– Takeshita Kincho woodblock depicting autumn grasses, published by Uchida Woodblock Studio – Out-of-print Uchida edition, representing original printing run before publisher ceased operations – Mid-Shōwa era landscape in the creative print tradition Summary: This woodblock print by Takeshita Kincho depicts autumn grasses, a quintessentially Japanese subject treated with the restraint and simplification characteristic of mid-20th century sōsaku hanga (creative print) artists. Published by Uchida Woodblock Studio, a respected but now-defunct publisher, this impression represents an original printing run that can no longer be repeated. Uchida specialised in producing prints by artists working in traditional landscape and nature subjects, often with simplified colour schemes and contemplative compositions. The print measures approximately 42.5 cm × 27 cm and shows the subtle colour harmonies and careful observation of natural forms that distinguished serious mid-Shōwa printmakers from commercial producers. The out-of-print status adds a layer of scarcity to a work that already possesses aesthetic merit in its own right. There is a particular poignancy to prints from publishers that no longer exist. When Uchida Woodblock Studio closed its doors, it did not simply stop producing new work – it made existing editions finite in a way they had not been before. No additional impressions can be pulled from the original blocks; what exists now is all that will ever exist. Takeshita Kincho worked within the rich tradition of Japanese nature subjects, particularly seasonal grasses and flowers that have been depicted in Japanese art for over a millennium. Autumn grasses (aki-gusa) carry specific cultural associations in Japan – they speak of melancholy beauty, of things reaching their peak just before decline, of the bittersweet awareness that accompanies seasonal change. Poetry anthologies going back to the 8th century celebrate autumn grasses, and painters from the Heian period onward have depicted them with varying degrees of realism and stylisation. What distinguishes Shōwa-era treatments of these traditional subjects from their historical precedents is often a move toward greater simplification and flatter spatial organisation. Artists like Takeshita absorbed influences from Western modernism – particularly the Bauhaus emphasis on essential forms and the Post-Impressionist interest in pattern and colour relationships – whilst remaining committed to Japanese subjects and techniques. The result can feel both ancient and contemporary, as if centuries of tradition had been distilled into their purest visual essence. Uchida Woodblock Studio operated during the mid-to-late Shōwa period, a time when the woodblock print market was sustained primarily by domestic Japanese collectors rather than Western tourists or export markets. Publishers like Uchida worked with relatively small print runs and focused on artists whose work balanced aesthetic sophistication with accessibility. These were not avant-garde experimentalists pushing boundaries; they were skilled practitioners refining established traditions, creating work that would enhance daily life rather than challenge or provoke. The dimensions (42.5 cm × 27 cm) suggest a vertical composition well-suited to depicting grasses swaying upward from the ground plane. Japanese artists have long favoured vertical formats for grass subjects, as this orientation mimics the plants' natural growth direction and creates opportunities for elegant linear rhythms. One imagines delicate stems rendered in brown or muted green, seed heads catching light, perhaps a suggestion of wind through the slight curvature of stalks. Autumn colours in Japanese prints rarely shout; they whisper in tones of rust, amber, and faded gold. The condition description indicates this is a Shōwa-era piece showing some age but remaining intact. Japanese prints from this period were often produced on good-quality paper but not always stored under archival conditions. Many passed through family collections, stored in drawers or closets where temperature and humidity fluctuated with seasons. This typically results in minor toning and slight paper darkening around edges – evidence of age rather than damage, adding character without compromising the image's legibility. For collectors, out-of-print status from defunct publishers creates an interesting dynamic. Unlike prints from active publishers (where additional impressions might still be available directly from the source), these works exist in fixed numbers scattered across collections worldwide. This introduces an element of genuine scarcity without necessarily driving prices to unaffordable levels. Takeshita is not a household name even within Japanese print circles, so his work remains accessible to collectors building serious collections without unlimited budgets. In contemporary spaces, autumn grass subjects work beautifully in transitional areas – hallways, entryways, spaces between rooms where you pass through rather than lingering. The vertical format suits narrow wall spaces, and the subject matter provides visual interest without demanding prolonged contemplation. These are prints that enhance daily life quietly, offering seasonal awareness to urban dwellers who might otherwise lose track of nature's rhythms. The simplified aesthetic that characterises mid-Shōwa landscape prints aligns surprisingly well with contemporary minimalist interior design. Where busy, colourful ukiyo-e might overwhelm clean-lined modern spaces, prints like this one offer sufficient visual interest to prevent walls from feeling empty whilst maintaining the restraint that modern design principles value. The muted autumn palette would complement natural wood, stone, and neutral textiles without clashing or competing for attention. Japanese print specialists often recommend handling paper works with cotton gloves and storing them flat in acid-free folders, protected from light exposure when not displayed. Woodblock prints benefit from periodic inspection to catch any signs of mould, foxing, or insect damage before they progress. These preservation practices extend the lifespan of works on paper from decades to centuries, ensuring that future generations can appreciate the subtle beauty that drew collectors to them originally. 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.