– Ohara Koson (1877–1945): master of kachō-e, celebrated for exquisite depictions of small songbirds in seasonal contexts – Male Daurian redstart (jobitaki) perched on delicate cherry blossom branch – intimate study of spring's arrival – Original edition in excellent condition: vibrant rust-orange breast, refined bokashi sky, clean paper with strong colour preservation Summary: This original woodblock print depicts a male Daurian redstart (jobitaki) – known in English as a stonechat or Asian redstart – perched on a slender branch of cherry blossoms against a pale blue-grey sky. The composition exemplifies Koson's mastery of intimacy and restraint, focusing attention on a single bird rendered with meticulous anatomical precision. The stonechat displays its characteristic rust-orange breast and flanks, contrasted with blue-grey back and black face markings. Its posture – body angled slightly downward, head turned in profile – suggests a moment of alertness, perhaps scanning for insects among the blossoms. The cherry branch enters from the lower left, curves diagonally upward, then descends gracefully from the upper right, its delicate white flowers rendered through reserve technique. The background demonstrates sophisticated bokashi gradation, transitioning from pale cream at the top to soft blue-grey below, creating atmospheric depth without literal landscape elements. The print is in excellent condition with strong, unfaded pigments, clean paper showing minimal age-related toning, and crisp keyblock lines throughout. Koson's signature and seal appear on the right side. This work appeals to collectors of shin-hanga, ornithological prints, and Japanese seasonal imagery capturing the fleeting beauty of spring. There is a particular intimacy in prints that focus on a single small bird. The viewer's attention is undivided; every detail of plumage, every nuance of posture becomes significant. This stonechat occupies the central area of the composition, its body positioned diagonally to echo the branch's angle, creating visual harmony between bird and plant. The pose is characteristic of the species – alert, upright, tail angled slightly downward, ready to dart after passing insects or flutter to another perch. Koson has captured not a generic songbird but a specific individual in a recognisable moment. The Daurian redstart (Phoenicurus auroreus), called jobitaki in Japanese, is a winter visitor to much of Japan, arriving in autumn and departing in spring. Male birds are particularly striking with their vivid rust-orange underparts, blue-grey upperparts, and distinctive black face and throat. They are solitary birds, often seen perched conspicuously on fence posts, low branches, or garden stones, where they bob their tails and scan for prey. Their preference for open perches and tolerance of human presence made them familiar subjects for Japanese artists. Koson returned to stonechat imagery repeatedly, producing variations that capture different seasonal contexts and behavioural moments. The plumage rendering demonstrates Koson's commitment to naturalistic accuracy. The rust-orange breast and flanks are rendered with warm coral-toned pigment that remains vibrant in this impression, suggesting careful storage away from fading light. The blue-grey back shows subtle internal gradation, implying the play of light across curved forms. The black face markings – extending from the beak through the eye and down the throat – are printed with deep, saturated black that maintains crisp edges. The wing feathers show delicate barring in grey and brown, diagnostic details that confirm Koson's observational discipline. These refinements distinguish his work from earlier decorative bird prints, which often employed stylised conventions divorced from actual avian anatomy. The cherry blossoms provide seasonal context and compositional structure. The branch enters from the lower left in darker tones, curves upward through the central area where the bird perches, then arches downward from the upper right in paler tones, creating a graceful S-curve that guides the eye through the composition. The blossoms are depicted at various stages: tight buds, half-open flowers, and fully opened five-petalled blooms. Each flower is created through reserve technique – the white petals are areas of unprinted paper, their shapes defined by surrounding printed elements. This technique gives the blossoms a luminous quality, as if light emanates from within the paper itself rather than sitting on its surface. Small touches of pale grey bokashi within flower clusters suggest shadows and depth, preventing the blossoms from reading as flat white cutouts. The branch itself is rendered with careful attention to botanical structure: rough bark texture indicated through broken lines, younger twigs shown in smoother contours, the natural distribution of flowers along the branch reflecting actual cherry flowering habits. This level of botanical accuracy reflects Koson's training under Kōno Bairei, who insisted his students draw from life rather than copy from painting manuals. The background is a masterwork of bokashi gradation. The colour transitions seamlessly from pale cream at the top – suggesting the brightness of spring sky – through soft blue-grey in the middle register, to slightly warmer tones at the bottom. This atmospheric