnie: A Dialogue with the Past - The First 100 Japanese Prints, 2007, p. 81, no. 39

(inv. no. C-1061)

$650

Paul Binnie

Scottish, b. 1967

Ennosuke's Nikki Danjo

pastel on grey paper, titled at lower left in pencil, ENNOSUKE'S Nikki Danjo, and signed at lower right, Paul Binnie, with artist's square date seal Heisei hachinen ( Heisei 8 [1996])

19 3/4 by 16 1/8 in., 50.2 by 41 cm

The actor Ichikawa Ennosuke III (b. 1939) is in the role of Nikki Danjo, a wicked magician who transforms into a rat and receives the bright red mark on his head when struck by a fan, from the play Date no Juyaku (Ten Date Roles), a revival of the classic story of palace intrigue in which Nikki Danjo and others attempt to kill the crown prince Tsuruchiyo of the Date household. The original kabuki drama, Meiboku Sendai Hagi (The Precious Incense and Autumn Flowers of Sendai), has over two centuries been adapted and staged under different names. The adaptation in which Ennosuke III is featured in this composition had the actor play ten roles in a single performance.

The actor is famous for revivals of older plays and particularly fond of keren (stage tricks), and therefore relished a revival production which demanded so many hayagawari (quick costume changes). Ennosuke III even updated Danjo's exit, having the character leave the stage by "flying," through the utilization of his famous chunori technique, from the stage up to the balcony seats. Chunori, a hidden wire stage trick, was especially popular in the Edo period and was returned to contemporary theater by Ennosuke III to bring joy and excitement back to kabuki.

This print was based on a broadcast recording of Ennosuke III’s performance at the Kabuki-za in July 1986.

(inv. no. C-1444)

$800

Paul Binnie

Scottish, b. 1967

Large-head Kabuki Portraits: Ichikawa Ennosuke as Nikki Danjo
(Kabuki okubi-e: Kabuki okubi-e: Nikki Danjo)

with mica on the dark purple background; signed at lower left, Binnie, with artist's seal, Bin-ni, numbered at upper right, 34/100, the print title below, Ichikawa Ennosuke, Nikki Danjo, with date seal Heisei hachi-nen(Heisei 8 [1996]), signed in pencil on the bottom margin, Paul Binnie, ca. April - May 1996

dai oban tate-e 16 1/8 by 11 1/2 in., 41 by 29.1 cm

The actor Ichikawa Ennosuke III (b. 1939) is in the role of Nikki Danjo, a wicked magician who transforms into a rat and receives the bright red mark on his head when struck by a fan, from the play Date no Juyaku (Ten Date Roles), a revival of the classic story of palace intrigue in which Nikki Danjo and others attempt to kill the crown prince Tsuruchiyo of the Date household. The original kabuki drama, Meiboku Sendai Hagi (The Precious Incense and Autumn Flowers of Sendai), has over two centuries been adapted and staged under different names. The adaptation in which Ennosuke III is featured in this composition had the actor play ten roles in a single performance.

The actor is famous for revivals of older plays and particularly fond of keren (stage tricks), and therefore relished a revival production which demanded so many hayagawari (quick costume changes). Ennosuke III even updated Danjo's exit, having the character leave the stage by "flying," through the utilization of his famous chunori technique, from the stage up to the balcony seats. Chunori, a hidden wire stage trick, was especially popular in the Edo period and was returned to contemporary theater by Ennosuke III to bring joy and excitement back to kabuki.

References:
James R. Brandon and Samuel L. Leiter, Kabuki Plays On Stage: Villainy and Vengeance, 1773-1799, 2002, pp. 50-52
Paul Binnie: A Dialogue with the Past - The First 100 Japanese Prints, 2007, p. 79, no. 37
(inv. no. C-1069)

