Doi seal in the lower left of image area. Title and artist seal at lower left. Dating is from the corresponding large-oban sized strike. Most Koitsu postcards were probably first published in the s. This artwork is from my personal collection and is not for sale. He had planned to apprentice with Matsuzaki, a carver for the artist Kobayashi Kiyochika, but instead, he became Kiyochika’s apprentice and moved into his home to study art and print design. It is through Kiyochika that Koitsu gained his trademark skill in the subtle use of light and shadow for his landscape prints. Koitsu lived with Kiyochika for 19 years and was considered more a member of Kiyochika’s family than an apprentice. He worked and studying with Kiyochika until around Meiji 36 In Taisho 11 he moved to his wife’s place of birth in Chigasaki City and lived there until his death.
UKIYO-E Q & A
Japan then enjoyed the security and the comforts of peace and prosperity. After a time, the middle class with a sudden excess of money but a minimum of freedom began to enjoy the “life of pleasure. Thus Ukiyo-e was born, with it’s depiction of this decadent, almost hedonistic society. Sensual courtesans dressed in the most popular and stylish costumes were portrayed and dramatic scenes from kabuki plays dominated the subject matter of the prints. A Japanese Woodblock Print is said to be the work of the designer, but in actuality it is the combined efforts of three separate artisans — the artist, the woodblock cutter and the printer.
A master artist first draws his design which is then pasted down on a finely prepared cherry woodblock.
Japanese Ink Painting, Japanese Prints, Japanese Art, Modern Art Prints, Art Reproductions, Art Studies, Woodblock Print, Japanese Culture, Shin Find this .
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Recently a threesome of “same-image” prints came our way–of course, giving us the opportunity for a direct side-by-side comparison of these three prints. The image of which we speak is the beautifully shaded “interior view” of Eisho Narazaki’s print, “Interior of Asakusa Temple,” seen just below. NARAZAKI’s print, “Interior of Asakusa Temple” — “C-seal,” “D-seal,” and “6mm-seal” The interesting thing which was immediately noted was the different location choose for “seal placement” in the print’s two earliest states, and then, the realization that the print’s “margin-dating” which is carved into the print’s “key-block” had been carved OFF prior to the printing of the two later examples.
While we were well familiar with this practice of carving OFF a print’s “margin-dating” once a print’s “first edition” printing had been completed with respect to prints published by Unsodo Publisher, we did not immediately recall seeing this practice having been done by Watanabe Publisher. To learn more about this removal of “margin-dates” by Unsodo, please see our discussion given in our “Quick Reference” article titled “The Seals of Unsodo Han.
Seemingly then, at least then in the case of this Watanabe-published print by Narazaki, Watanabe has mirrored the Unsodo Publisher’s practice of “date removal” once a print’s first edition printing is completed.
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You can also search www. Although Julius Komjati lived most of his life in his native Hungary, the ten year period he worked and lived in London had a profound impact upon the course of British etching. Born in Hungary, Komjati was the son of an inspector of forests. While still a student he was drafted for service during the First World War. In he was captured by the Romanians and was imprisoned for a period of sixteen months.
He was one of two thousand survivors of an original sixteen thousand captives. Kenneth Guichard writes, “The terrible experiences he suffered found poignant expression in the etchings, some of which are not calculated to appeal to those in search of comfortable subjects.
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Please note, many Doi seals are very similar and one needs a close look to figure out the differences. The “Doi Hangaten” publisher’s seal however comprises five characters in it’s left half, a simple fact, which assists the identification. Note–this seal is not “framed” compared to all later seals. On top of the name “Doi Teiichi” we find the four characters “hanken shoju” in a square arrangement.
C – “Triple offset boxes” arrangement. Left side, upper box reads “Doi Teiichi”, right side “hanken shoju”.
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The set comprises the complete six cherry wood blocks and a single Kyoto Hanga-in print made from the blocks. Five of the blocks are double-sided and one is carved on a single side. One of the blocks is carved with images for two separate colors one side of the block. A total of twelve colors were used to produce this image. The key block features all the black lines in the print, and is carved with incredible precision and fine line work. Pigments remain on the blocks, including a variety of blues and grays, yellow, red, green, and light red brown.
Paper remnants of the hanshita or preparatory drawing are still glued to some of the blocks. The colors were registered by aligning each print along an L-shaped kento mark on the lower right corner of each separate image.
Hodo 40 Unfortunately I do not know much about S. Saito too , but I need further research data before I can conclude anything. In any case, his paintings were often sold via the publisher Takemura Hideo, with an accompanying sticker containing the publisher’s details on the verso. Saito is with little doubt Saito Hodo who published woodblock prints via Takemura Hideo.
I have image examples of a woodblock print and a watercolour of the same scene, one signed ‘Hodo’ and the other signed ‘Saito H. You can find two woodblock prints in my gallery here and here Artist:
Tsuchiya Koitsu (–), Sailboats at Maiko Beach. Printmaking Japanese Dating Japanese Woodcut Japanese Prints Woodblock Print Japan Art Chinese Art Moonlight Arte Occidental. In the s he published bird and animal prints, landscapes and “famous views” with the publisher Unsodo – alltogether more than
Hodo 40 Unfortunately I do not know much about S. Saito too , but I need further research data before I can conclude anything. In any case, his paintings were often sold via the publisher Takemura Hideo, with an accompanying sticker containing the publisher’s details on the verso. Saito is with little doubt Saito Hodo who published woodblock prints via Takemura Hideo. I have image examples of a woodblock print and a watercolour of the same scene, one signed ‘Hodo’ and the other signed ‘Saito H.
You can find two woodblock prints in my gallery here and here Artist: Hodo S watercolour artist Title: Pilgrim In Snow Artist: Bijin Doing Ikebana Artist: Bijin in a Garden with Iris Date:
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Japanese Illustration, Illustration Art, Japanese Prints, Japanese Drawings, Japanese Painting, Woodblock Print, Printmaking, Japan Art, Art Prints Alec Brynard Shin-hanga.
Biology Letters, 12 7. ISSN Abstract Dated phylogenies of fossil taxa allow palaeobiologists to estimate the timing of major divergences and placement of extinct lineages, and to test macroevolutionary hypotheses. Recently developed Bayesian ‘tip-dating‘ methods simultaneously infer and date the branching relationships among fossil taxa, and infer putative ancestral relationships. Using a previously published dataset for extinct theropod dinosaurs, we contrast the dated relationships inferred by several tip-dating approaches and evaluate potential downstream effects on phylogenetic comparative methods.
We also compare tip-dating analyses to maximum-parsimony trees time-scaled via alternative a posteriori approaches including via the probabilistic cal3 method. Among tip-dating analyses, we find opposing but strongly supported relationships, despite similarity in inferred ancestors. Overall, tip-dating methods infer divergence dates often millions or tens of millions of years older than the earliest stratigraphic appearance of that clade.
Model-comparison analyses of the pattern of body-size evolution found that the support for evolutionary mode can vary across and between tree samples from cal3 and tip-dating approaches. These differences suggest that model and software choice in dating analyses can have a substantial impact on the dated phylogenies obtained and broader evolutionary inferences.