Posted by Gary G. on April 15, 1997 at 10:36:35:
In Reply to: Yoshida print editions posted by Scot Boyd on April 15, 1997 at 03:29:06:
: Are the Toshi Yoshida commemorative prints,
: (from blocks cut in the 30's and 40's but
: produced years later) any less valued to
: collectors? What is the background of these
: editions? His vibrant colors bring the page to
: life.
Hi Scot,
I think you are referring to the commemorative impressions of a selection of Hiroshi Yoshida's
prints published by Toshi Yoshida in 1985. Such as the "Azalea Garden" in our current auction.
These prints are and will continue to be less valuable than the original "JIZURI" edition.
I can offer a brief explanation of the different editions and their importance to the collector.
The first edition, was produced by Hiroshi and his specially trained and expert studio. Hiroshi
took an active role in the production of each print. Sometimes cutting the sensitive blocks himself,
as well as, printing them when he felt it was needed. He intensely studied and experimented
with woodblock printmaking. In fact, he wrote a book on the subject. He would scrutinize the
prints when they were completed and those that he felt were the best that he could produce were
graced with his "JIZURI" (trans. self-made) seal, stamped in the margin. In his writings he lists
these editions as 100, normally. They were also hand-signed. In the postwar period, Yoshida was
quite popular and no longer took an active role in the printing process, leaving that to his studio.
He would sign the prints, but not use the "JIZURI". After his death, the studio continued to
print his works with a stamped signature. In 1985, to celebrate a major exhibition of Hiroshi
Yoshida's prints in Japan, Hiroshi's son, Toshi (an artist in his own right) published a number
of his father's prints in commemoration, from the original blocks. These prints were of very
high quality and according to Toshi limited to 300 impressions, while the quality of workmanship
in the other postwar prints is not at all consistant.
The fact remains, however, that none achieve the level of greatness exhibited by those produced
by the artist's own hand. The later editions will continue to be collected as an alternative to
the first editions and, indeed, have a magic to them. As the first editions disappear completely
into private collections and museum vaults the later editions will become even more collectible.
Condition is very important in Hiroshi's work, no matter what edition. In order to fully experience
his genius, the prints must be in the same state as when they left his studio. In the "JIZURI" the
color and it's subtle gradations are so sensitive and precise, that the slightest degradation diminishes the
effect exponentially. Flawless first editions are rare and valuable. Of the later editions, the
commemorative prints are of a high quality and can be acquired in a flawless state, which is difficult
with the other late editions.