$650

Paul Binnie

Scottish, b. 1967

The Governess Masaoka
(Masaoka)

kappazuri (stencil) print on gold-leaf paper, hand-signed in red pigment Binnie, and numbered ju roku (16) out of an edition of approximately 20, with red date seal Heisei nana-nen (Heisei 7 [1995])

obaiban tate-e 25 by 18 3/8 in., 63.4 by 46.6 cm

This composition depicts the actor Nakamura Jukuemon IV (1920-2012) in the role of Masaoka, the heroic nurse of the infant prince from the play Meiboku Sendai hagi (The Disputed Succession) as staged at the Kabuki-za in Tokyo in June 1993. Masaoka is largely responsible for foiling an attempted coup, led by the wicked Nikki Danjo. She allows her own son Senmatsu to eat poisoned cakes that Lady Yoshio (one of the coup plotters) had meant for the prince, and subsequently watches as Lady Yashio murders the child before the poison could take effect and reveal her treachery. Masaoka exacts revenge on the plotters, killing Lady Yashio and stealing a scroll which lists everyone involved in the coup. Her strength of character is reflected in this composition. Binnie affords the nurse a sense of regality, with her strong posture and the composition's golden background. The print admirably reflects the heroism that her character displayed on stage.

References:
Arendie and Henk Herwig, Heroes of the Kabuki Stage, 2004, pp. 243-249 (re: play)
Paul Binnie: A Dialogue with the Past - The First 100 Japanese Prints, 2007, p. 74, no. 32

(inv. no. C-3165)

$750

Paul Binnie

Scottish, b. 1967

Heron Maiden
(Sagi musume)

signed in kanji Bin-ni, with rectangular date seal Heisei go nen, ca. 1993

dai oban tate-e vertical diptych 34 5/8 by 11 5/8 in., 88 by 29.4 cm

This is the very first print that the artist carved and printed the blocks on his own. At this point, he was primarily interested in the effect of the printing process and was not concerned with the concept of producing a complete edition. There were very few impressions made, perhaps around twenty, and there are considerable variations between the impressions. For the first batch he produced using these blocks he used a relatively soft paper and the pigments were often mottled. This impression was part of a group he produced later for which he utilized a better quality thicker paper and sized it himself. The colors are more evenly applied and he brought out the wood grain in the grey/brown area of the umbrella.

Reference:
Paul Binnie: A Dialogue with the Past- The First 100 Japanese Prints, 2007, p. 43, no. 1

(inv. no. C-3389)

SOLD

Paul Binnie

Scottish, b. 1967

Backbend
(Ebizori)

with gold mica ground and karazuri (blind-printing) on the white collar; the title at upper right, Ebizori, signed in kanji at lower left, Bin-ni, with artist's circular seal Binnie, and date seal Heisei kyu nen (Heisei 9 [1997]), numbered, titled and signed in penciled English on the bottom margin, 46/50, Backbend, Paul Binnie, with oval kanji seal Bin-ni, currently in new acid-free mat (floated in corners) and framed with UV protective plexiglass

double-oban tate-e 26 1/8 by 19 in., 66.2 by 48.4 cm

During Binnie's period of residency in Tokyo, the kabuki actor Bando Tamasaburo V (b. 1950) was a favorite subject of the artist who actually met him in person a couple of times. This large format woodblock print depicts one of Tamasaburo's most spectacular dance sequences in the role of Sakura-hime (the cherry princess, who is also the ghost of the Heian poetess Ono no Komachi). During the scene, Sakura Hime is being threatened by the evil Otomo no Kuronushi (a rival poet) who wields a huge axe intending to chop down the cherry tree. The two engage in a pas de deux which culminates in a pose in which Sakura Hime bends dramatically backwards in a position known as ebizori (lit. 'prawn-bent') while Kuronushi holds the axe above her.

Binnie found the scene to be so mesmerizing he produced this ambitious work capturing how Tamasaburo appears to defy the limits of human flexibility as the long hair of the wig flows onto the stage floor. Lavishly printed with gold mica on the background and subtle embossing in the area of her white collar, this composition may be the only example of a portrait of a kabuki actor upside down in a print by any artist.

