Tobari Kogan (1882-1927), Make-Up (Kesho), with red artist's seal at upper right, Kogan, self-carved, self-printed, ca. 1913; 19 3/8 by 14 1/8 in., 49.2 by 35.9 cm.

NEW YORK, NY.- Scholten Japanese Art mark their 15th year in New York with a special presentation, 2015: 20th Century Japanese Prints & Paintings, the 15th Anniversary Exhibition. 

The exhibition will focus on one of Scholten's primary interests: exploring the intertwining development of Japanese woodblock prints from the early to mid-20th century by artists who designed shin-hanga (lit. new prints) and sosaku-hanga (lit. creative prints). This theme is particularly fortuitous this year, which is also considered to be the 100th anniversary of the birth of shin hanga. 

Friedrich Capelari (1884-1950), Woman Holding a Black Cat, with artist's monogram FC followed by Tokyo 1915, round Watanabe seal below, and small red Watanabeseal on lower left margin, and with diamond-shaped paper S. Watanabe seal (in Japanese and English) on verso, ca.1915; 9 1/4 by 13 in., 23.5 by 33 cm.

In 2010 Scholten celebrated our ten year anniversary with a presentation of 20th-century prints and paintings which proved to be one of their most successful exhibitions. The 2015 show will revisit and expand on that theme with a selection of new works by a greater variety of artists and formats. Most of the artists represented in the 2010 exhibition will make a reappearance, including popular masters of bijin-ga (pictures of beautiful women) such as Hashiguchi Goyo (1880-1921), Kitano Tsunetomi (1880-1947), Kobayakawa Kiyoshi (1896-1948), Ito Shinsui (1898-1972), and Torii Kotondo (1900-1976); and landscape artists including Takahashi Hiroaki (Shotei, 1871-1945), Yoshida Hiroshi (1876-1950), and Kawase Hasui (1883-1957). The 2015 exhibition will further explore the development of shin hanga by including early works of influential artists such as Yamakawa Shuho (1898-1944); mysterious artists such as Narita Morikane, Nakayama Shuko, and Kondo Shiun (all dates unknown), and kabuki subjects by Natori Shunsen (1886-1960) and Shin'ei (dates unknown). 

Kitano Tsunetomi (1880-1947), Seasons of the Pleasure Quarters: no. 4, Shinchi in Winter, Before the Mirror (Kuruwa no shunju: Dai-yon, fuyu [Shinchi], Kagami no mae), a half-length portrait of a beauty wearing a deep red kosode adjusting her hair in a mirror, the light grey background embellished with mica; signedTsunetomi hitsu, published by Nakajima Jutaro (Nakajima Seikado, Tokyo) in a limited edition of 500 (numbered on the original folder), ca. 1918; oban tate-e 15 1/8 by 9 3/4 in., 38.3 by 24.8 cm.

Scholten will also exhibit select examples of prints by Western artists who played a role in the development of these genres, including Bertha Lum (American, 1869-1954), who was out in the forefront of sosaku hanga by carving and printing her own works, Helen Hyde (American, 1868-1919), who set up her own studio with carvers and printers, and Fritz Capelari (Austrian, 1884-1950), the artist who is largely credited with the advent of shin hanga through his collaboration with the publisher Watanabe Shozaburo (1885-1962) in 1915. 

Yamamura Koka (Toyonari, 1885-1942), Comparison of New Ukiyo-e Beauties: February, Winter Sky (Shin Ukiyo-e Bijin Awase: NiGatsu, Samuzora), with fine mica background, signed at right, Koka ga, the series title in the pink cartouche at the upper right corner, Shin ukiyo-e bijin awase, followed by the print title, Nigatsu, Samuzora, published in 1918; dai oban tate-e 17 3/4 by 11 3/8 in., 45.2 by 29 cm.

