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Toshi Yoshida, Tiger, Original Japanese Woodblock Print Artist: Toshi Yoshida (1911-1995) Title: Tiger Publisher: Yoshida Family Date: 20th century (originally printed in 1926) Size: 23.9 x 32.4 cm Condition: Good for age, posthumous. Ref: JGA95

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Toshi Yoshida, Tiger, Original Japanese Woodblock Print Artist: Toshi Yoshida (1911-1995) Title: Tiger Publisher: Yoshida Family Date: 20th century (originally printed in 1926) Size: 23.9 x 32.4 cm Condition: Good for age, posthumous. Ref: JGA95

Estimate 300 - 400 GBP
Starting price 300 GBP

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For sale on Saturday 17 Aug : 14:00 (BST)
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TOSHI: A FINE LACQUER INRO WITH BONSHO AND NOH MASK WITH MANJU NETSUKE TOSHI: A FINE LACQUER INRO WITH BONSHO AND NOH MASK WITH MANJU NETSUKE By Toshi (Iizuka Toyo III), signed Toshi byo with kakihan Japan, late 18 th to early 19 th century, Edo period (1615-1868) The single-case inro of oval form with a rare, orange and black lacquered ground resembling tortoiseshell, further worked with gold, silver, and red takamaki-e-e, depicting a bansho (temple bell) on one side and a Noh theater mask, an eboshi (hat), and a fan, referencing the tale of Anchin and Kiyohime. Signed to the base TOSHI BYO with kakihan (artist’s cursive monogram). With coral ojime and lacquered manju netsuke worked in gold takamaki-e with a cricket and root vegetable, signed by the same artist to the reverse TOSHI with kakihan. HEIGHT 7.6 cm (inro), LENGTH 1 cm (ojime), DIAMETER 3.2 cm (netsuke) Condition: Very good condition with minor wear, surface scratches, and few tiny nicks here and there. The tale of Anchin and Kiyohime forms the basis of a collection of plays termed Dojoji mono (Dojo-ji Temple plays), depicting an event some years after the temple bell was destroyed. These plays include the Noh play Dojoji and the Kabuki dance drama Musume Dojoji. The legend, connected with the founding of the Dojo-ji temple in Kii Province (modern-day Wakayama Prefecture), relates how a priest named Anchin from Shirakawa in Oshu province made a pilgrimage to the Kumano Shrine lodged at the home of a shoji (steward of a shoen manor) of Manago/Masago, where the manor official’s daughter Kiyohime fell in love with the young monk. In order to avoid her, he deceived her with a false promise to return and continued his journey. Kiyohime became furious by his rejection and pursued him in rage. At the edge of the Hidaka River, Anchin asked a ferryman to help him to cross the river, but told him not to let her cross with his boat. When Kiyohime saw that Anchin was escaping her, she jumped into the river and started to swim after him. While swimming in the torrent of the Hidaka river, she transformed into a serpent or dragon because of her rage. When Anchin saw her coming after him in her monstrous new form, he ran into the temple called Dojo-ji. He asked the priests for help and they hid him under the bonsho bell of the temple. However, the serpent smelled him hiding inside the bell and started to coil around it. She banged the bell loudly several times with her tail, then gave a great belch of fire so powerful that it melted the bell and killed Anchin. Auction comparison: Compare a related four-case inro by the same artist, depicting symbols representing festivals with en suite netsuke, signed Toshi byo, at Christie’s, The Harriet Szechenyi Sale of Japanese Art, 8 November 2011, London, lot 370 (sold for GBP 2,375).

HIROSHI YOSHIDA: HIROSAKI CASTLE HIROSHI YOSHIDA: HIROSAKI CASTLE By Hiroshi Yoshida (1876-1950), signed Yoshida with seal Hiroshi Japan, dated 1935 Color woodblock print on paper. Vertical oban. Signed Yoshida with seal Hiroshi, further signed in pencil in Roman script to the outer-lower margin Hiroshi Yoshida, seal: jizuri (self-printed). Title Hirosaki Jo (Hirosaki Castle), from the series Sakura hachidai (Eight Views of Cherry Blossoms). Illustrating a view of Hirosaki castle, the seat of the Tsugaru clan, partially obstructed by the blooming cherry blossoms. SIZE of the sheet 40.6 x 27.5 cm Condition: Good condition with minor wear. Very good impression with vivid colors. Slight browning of paper and minor foxing. The jizuri seal is the most important mark on a Hiroshi Yoshida print as it helps distinguish an early edition where the printing process was directly supervised by him. Jizuri means "self-printed" and indicates that Hiroshi Yoshida played an active role in the printing process of the respective print. Hiroshi focused heavily on developing prints of the highest quality and normally only the prints with the best impressions received his jizuri seal. Hiroshi Yoshida (1876-1950) began his artistic training with his adoptive father in Kurume, Fukuoka prefecture. Around the age of twenty, he left Kurume to study with Soritsu Tamura in Kyoto, subsequently moving to Tokyo and the tutelage of Shotaro Koyama. Yoshida studied Western-style painting, winning many exhibition prizes, and making several trips to the United States, Europe and North Africa selling his watercolors and oil paintings. While highly successful as an oil painter and watercolor artist, Hiroshi Yoshida turned to woodblock printmaking upon learning of the Western world’s infatuation with ukiyo-e. While widely traveled and knowledgeable of Western aesthetics, he maintained an allegiance to traditional Japanese techniques and traditions. Museum comparison: A closely related print, also bearing the jizuri seal, is in the collection of Museum of Fine Arts, Boston, accession number 50.2501.