Night Rain at Izumi Bridge by Shotei

Night Rain at Izumi Bridge by Shotei
Item# night-rain-at-izumi-bridge-shotei
$395.00
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Artist: Hiroaki (Shotei) Takahashi (1871-1945)

Woodblock Print Title: Night Rain at Izumi Bridge

1st Publication: 1910's

Size: 14" x 6 1/4" + margins as shown (35.5 x 15.9 cm + margins)

Date of this edition: 1926, 2nd state*

Publisher: Unknown

Condition: Remnants from prior mounting (Tape), else very fine. Excellent colors and impression, very good overall. Strong visible wood grain: early printing.

Notes: (*) Rare variant / 2nd state of the print. Shotei created nearly 500 works, when the Kanto earthquake striked and destroyed all the blocks and inventory.

1923 was a rough year for Wanatabe Shozaburo. The Kanto earthquake destroyed his building and all his inventory / blocks in the fire. Although in 1924, his team of artists showed some support, in 1925, all his exclusive artists had to break up their deal with Wanatabe for financial reasons.

Kawase Hasui started working for the first time with another publisher (Isetatsu), Hiroshi Yoshida decided to self publish, Shiro Kasamatsu stopped printing until 1930ish, and long time friend Shotei too, had to use other publishers to pay his bills. It's not until 1930, that many of these artists, Shotei included, resumed doing a lot of business with Wanatabe.

Starting in 1925, Shotei used other publishers and printed / reprinted similar pre quake designs, sometimes wrongly labelled as fake or plagiarism; although they were simply originals or variants made by Shotei, and not published by Wanatabe Shozaburo, as this one was building his business back.

Shotei was very fond of Hokusai, and just like him, used multiple "Noms d'artistes" and seals. This particular print is signed Hiroshige.

Shotei was commissionned by some merchant overseas to fill the high demand of Hiroshige prints, and created a few works signed Hiroshige, mixing some original designs from the old master with some of his pre quake work. The result is stunning.

Pictures: Pictures are taken outdoor, in the shade, to reflect true colors, without any enhancements of any kind. The last picture is taken indoor, with a light behind the print, to reveal the exact paper grain, holes if any, or other possible flaws.


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