Shinsui

Ito Shinsui

1898-1972

Eight Views of Omi: Complete Set

complete set of eight aiban; each dated Taisho 6 [1917] and signed Shinsui, with limited edition publisher's seal on verso, Ito Shinsui ga, Omi hakkei shusatsu nihaku mai kagiri no uchi dai sanjuyon ban (picture by Ito Shinsui, Eight Views of Omi, limited edition of 200, number 34) with publisher's seals hanmoto, Watanabe, 1917

each approximately 12 5/8 by 8 5/8 in., 32 by 22 cm

Accompanied by original portfolio as isued by Watanabe with original (unfortunately acid) mats.

In his early collaborations with Watanabe Shozaburo (1885-1962), Shinsui produced both landscapes and bijinga. When Kawase Hasui (1883-1957) saw the prints from this series he was inspired to become a woodblock print artist himself. After Watanabe was able to add Hasui to his circle as a landscape artist, it seems Shinsui, already recognized for his depictions of women, became more defined as a bijinga artist, and produced few subsequent landscapes until the late 1930s.

References:
Kato, Junzo, comp., Kindai Nihon hanga taikei, 1975-76, Vol. 1, pls. 169-176
Tadasu Watanabe, Ito Shinsui: All the Woodblock Prints, 1992, pp. 34-39, pls. 14-18
Amy Reigle Stephens, gen. ed., The New Wave: Twentieth-century Japanese Prints from the Robert O. Muller Collection, 1993, pp. 183-186, pls. 234-239
Nihon no hanga II (1911-1920), Chiba City Museum of Art, 2000, pp. 112-113, pls. 223-1 - 223-8
Koyama Shuko, Beautiful Shin Hanga- Revitalization of Ukiyo-e, Tokyo Metropolitan Edo-Tokyo Museum, 2009, pp. 064-071. nos. 2-28 -- 2-37
Amy Reigle Newland, ed., Printed to Perfection: Twentieth-century Japanese Prints from the Robert O. Muller Collection, 2004, pp. 106-111, pls. 93-100
Andreas Marks, Seven Masters: 20th Century Woodblock Prints from the Wells Collection, Minneapolis Institute of Arts, 2015, pp. 106-109, nos. 48-55

(inv. no. C-3103)

price: Sold


Ito Shinsui

limited edition seals 34/200

kikumon

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