Paul Binnie, Scottish, b. 1967

A Hundred Shades of Ink of Edo: Yoshitoshi's Ghosts
(Edo zumi hyaku shoku: Yoshitoshi no Bakemono)

the series title cartouche in the upper right margin, the print title to the left with the first portion, Yoshitoshi no, in the style of Yoshitoshi's signature, and a grotesque Okame representing the bakemono, signed in gold kanji, Bin-ni, with artist's skull-shaped seal that forms the letters Binnie, numbered and signed in pencil on the bottom margin, 29/100 Paul Binnie; ca. May - July 2004

oban tate-e 16 7/8 by 11 1/2 in.
42.8 by 29.1 cm

Reference:
Paul Binnie: A Dialogue with the Past - The First 100 Japanese Prints, 2007, p. 118, no. 81

SOLD

Paul Binnie, Scottish, b. 1967

Celadon Censer

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, Celadon Censer, Paul Binnie, ca. May - June 2004

oban tate-e 16 7/8 by 11 1/2 in.
43 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. 119, no. 82

SOLD