1894-1979
Kanpos Creative Prints, First Series: The Geisha Hinazo
(Kanpo Sosaku-Hanga Shu Daiishu: Hinazo)
wearing a blue kimono decorated with a white morning glory pattern, her cream colored obi decorated with purple and green wave roundels, the dark grey background embellished with mica; dated and signed, Taisho juichinen shoka (Taisho 11 [1922], early summer), Kanpo, followed by the red rectangular publisher's seal, Sato Sho han (Sato Shotaro), and sealed again at the lower left corner, Sato Sho, blocks carved by Maeda Kentaro, ca. 1922
dai oban tate-e 16 1/4 by 11 3/8 in., 41.4 by 29 cm
This design is the fifth from a series of six published by Sato Shotaro from 1922-1924 with the blocks carved by Maeda Kentaro and printed by Oiwa Tokuzo in limited editions of 200. While this print does not have the printed limited edition seal found on verso of the earliest edition, a side by side comparison with one example reveals virtual no other differences- a testament to quality of Sato Shotaro'd production standards as well as the remarkable consistency of a highly-skilled printer.
References:
Kendall H. Brown, et. al., Light and Darkness: Women in Japanese Prints of Early Showa (1926-1945), Fisher Gallery, University of Southern California, 1996, p. 48, cat. no. 46 (Maiko, without mica)
Dorothy Blair, Modern Japanese Prints, The Toledo Museum of Art, 1933 (1997 reprint), no. 331
Ukiyo-e Modern, Machida City Museum of Graphic Arts, 2005, p. 62, no. 202
Koyama Shunko, Beautiful Shin Hanga- Revitalization of Ukiyo-e, Tokyo Metropolitan Edo-Tokyo Museum, 2009, p. 144, no. 3-62 (without mica)
Carolyn M. Putney, Fresh Impressions: Early Modern Japanese Prints, Toledo Museum of Art, 2013, p. 321, cat. 337
Ukiyo-e Modern, Machida City Museum of Graphic Arts, 2018, p. 31, no.32 (without mica)
ABE Shuichi, Prints of Japanese Beauties in the 20th Century, 2022, p. 110, no. 161 (without mica)
(inv. no. 10-1015)
price: $2,200