shift creates depth and mood without literal landscape elements. The bird and branch exist in a suggestive space that feels simultaneously specific (a spring morning, cherry blossoms blooming) and universal (any moment of seasonal transition). The printer achieved this gradation through painstaking hand-wiping of the block before each impression, controlling moisture content and pigment density to create seamless tonal shifts. Such refinement requires decades of experience and cannot be mechanically replicated. Ohara Koson was born in Kanazawa in 1877 and trained under Kōno Bairei in Kyoto, studying the naturalistic Maruyama-Shijō school approach that emphasised direct observation of nature. He began producing woodblock prints in the late 1890s, working with various publishers including Akiyama Buemon, Matsuki Heikichi, Daikokuya, and later Watanabe Shōzaburō. His bird-and-flower subjects found particular success in Western markets, where collectors admired their combination of scientific accuracy and aesthetic refinement. Over his five-decade career, Koson produced more than 450 documented designs, the vast majority depicting birds in seasonal contexts. Stonechats and similar small songbirds appear frequently in Koson's oeuvre. Their compact size, bold colouration, and characteristic postures offered endless compositional possibilities. Unlike larger birds such as cranes or eagles, which command attention through sheer presence, small songbirds invite closer inspection. The viewer must lean in, study the details, engage with subtle nuances of posture and plumage. This intimacy aligns perfectly with traditional Japanese aesthetic values that prize restraint, subtlety, and the ability to find profound beauty in modest subjects. The technical execution of this impression is exemplary. The keyblock lines – defining all the primary outlines – are printed with perfect clarity. Each line is confident and precise, neither too heavy nor too light. The colour blocks register exactly with these outlines; there is no misalignment, no colour bleeding beyond designated boundaries. The rust-orange on the bird's breast is applied with controlled density, creating rich colour without opacity that would deaden the surface. The black face markings show crisp edges and saturated tone. The grey-blue back demonstrates subtle internal gradation that suggests three-dimensional form. These refinements confirm this is a carefully printed impression executed during the height of shin-hanga production. The condition is excellent. The pigments remain strong and true – the orange retains its warmth, the blue-grey its subtlety, the black its depth. The paper shows minimal age-related toning, appearing fresh and luminous. There is no significant foxing (age-related brown spotting), no tears, creases, or stains. The margins are intact and clean. This level of preservation indicates the print was stored carefully from the time of its creation, away from direct sunlight and excessive humidity. Well-preserved Koson prints of this quality are increasingly sought after as more examples enter permanent museum collections. For collectors, this print represents multiple points of appeal. The subject – a vividly coloured songbird on flowering cherry branch – combines naturalistic precision with poetic seasonal symbolism. The composition achieves perfect balance between the bird's compact form and the branch's graceful arc. The technical execution showcases traditional woodblock printing at its finest: precise carving, sophisticated colour printing, refined bokashi work, and careful reserve technique for the white blossoms. The preservation allows the work to be appreciated as Koson and his collaborators intended, with full colour vibrancy and tonal subtlety intact. In a European interior, the print's vertical format and diagonal composition create visual interest without overwhelming the space. The pale blue-grey background and warm rust-orange accents harmonise with both traditional and contemporary furnishings. The cherry blossoms, universally recognised symbols of spring and transience, require no cultural translation. The stonechat, with its bold colouration and alert posture, appeals to anyone who has watched small birds navigate garden spaces. Frame it with simple moulding and generous cream or pale grey matting, allowing the composition breathing room and the delicate branch space to curve naturally. Koson's market has strengthened considerably as shin-hanga scholarship has deepened and major exhibitions have introduced his work to broader audiences. His finest prints – particularly well-preserved examples featuring his most appealing subjects – now achieve prices that reflect their art-historical significance and aesthetic excellence. For collectors seeking museum-quality shin-hanga with exceptional subject matter, original printing, and superior preservation, this stonechat and cherry blossom print represents an exemplary acquisition opportunity. Shipping & Handling We ship worldwide via DHL or EMS with full insurance and tracking. Professional packing ensures safe arrival; combined shipping available for multiple wins. Local customs duties are the buyer's responsibility. Seller Guarantee We specialise in authentic Japanese prints and guarantee this piece's authenticity. Questions welcome – we reply within 24 hours.