编号 100145122

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斋藤三郎《女孩玛丽亚娜》——限量版木版画(第28/200件),由Unsōdō出版 - Saitō Saburō - 日本 - Shōwa period (1926-1989)
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斋藤三郎《女孩玛丽亚娜》——限量版木版画(第28/200件),由Unsōdō出版 - Saitō Saburō - 日本 - Shōwa period (1926-1989)

– Limited edition: number 28 from an edition of 200 – Published by Unsōdō, Kyoto's venerable woodblock publisher – Framed presentation: image 41 × 31 cm; frame 54 × 44 cm Summary: This is a limited edition woodblock print entitled 'Girl Mariana' by Japanese artist Saitō Saburō, published by Kyoto's respected Unsōdō firm. Numbered 28 from an edition of 200, the work depicts a young female figure rendered with the hand-carved and hand-printed techniques that define traditional Japanese mokuhanga. The print comes framed in a 54 × 44 cm mount; the frame shows minor surface scratches consistent with age, and the print itself displays some toning and colour shift typical of older woodblock impressions. These characteristics speak to the work's journey through time whilst the edition numbering confirms its status as part of a controlled production run. Unsōdō's role in twentieth-century Japanese printmaking cannot be overstated. Established in 1891 during the Meiji era's cultural flowering, the Kyoto-based publisher navigated Japan's rapid modernisation by serving dual markets: producing faithful reproductions of historical ukiyo-e masterworks whilst simultaneously supporting contemporary artists working in traditional techniques. This balancing act—honouring heritage whilst nurturing innovation—made Unsōdō a crucial institution for printmakers who wished to engage with mokuhanga as a living art form rather than a nostalgic echo. Limited edition numbering, as seen here (28/200), represents a relatively modern practice imported from Western printmaking traditions. Historically, Japanese woodblock publishers produced impressions until blocks wore out or demand waned, with no predetermined edition size. The shift towards numbered editions in twentieth-century Japan reflected changing art market expectations and a desire to position mokuhanga within international print collecting frameworks. For artists like Saitō Saburō working with Unsōdō, edition limits provided clear parameters: 200 impressions, each numbered and presumably identical in terms of colour and registration, distinguishing these from both earlier commercial ukiyo-e (where edition sizes were uncounted) and unique contemporary prints where the artist might deliberately vary each impression. 'Girl Mariana' as a subject suggests a figurative focus, likely rendered with the careful attention to line and pattern that characterises Japanese woodblock portraiture. The medium's technical demands—separate blocks for each colour, precise registration across multiple impressions, hand-application of pigment—create a distinctive visual language. Colours sit atop the paper's surface rather than soaking in, edges where different hues meet show slight overlap or gaps, and the overall impression carries a subtle materiality that distinguishes mokuhanga from Western intaglio or lithography. The toning mentioned in the listing likely affects the paper support rather than printed areas, as traditional woodblock pigments (often mineral-based) tend towards stability whilst paper fibres yellow with age and light exposure. This patina, far from diminishing value, often adds character and confirms age—overly pristine "vintage" prints sometimes raise authenticity concerns. The frame's minor scratches similarly testify to years of display, suggesting this print was valued and lived with rather than stored away. In a contemporary interior, the work's 54 × 44 cm framed size makes it substantial enough to anchor a wall section without overwhelming modest rooms. The figurative subject matter—a young woman, presumably depicted with some narrative or emotional content—offers representational interest whilst the woodblock technique provides textural richness. Consider placement where indirect light can reveal the print's surface qualities without accelerating further toning, and where the figurative subject can engage with viewers at eye level. 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.

编号 100145122

已不存在
斋藤三郎《女孩玛丽亚娜》——限量版木版画(第28/200件),由Unsōdō出版 - Saitō Saburō - 日本 - Shōwa period (1926-1989)

斋藤三郎《女孩玛丽亚娜》——限量版木版画(第28/200件),由Unsōdō出版 - Saitō Saburō - 日本 - Shōwa period (1926-1989)

– Limited edition: number 28 from an edition of 200 – Published by Unsōdō, Kyoto's venerable woodblock publisher – Framed presentation: image 41 × 31 cm; frame 54 × 44 cm

Summary: This is a limited edition woodblock print entitled 'Girl Mariana' by Japanese artist Saitō Saburō, published by Kyoto's respected Unsōdō firm. Numbered 28 from an edition of 200, the work depicts a young female figure rendered with the hand-carved and hand-printed techniques that define traditional Japanese mokuhanga. The print comes framed in a 54 × 44 cm mount; the frame shows minor surface scratches consistent with age, and the print itself displays some toning and colour shift typical of older woodblock impressions. These characteristics speak to the work's journey through time whilst the edition numbering confirms its status as part of a controlled production run.

Unsōdō's role in twentieth-century Japanese printmaking cannot be overstated. Established in 1891 during the Meiji era's cultural flowering, the Kyoto-based publisher navigated Japan's rapid modernisation by serving dual markets: producing faithful reproductions of historical ukiyo-e masterworks whilst simultaneously supporting contemporary artists working in traditional techniques. This balancing act—honouring heritage whilst nurturing innovation—made Unsōdō a crucial institution for printmakers who wished to engage with mokuhanga as a living art form rather than a nostalgic echo.

Limited edition numbering, as seen here (28/200), represents a relatively modern practice imported from Western printmaking traditions. Historically, Japanese woodblock publishers produced impressions until blocks wore out or demand waned, with no predetermined edition size. The shift towards numbered editions in twentieth-century Japan reflected changing art market expectations and a desire to position mokuhanga within international print collecting frameworks. For artists like Saitō Saburō working with Unsōdō, edition limits provided clear parameters: 200 impressions, each numbered and presumably identical in terms of colour and registration, distinguishing these from both earlier commercial ukiyo-e (where edition sizes were uncounted) and unique contemporary prints where the artist might deliberately vary each impression.

'Girl Mariana' as a subject suggests a figurative focus, likely rendered with the careful attention to line and pattern that characterises Japanese woodblock portraiture. The medium's technical demands—separate blocks for each colour, precise registration across multiple impressions, hand-application of pigment—create a distinctive visual language. Colours sit atop the paper's surface rather than soaking in, edges where different hues meet show slight overlap or gaps, and the overall impression carries a subtle materiality that distinguishes mokuhanga from Western intaglio or lithography.

The toning mentioned in the listing likely affects the paper support rather than printed areas, as traditional woodblock pigments (often mineral-based) tend towards stability whilst paper fibres yellow with age and light exposure. This patina, far from diminishing value, often adds character and confirms age—overly pristine "vintage" prints sometimes raise authenticity concerns. The frame's minor scratches similarly testify to years of display, suggesting this print was valued and lived with rather than stored away.

In a contemporary interior, the work's 54 × 44 cm framed size makes it substantial enough to anchor a wall section without overwhelming modest rooms. The figurative subject matter—a young woman, presumably depicted with some narrative or emotional content—offers representational interest whilst the woodblock technique provides textural richness. Consider placement where indirect light can reveal the print's surface qualities without accelerating further toning, and where the figurative subject can engage with viewers at eye level.

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.


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