SANAI FINE ART & ANTIQUES

Very Rare Mori Yoshitoshi's Kappa zuri, Sandogasa 1978

Very Rare Mori Yoshitoshi's Kappa zuri, Sandogasa 1978


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Directory: Vintage Arts: Regional Art: Asian: Japanese: Woodblock Prints: Pre 1980: Item # 1274333

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 Special $1,250.00 w/ems/ins.
Item was $2,750.00
 
The size of framed : 16 1/2" Wide x 23" Long.
Imaze area size: 13 1/2" Wide x 18 1/2".
Artist* Mori Yoshitoshi(1898-1992).
Title of print: Snadogasa 1978.
The year of pinted: 1978, Y. Mori 78 on lower right on printing.
Signature : on lower right with pencil signed, Yoshitoshi Mori, then red seal of Yoshitoshi.
The condition of print: Excellent.
This is very rare Kappazuri(stencil) work by Mori Yoshitoshi in 1978. The subject is Sandogasa, straw hat which were worn first by Mail carrier who in Edo period, but later year many travelers starting use them. Very unique and unusual Kappazuri work by Yoshitoshi. I checked around all of internet, US as well as Japan, there is no record of Sandogasa 1978 which I could not find. That much rare piece I can tell. Very unique and Shibui subject of traveler's expression with Sandogasa. The condition of print excellent in original frame came from Kanda Gallery in Tokyo, Japan. There is also the profile copy of Mori Yoshitoshi attached on thbe back. Since the original backing from Japan, I did not check the print as other antique Ukiyoe-print because no need to check with removing original backin etc. The condition of black frame is very good except little bit wear on frame.

Yoshitoshi Mori ( 1898-1992 ) was born in Tokyo in 1898. He studied art at the Kawabata School of Fine Arts, and worked primarily in textile arts for many years. He was outstanding creator of design for fabrics. It was during this time that he met and worked with Serizawa Keisuke and Yanagi S?etsu, studying stencil-dyeing techniques and becoming involved in the mingei movement. It was not until the 1950s that Yoshitoshi began creating works on paper after receiving encouragement from Yanagi Soetsu, he quickly becoming known as one of the key artists of the s?saku hanga movement. He was criticized by Yanagi S?etsu in a major debate in 1962, who accused Yoshitoshi of abandoning the mingei movement, after which he distanced himself from the movement even more so, and began to focus more exclusively on kappazuri (stencil) prints oshitoshi is said to have influenced several major 20th century print artists, including Shik? Munakata and Hiromitsu Takahashi. Yoshitoshi exhibited his works in numerous one-man shows in Japan in the 1960s, and took part in thirty international exhibitions between 1957 and 1977. He was awarded an honorary doctorate by Maryland University in 1984, and was formally honored by the Tokyo Metropolitan Government. He died on May 29, 1992, immediately following the end of what would be his final one-man gallery show, held at the Wako Gallery Tokyo.

Kappa Zuri(Stencil printing), a technique related to "Kataozme"("stnecil dyeing"). Kazataome is said to have originated in Okiname(method there was called "bingata"). The paper mos widely used in Japn for sencil printing is calles"shibugame" made from several layers of "Kozo" pater lamited with persimmon tannin. The sheets are dried and smaoke-cured to strengthen them and make them flexible and waterproof. Once the artist makes a drawing, it is fexed to the "Shibugami" with thin adhesive. The basic pattern is then carved into a key impression stencil called Omogata. If colors will also be used for the final design, separate stenciles are sometimes cut of each color. The first stage of the printing process involves the application and drying of a dye-resit paste to cover all the portions of the design to be left unprinted by the design. The pattern and colors can bhen be brushed over the stencil while affecting only those ares without resit paste. Typically the first colors printed are the lighter areas so that darker colors can be over printed. After all the colors are pinrted and ried, the key impression stencil is finally used to print the key design over all the previous colors. The dye resit paste is then washed off(called misumot, to wash by water) and the paper is dried on a wood board.