Amongst many highlights is a rarely seen and pristine impression of Goyo's early print, Woman Holding a Tray (Kami sukeru onna) from 1920. The half-length portrait depicts a seated waitress, conservatively dressed in a grey kimono fastened with an obi decorated with a red and blue geometric pattern. The background was printed in dark grey and embellished with mica, unique to Goyo's other mica prints that employ a much lighter shade of silver mica, most without any printed color. The dark, shimmering effect suggests an evening setting and appears to be a deliberate reference to the dark mica-embellished portraits of actors and beauties that enjoyed a brief but significant vogue with ukiyo-e masters in the 1790s. 

Nakayama Shuko (b. 1876), Comparison of New Ukiyo-e Beauties: May, Early Summer Rain (Shin ukiyo-e bijin awase: Gogatsu, Samidare), signed Shuko, with artist's red oval seal, Shuko, the series title in the first cartouche on the upper right margin, Shin ukiyo-e bijin awase, the print title in the next cartouche, Go-gatsu, Samidare, followed by the artist's name, Nakayama Shuko ga hitsu, published by the Publication Society of Shin Ukiyo-e Bijin Awase, ca. 1918; dai oban tate-e 17 by 11 in., 43.2 by 28 cm.

The sosaku hanga movement will be represented through works by Tobari Kogan (1882-1927), Oda Kazuma (1881-1956), Onchi Koshiro (1891-1955), Kishio Koizumi (1893-1945), and Sekino Jun'ichiro (1914-1988), among others. One of the earliest prints included in the exhibition is Kogan's extremely scarce self-carved, self-printed work, Make Up (Kesho), depicting a seated nude adjusting her hair with her kimono open to her hips. The intimate portrait from 1913 is softly printed in a manner that emphasizes the textures of the woodblock printing process and utilizes the marks made by the baren (the pad used to work the pigment into the paper) as a decorative motif. The print itself was produced in an unusually large format (19 3/8 by 14 1/8 in.; 49.2 by 35.9 cm), a feat which belies the technical difficulties in producing woodblock prints compounded by increasing the paper size. 

Nakayama Shuko (b. 1876), Comparison of New Ukiyo-e Beauties: July, After a Bath (Shin ukiyo-e bijin awase: Shichi-gatsu, Yokugo); signed Shuko, with artist's rectangular seal,Shuko (?); the series title in the first cartouche on the upper right margin, Shin ukiyo-e bijin awase, the print title in the next cartouche,Shichi-gatsu, Yokugo, followed by the artist's name, Nakayama Shuko ga hitsu; published by the Publication Society of Shin Ukiiyo-e Bijin Awase, ca. 1924, ca. 1924; dai oban tate-e 16 7/8 by 11 1/8 in., 42.8 by 28.3 cm.

The exhibition will feature approximately 60 woodblock prints and 2 paintings. It will open on Thursday, September 10th, and continue through Friday, September 18th. An online exhibition will be posted in advance of the opening at www.scholten-japanese-art.com. Scholten Japanese Art, located at 145 West 58th Street, Suite 6D, is open Monday through Friday, and some Saturdays, 11am - 5pm, by appointment. To schedule an appointment please call (212) 585-0474. 

For the duration of the first segment of the exhibition, September 10 – 18, the gallery will have general open hours (no appointment needed), 11 am to 5 pm; and thereafter by appointment through October 30th.

Kondo Shiun (dates unknown), Comparison of New Ukiyo-e Beauties: June, Irises (Shin ukiyo-e bijin awase: Rokugatsu, Shobu); signed Shiun with artist's fan-shaped seal, Kondo, the series title in the first cartouche on the upper right margin, Shin ukiyo-e bijin awase, the print title in the next cartouche, Rokugatsu, Shobu, followed by the artist's name, Kondo Shiun gahaku hitsu, with watermark, Nihon Hanga in the lower left corner, published by the Publication Society of Shin Ukiyo-e Bijin Awase, ca. 1918; dai oban tate-e 17 1/4 by 11 1/4 in., 43.9 by 28.5 cm.