References:
Paul Binnie: A Dialogue with the Past - The First 100 Japanese Prints, 2007, p. 47, no. 52

(inv. no. C-3461)

SOLD

Paul Binnie

Scottish, b. 1967

A Great Mirror of the Actors of the Heisei Period: Bando Tamasaburo as the Spirit of the Heron
(Heisei yakusha o-kagami: Tamasaburo - Sagi musume)

the onnagata (actor in a female role) wearing a white robe decorated with a dark grey mica pattern of feathers against a deep blue bokashi ground; the series and print title cartouches at upper left, with hand numbered limited edition cartouche, jukyu/hyaku (46/100), signed below in kanji, Bin-ni, with red artist's seal Binnie, and date seal Heisei kyu-nen (Heisei 9 [1997]), signed in pencil on the bottom margin, Paul Binnie, 1997

dai oban tate-e 17 1/8 by 12 1/4 in., 43.5 by 31.2 cm

The actor Bando Tamasaburo V (b. 1950) is in the poignant role of the Spirit of the Heron from the dance Sagi Musume (The Heron Maiden) from his performance at the Kabuki-za in October 1993. Tamasaburo V is perhaps the most popular contemporary onnagata, and has received both the Living National Treasure award from Japan and the Commander of the Order of Arts and Literature award from France.

Sagi Musume is set beside a frozen pond in the middle of winter as confetti, simulating falling snow and sensitively depicted in the composition in white, grey, and purple, falls onto the stage. The Heron Spirit performs a number of transformations over the course of the dance. In the first section the spirit conjures a young maiden, dressed in a red kimono whose dance reflects the joy of love. However, the transformations are successively more bleak, culminating in the final change, which is depicted in this composition. The maiden lies upon the stage floor, suffering in hell for the frivolity of her youth. She is dressed in white and is depicted with deep sadness upon her face.

Reference:
Paul Binnie: A Dialogue with the Past - The First 100 Japanese Prints, 2007, p. 90, no. 49

(inv. no. C-3309)

SOLD

Paul Binnie

Scottish, b. 1967

Nihon Buyo Dancer

watercolor on paper, signed on the fan Po-ru with red kanji seal, Bin-ni, and signed and dated with white pigment at lower left, BINNIE 1998 with date 98 within a red circular reserve; signed and titled in pencil on verso: PAUL BINNIE Tokyo 1998 "NIHON BUYO DANCER", 1998

17 1/2 by 14 3/8 in., 44.6 by 36.6 cm

Nihon Buyo (lit. 'Japanese dance') is a style of dance based on techniques associated with the kabuki theater. Although Nihon Buyo is performed by male or female dancers, it is deeply rooted in the male-only kabuki traditions, and it is likely that the subject of this painting was young actor training with the kabuki theater.

$900

Paul Binnie

Scottish, b. 1967

Matsumoto Koshiro IX from the play Shibaraku

oil on canvas, signed BINNIE 95

framed 57 by 44 in., 144.78 by 11.76 cm

This large-scale portrait of the kabuki actor Matsumoto Koshiro IX (Matsumoto Hakuo II, b.1942) in the role of Kamakura Gongoro depicts the actor as he poses on the hanamachi (the long pathway from the rear of the theater to the stage) while delivering his tsurane (speech) during a highpoint in the play Shibaraku (lit. 'wait a moment').

Provenance:
Ronald Cavaye Collection, London, England

Published:
Paul Binnie: A Dialogue with the Past, The First 100 Japanese Prints, 2007, p. 41, no. 10

(inv. no. 10-5562)

SOLD

Paul Binnie

Scottish, b. 1967

Large-head Kabuki Portraits: Ichikawa Danjuro XII in Shibaraku
(Kabuki okubi-e: Kabuki okubi-e: Danjuro no Shibaraku)

finely printed with contrasting burnishing on parts of the actor's wig and gofun around the eyes; signed at upper right corner, Binnie, followed by artist's red kanji seal, Bin-ni; with date seal on upper right margin, Heisei hachi nen (Heisei 8 [1996), numbered in pencil below, 2/100, the title on the lower right margin, Ichikawa Danjuro, Shibaraku, and signed in pencil on the bottom margin, Paul Binnie, ca. February - March 1996

oban tate-e 17 1/4 by 12 5/8 in., 43.8 by 32 cm

The actor Ichikawa Danjuro XII performed the iconic role of Kamakura Gongoro Kagemasa, (aka ‘Shibaraku’) in November 1995 at the Kabuki-za in Tokyo. The Shibaraku ('wait a moment') role, long the mainstay of the Danjuro line of actors, is arguably the most famous of all kabuki roles, not only for its popularity among the fans (representing a moment of high tension within a play), but also because the costume and make-up translate so well graphically into two-dimensional compositions. But perhaps what is most striking about this interpretation is that in addition to utilizing the bold colors and lines of the costume to create a strong composition, Binnie also manages to capture a sensitive portrait of the actor himself.

