Posted by Gary G. on April 16, 1997 at 07:41:29:
In Reply to: Re: Yoshida print editions posted by Gary G. on April 15, 1997 at 10:36:35:
: : 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.
Do any of you, who were fortunate enough to be in Japan when Hiroshi Yoshida was still alive and working, have any comments or anedotes about your experiences with him. What was he like? And what about his studio?