Kamoshita Choko (1890-1967), Comparison of New Ukiyo-e Beauties : September, Tipsy (Shin ukiyo-e bijin awase: Kyugatsu, Horoyoi);signed with artist's seal Choko ga saku, the series title cartouche at upper right, Shin ukiyo-e bijin awase, followed by the print title, Kyugatsu, Horoyoi, and the artist's name, Kamoshita Choko gohauku hitsu, published by the Publication Society of Shin Ukiyo-e Bijin Awase, ca. 1918;dai oban tate-e 17 3/8 by 11 1/4 in., 44 by 28.5 cm

Hashiguchi Goyo (1880-1921), Woman Holding a Tray; a portrait of the waitress Onao holding a red lacquer tray while seated against a dark grey mica ground, privately published, dated and signed,Taisho kyunen ichigatsu (Taisho 9 [1920], January), Goyo ga, with circular artist's seal Goyo; dai oban tate-e 15 7/8 by 10 5/8 in., 40.2 by 26.9 cm

Yamamura Koka (Toyonari, 1885-1942), Flowers of the Theatrical World: Nakamura Utaemon V as Owasa (Rien no Hana: Nakamura Utaemon V), with pale grey-blue background embellished with light silver mica; signed at right, Toyonari ga with oval date seal Taisho ju (Taisho 9 [1921]), with rectangular artist's approval sealToyonari on lower left margin, self-published with the support of the Yamamura Koka Hanga Kankokai (Publication Society of Yamamura Koka's prints), 1921; dai oban tate-e 16 1/4 by 11 3/8 in., 41.2 by 28.9 cm.

Shin'ei (dates unknown), Actor in the Role of Owasa, signed Shin'ei hitsu, with publisher Matsuki Heikichi's mark and seal, Ryogoku Ohira ban, ca. 1920s;15 1/8 by 10 1/8 in., 38.5 by 25.8 cm.

Shin'ei (dates unknown), Sawamura Gennosuke IV as Nikki Danjo, signed Shin'ei hitsu, with publisher Matsuki Heikichi's mark and seal, Ryogoku Ohira ban, ca. 1920s; oban tate-e 15 3/8 by 10 1/8 in., 38.9 by 25.8 cm.

Natori Shunsen (1886-1960), Collection of Shunsen Portraits: Sawamura Gennosuke IV as Nikki Danjo (Shunsen Nigao-e Shu: Sawamura Gennosuke IV),signed Kunshido Shunsen ga, with artist's seal Shunsen, publisher's seal Watanabe-ko (Watanabe Shozaburo) at right edge, and artist's approval seal Natori at lower right corner, ca. 1928; dai oban tate-e 15 1/2 by 10 3/4 in., 39.4 by 27.3 cm.

Oda Kazuma (1881-1956), The Great Bridge in Matsue (Matsue Ohashi), figures plod through heavy snow on a bridge; signed at lower left, Kazuma hitsu, dated at lower right margin, Taisho jusannen saku (work of Taisho 13 [1924]), followed by title cartouche, Matsue Ohashi, with publisher's (Hotei 'E') seal on left-hand margin, Hanken shoyu fukyo mosha Watanabe Shozaburo (Copyright ownership, reproduction not allowed without permission, Watanabe Shozaburo); oban yoko-e 10 1/8 by 15 1/4 in., 25.8 by 38.7 cm. $2,800.

Yamamura Koka (Toyonari, 1885-1942), Maiko (black mica on obi) (Maiko), signed Toyonari ga with oval date seal Taisho kinoe ne (Taisho, year of the rat [1924]), artist's red rectangular seal, Toyonari, on lower left margin, self-published with the support of the Yamamura Koka Hanga Kankokai (Publication Society of Yamamura Koka's prints), ca. 1924; oban tate-e 15 3/4 by 11 in., 40 by 27.8 cm. $2,800.