Although there is no series title on the print, Binnie includes this work as part of his Kabuki-e Okubi-e (Large-head Portraits of Kabuki) series, and this design is the first color woodblock print that he produced after leaving the studio of his teacher, the master printer Seki Kenji, who had been the head printer for Doi Publishing.

Published (this impression):
Paul Binnie: A Dialogue with the Past - The First 100 Japanese Prints, 2007, p. 76, no. 34

(inv. no. C-1997)

$650

Paul Binnie

Scottish, b. 1967

Watercolor Painting of Actor Enjaku as Otokonosuke

watercolor on paper, signed at upper left in kanji Bin-ni, with red oval artist's seal Bin-ni, and in English, BINNIE, titled on verso, (ENJAKU) Setting the wig for 'Otokonosuke' in "Meriboku Sendai Hagi" Act 4, ca. 1995

15 1/8 by 10 1/2 in., 38.5 by 26.8 cm

The actor Jitsukawa Enjaku III (1921-1991) performed this role in a production of Meiboku Sendai Hagi at the Kabuki-za in October 1995. In the play, Arajishi Otokonosuke was a faithful retainer of the samurai Yorikane standing guard in the floor below Yorikane's son Tsuruchiyo. Tsuruchiyo was the assassination target of the evil magician Nikki Danjo and his co-conspirators. When Otokonosuke spots a rat who has stolen a scroll listing the names of all the conspirators, he hits the beast with his heavy iron fan. The rat is injured but manages to escape and transforms into his true form as Nikko Danjo.

The watercolor shows the actor wearing red kumadori makeup and about to put on the character's wig with the help of his dresser.

Reference:
www.kabuki21.com

(inv. no. C-1423)

$850

Paul Binnie

Scottish, b. 1967

Large-head Kabuki Portraits: Ichikawa Danshiro as Benkei
(Kabuki okubi-e: Kabuki okubi-e: Goh'iki Kanjinchou- Danshiro Benkei)

signed at upper left, Binnie, followed by artist's circular kanji seal, Bin-ni, the play title at upper right, Gohi'iki Kanjinchou, followed by the role and the actor, Benkei - Ichikawa Danshiro, numbered in pencil at lower right, 7/100, with date seal, Heisei hachi-nen (Heisei 8 [1996]), and signed in pencil on the bottom margin, Paul Binnie, ca. June 1996

oban tate-e 16 1/4 by 11 1/2 in., 41.2 by 29.2 cm

The Actor Ichikawa Danshiro IV (b. 1946) performed the role of Benkei from the play Gohi'iki Kanjincho (The Great Favorite Subscription List) in July 1994 at the Kabuki-za in Tokyo. The play is set at the end of the 12th century, following the defeat of the Heike clan. Benkei and his lord Yoshitsune sneak past a group of guards in the guise of priests. The beloved dance drama is still performed to this day, and was observed by the artist as he was composing this design.

Reference:
Paul Binnie: A Dialogue with the Past - The First 100 Japanese Prints, 2007, p. 80, no. 38

(inv. no. C-1996)

$650

Paul Binnie

Scottish, b. 1967

A Great Mirror of the Actors of the Heisei Period: Ichikawa Danjuro as Benkei in Kanjincho
(Heisei yakusha o-kagami: Danjuro - Benkei)

the series and print title cartouches at upper left, with hand numbered limited edition cartouche, sanjuni/hyaku (36/100), signed below in kanji, Bin-ni, with red artist's seal Binnie, date seal Heisei kyu-nen(Heisei 9 [1997]), numbered and signed in pencil on the bottom margin, 36/100, Paul Binnie, 1997

dai oban tate-e 16 3/8 by 12 1/4 in., 41.7 by 31 cm

This woodblock print illustrates Ichikawa Danjuro XII (1946-2013) in the popular role of Benkei from the dance drama Kanjincho (The Subscription List). Danjuro XII, an acclaimed tachiyaku (specializing in male roles), was the most recent actor to carry the legendary name established in 1693 by Ichikawa Danjuro I (1660-1704). It is widely assumed that his son, Ichikawa Ebizo XI (b. 1977, who recently put on a spectacular performance only a block away from our gallery at Carnegie Hall in March 2016), will assume the Ichikawa Danjuro name at some point in the near future.