Kawase Hasui (1883-1957), Departing Spring (Yuku Haru); bijin-ga of a maiko on yellow ground embellished with fine, light mica; signed Hasui with artist's seal Kawase, the abbreviated title Haru at lower left, and with publisher's seal lower right, Ginza Watanabe mokuhan gaho kosaku (Watanabe woodblock print shop design, Ginza [ca. 1934-41]); oban tate-e 15 3/8 by 10 3/8 in., 39.1 by 26.4 cm. $3,500.

Yamakawa Shuho (1898-1944), Women in Four Settings: Twilight (Fujo Yondai: Tasogare),with finely-applied mica background, signed at upper right, Shuho, followed by artist's maple leaf-shaped seal, the title on the left margin,Tasogare followed by the date, Showa sannen shigatsu saku (made in Showa 3 [1928], 4th month), published by Bijutsusha; oban tate-e 15 by 10 1/2 in., 38.2 by 26.7 cm. $1,400.

Koshiro Onchi (1891-1955), Mirror (Kagami), K. Onchi impressed at upper left corner; with mica pink background and gofun printed to the right, ca. 1930; aiban tate-e 13 by 9 1/8 in., 33 by 23.1 cm. $15,000.

Kishio Koizumi (1893-1945), Girl Before a Mirror, self-carved and self-printed, sealed in grey cartouche at upper left, Kishio ga to (Kishio painted and carved), and with red seal Koizumi Kishio ga to, and in sealed in English, Kisio Koizumi 1933; 14 3/8 by 11 in., 36.6 by 27.8 cm. RESERVED.

Torii Kotondo (1900-1976), Make-up (Kesho), dated and signed Showa gonen natsu (Showa 5 [1930], Summer) Kotondo ga, followed by artist's rectangular seal Shi, publisher's seal Kawaguchi(in katana) at lower right corner, and hori Ito suri, Komatsu, hanken shoyu (carved by Ito, printed by Komatsu, copyright) at lower left, with red stamped limited edition seal hand numbered insumi ink on verso, San hyakugoju mai kagiri zeppan, dai hyaku-ichi go (350 limited edition, number 101), ca. 1930; dai oban tate-e 17 7/8 by 11 3/4 in., 45.5 by 29.7 cm. $6,800.

Torii Kotondo (1900-1976), Tipsy (Horoyoi), mica ground applied in squares mimicking a folding screen or fusuma panel, signed Kotondowith artist's seal Torii, with publisher's limited edition paper seal on verso, Ikeda, Horoyoi, San-kai, dai - go, (published by Ikeda, Tipsy, 3rd print, not numbered), the third design published by Ikeda Tomizo from an edition of 100 impressions, ca. 1932; dai oban tate-e 18 7/8 by 11 5/8 in., 47.8 by 29.5 cm. $8,500.

Torii Kotondo (1900-1976), Lip Rouge (Kuchibeni), a profile bust portrait of a beauty applying rouge to her lips against a background of grey swirlingbaren marks with bokashi darkening towards the upper edge; signed Kotondo ga with artist's green circular seal Torii Kotondo; the second design published by Ikeda Tomizo in a limited edition of 100, ca. January 1932; dai oban tate-e 18 7/8 by 11 5/8 in., 48 by 29.5 cm. $9,500.

Torii Kotondo (1900-1976), Napping (Utatane), with deep red background; signed Kotondo gawith artist's rectangular seal Kotondo, the title along the bottom margin, Utatane (A Nap), with publisher's limited edition cartouche on verso,Ikeda hanken shoyu, hyaku mai kagiri zeppan, hakkai dai gojusan go (copyright Ikeda, edition limited to 100, 8th print, 53 number), with artist's bird seal Torii, from an edition of 100 impressions published by Ikeda Tomizo in February 1933; dai oban tate-e 18 3/8 by 11 5/8 in., 46.6 by 29.5 cm. $13,000

Kobayakawa Kiyoshi (1896-1948), The Geisha Ichimaru, a variant impression with a lighter palette, with a background of very fine mica, signed Kiyoshi, with artist's seal Kobayakawa, published by Takamizawa, ca.1933; oban tate-e 16 by 10 3/8 in., 40.6 by 26.4 cm. $3,000.

Kobayakawa Kiyoshi (1896-1948),  Styles of Contemporary Make-up: no. 1, Tipsy (Kindaijisesho no uchi: ichi, Horoyoi), signed and dated Showa gonnen nigatsu (Showa 5 [1930], 2nd month) Kobayakawa Kiyoshi with artist's bird seal Kobayakawa, the title on the bottom margin, Kindaijisesho no uchi, ichi-Horoyoi), with limited edition seal at lower left,Hyaku mai kagiri zeppan, dai ni go (100 limited edition, number 2), privately published, the blocks carved by Takano Shichinosuke and printed by Ono Tomisaburo, 1930; naga-oban tate-e 21 by 12 in., 53.2 by 30.5 cm. SOLD

Ito Shinsui (1898-1972), Twelve Images of Modern Beauties: Woman from Oshima Island (Shin bijin junisugata: Shima no onn), dated and signed, Taisho juichinen, jugatsu, Shinsui ga (Taisho 11 [1922], 10th month, by Shinsui), with artist's red rectangular seal, Ito; the publisher's circular seal, Watanabe, at lower right corner; with red limited edition stamp hand-numbered on verso, Nihyaku mai kagiri zeppan, dai kyujuni ban (200 limited edition, number 92); dai oban tate-e 16 7/8 by 10 1/4 in., 42.9 by 26 cm. $7,800.

Yamakawa Shuho (1898-1944), Nuno-sarashi 'Cloth-Bleaching' Dance (Nuno-sarashi dori), signed Shuho with red artist's seal Shu, with pencil inscription with alternate title on the right-hand margin, Sarashi-me (woman with long cloth), ca. 1936; dai oban tate-e 17 1/4 by 11 7/8 in., 43.9 by 30.3 cm. $2,400.

Ito Shinsui (1898-1972), A Theatrical Dance - Dojoji (Musume dojoji), dated and signed at upper left corner, Showa nananen Shinsui ga (Showa 7 [1932], by Shinsui), with artist's red rectangular sealShinsui, and English title printed on the bottom margin, A Theatrical Dance entitled "Dojoji," Artist- Ito Shinsui. Wood-cut Printing by S. Watanabe, Tokyo, ca. 1932; 23 7/8 by 10 1/8 in., 60.5 by 25.8 cm. $11,000.

Ito Shinsui (1898-1972), Backstage (Gakuya), an actress wearing a yellow and black robe with a dramatic geometric pattern applying make-up while looking in the mirror; signed in sumi inkShinsui with artist's seal Ito, publisher's sealWatanabe, dated on the margin, Showa sanjunen gogatsu (Showa 30 [1955], fifth month); obaiban tate-e 20 by 14 1/8 in., 50.7 by 36 cm.$7,500.

Kawase Hasui (1883-1957), Snow at Kiyomizu Hall, Ueno (Ueno Kiyomizudo no yuki), signed Hasui with artist's seal Kawase, the print title at the center of the bottom margin, Ueno Kiyomizudo no yuki, and dated to the right,Showa yonnen nanagatsu saku (Showa 4 [1929], 7th month), with publisher's small oval-shaped seal Kawaguchi at lower right corner, and hori Ito suri, Komatsu, hanken shoyu (carved by Ito, printed by Komatsu, copyright) at lower left, ca. 1931; oban tate-e 15 1/2 by 10 3/4 in., 39.5 by 27.2 cm. $4,200.

Kawase Hasui (1883-1957), Sanno After the Rain (Sanno no ugo); signed Hasui with artist's seal Kawase, the title on the left margin, Sanno no ugo, followed by the date, Showa jusannen saku (Showa 13 [1938]), with publisher's round Watanabe (Hotei 'A') seal at lower right and (Hotei 'D') seal in the margin,Hanken shoyu Watanabe Shozaburo (Copyright ownership Watanabe Shozaburo), ca. 1938; oban tate-e 15 7/8 by 10 3/4 in., 40.2 by 27.2 cm. $3,200.