Reference:
Paul Binnie: A Dialogue with the Past - The First 100 Japanese Prints, 2007, p. 89, no. 48

(inv. no. C-3311)

$650

Paul Binnie

Scottish, b. 1967

A Great Mirror of the Actors of the Heisei Period: Actor Ichikawa Ennosuke as the Demon Kurozuka
(Heisei yakusha o-kagami: Ennosuke - Kurozuka)

with mica on the hair and collar; the series and print title cartouches at upper left, with hand numbered limited edition cartouche, sanjuyo/hyaku (25/100), signed in silver below, Bin-ni, with red artist's seal Binnie, and date seal Heisei kyu-nen (Heisei 9 [1997]), numbered in pencil on the bottom margin, 25/100, and signed Paul Binnie, 1997

dai oban tate-e 16 3/4 by 12 in., 42.4 by 30.4 cm

The actor Ichikawa Ennosuke III (Ichikawa Eno II, b. 1939) is in the role of the old woman Iwate, who is in reality a demon, from the play Kurozuka (Kurozuka) staged at the Kabuki-za in Tokyo in July 1995. The play is a dance drama, first staged in 1939, about a group of travelling priests who request lodgings at Iwate's home. She welcomes them and tells them the story of her past, but warns the priests to never look into her room. A priest named Tarogo disobeys her command, and in her anger she turns into a demon and vanishes from the house. The priests pray, in the hopes of bringing the demon back to the world and finding it salvation. She returns, and the priests manage to sap Iwate of her strength and defeat the evil within her.

Reference:
Paul Binnie: A Dialogue with the Past - The First 100 Japanese Prints, 2007, p. 91, no. 50

(inv. no. C-3312)

$650

Paul Binnie

Scottish, b. 1967

The Famous 18 Plays: The Thunder God
(Kabuki ju-hachiban: Narukami)

kappazuri (stencil print) on black washi paper with highlights in gold and silver pigment; signed in the composition, Binnie, signed and numbered at bottom margin in red crayon, Paul Binnie 21/80, followed by artist's seal bin-ni, and date seal Heisei roku-nen (Heisei 6 [1994]), ca. June 1994

dai oban tate-e 18 1/4 by 12 3/8 in., 46.5 by 31.5 cm

This composition is the fourth from the series Kabuki ju-hachiban (The Famous 18 Plays) and depicts Matsumoto Koshiro IX (b. 1942) as the titular character transformed into a thunder god from the play Narukami (The Thunder God) staged at the Kabuki-za in Tokyo in June 1994.

Reference:
Paul Binnie: A Dialogue with the Past - The First 100 Japanese Prints, 2007, p. 56, no. 14

(inv. no. 10-2848)

$650

Paul Binnie

Scottish, b. 1967

group of 5 sheets of watercolor sketches from kabuki-za dress rehearsal

watercolor on paper, titled, dated, and signed on all paintings, Dress Rehearsal Kabuki-za, 5/31/93, BINNIE, with artist's oval seal Bin-ni, and signed in kanji Bin-ni on the 5th sheet, 1993

each approximately 12 1/8 by 17 1/8 in., 30.9 by 43.4 cm

These five watercolor sketches were made during a dress rehearsal at the Kabuki-za at the end of May 1993. The plays on the June 1993 bill at the Kabuki-za were Meiboku Sendai Hagi, Keya-mura (Act 9 of Hikosan Gongen Chikai no Sukedachi), Suo Otoshi, Momoku Monogatari, and Renjishi. From the inscription on the fifth sheet referencing Nikki Danjo and the “Trial Scene,” it is clear that it (and likely one or more other sheets) depicts scenes from Meiboku Sendai Hagi. Starring in that particular production were Matsumoto Koshiro IX as Nkiki Danjo, Nakamura Tomijuro V as both Yashio and Hosokawa Katsumoto, Ichikawa Sadanji IV as Arajishi Otokonosuke, Nakamura Jakuemon IV as Masaoka, Kawarazaki Gonjuro III as Sakae Gozen, Tachikawa Yamato as Senmatsu, and Kikujima Sachie as Tsuruchiyo.

Reference:
www.kabukidb.net

(inv. no. C-1455)

$750

Paul Binnie

Scottish, b. 1967

Kabukicho Color Separation Proofs

two hand-colored keyblock proofs with annotations regarding block separations along left edge (folded beneath each sheet), ca. 2020

diptych 16 3/8 by 20 7/8 in., 41.5 by 52.9 cm
with separation notes 16 2/8 by 25 3/8 in., 41.5 b

The Kabukicho diptych is part of Binnie's Pictorial Allussion, Reused Blocks series in which he challenges himself to incorporate antique woodblocks into new compositions. For this diptych he drew inspiration from a complete set of reproduction woodblock for a design by Toshusai Sharaku (active ca. 1794-95) featuring two kabuki actors seen on the right-hand sheet. The annotations for the left sheet indicate 13 color separations that are achieved with 5 double-sided blocks; and the right sheet likewise indicates 13 separations on 4 double-sided blocks plus all the blocks from the Sharaku set (7 double-sided blocks). However, each block was used multiple times for different colors and hues, resulting in total of 81 printings of different colors.

(inv. no. C-2078)

SOLD

Paul Binnie

Scottish, b. 1967

Pictorial Allusions, Reused Blocks: Kabukicho
(Honga dori: Honga Dori: Kabukicho)

the series title, Honga Dori, in silver kanji at top of right sheet (incorporated into pink neon street sign) and the print title in red kanji, Kabukicho (incorporated into yellow sign at top right, and the ichiban-gai gate) signed in kanji, Bin-ni, on lower left followed by red artist's seal, Binnie, and silver seal on lower right, Binnie signed in pencil at bottom of right sheet, Paul Binnie, from an edition of 100, 2020

obaiban tate-e diptych 16 1/2 by 20 3/4 in., 42 by 52.7 cm

This diptych merges images from the past and present, combined together to create one striking piece. On the left two young contemporary women, in casual street clothes, stand amongst a bustling scene in the heart of Tokyo's entertainment district. With cellphone in hand ready to capture the moment they look coyly over to the right, intrigued by the two muted figures from the past who appear before them. With their traditional attire and mannerisms, the ghostly pair seem to be absorbed in the tasks they were performing from their 18th century Edo existence.

The two Edoites were created using antique reproduction wood blocks from a design originally by Toshusai Sharaku (fl. 1794-1795) depicting the kabuki actors Matsumoto Koshiro IV (fl. ca. 1780-1802) and Nakayama Tomisaburo I (ca. 1760-1818). The Sharaku signature is incorporated into the pink sign on the edge of the right sheet. In order to bring to mind traditional ukiyo-e prints of the past, the actors were printed with a neutral palette of colors representative of ones that were used in 18th century printmaking.

The brightly lit and colorful city scene that surrounds the actors is Binnie's own design. The neighborhood depicted is Kabukicho, an area in Shinjuko, Tokyo, which was developed in the post-war period from the burned-out rubble of the city. It was named for an expected kabuki theater as its center point, which for various reasons was never built. Nevertheless, the name Kabukicho stuck, and today the district teems with energy from diverse entertainments offered by numerous bars, restaurants, karaoke rooms, love hotels, and hostess clubs. The observers in the crowd are drawn from real people, and in classic ukiyo-e fashion, the artist incorporated word games into the signs above. Kabukicho, the print title, and Honga Dori, the series title, appear along the phrase 'cho beri kabuki' (it's really very kabuki) on the right sheet. The left sheet poses a question with the answer; 'Ukiyo-e? ukie yo!' (Is it ukiyo-e? It's a perspective picture [uki-e] in fact!)

$1,100