Revere Auctions
Live Auction

The Arts of Asia, India, & the Middle East

Tue, Jul 18, 2023 11:00AM EDT
Lot 17

Hiroshi Yoshida "Shalimar Garden" Jizuri Print

Estimate: $600 - $1,200

Bid Increments

Price Bid Increment
$0 $25
$300 $50
$1,000 $100
$3,000 $200
$5,000 $500
$10,000 $1,000
$20,000 $2,000
$50,000 $5,000
$100,000 $10,000
$500,000 $25,000
$1,000,000 $50,000
$10,000,000 $100,000
Hiroshi Yoshida (Japanese, 1876-1950). Japanese shin-hanga woodblock print titled "Shalimar Garden, Lahore" depicting the peaceful scene of the Shalamar Gardens, 1932. Jizuri seal along the left margin. Pencil signed along the lower right; titled along the lower left; marked with Yoshida's seal in plate along the lower left; further inscribed in Japanese along the left margin. Shalamar Gardens, also known as "Shalamar Bagh" is a Mughal garden complex located in Lahore, Pakistan, which dates from the period when the Mughal Empire was at its artistic and aesthetic zenith. The jizuri "self-printed" seal indicates that the printing process was directly supervised by him and that he played an active role in the creation of this print. These seals were typically reserved for only the highest quality impressions as decided by Yoshida.

One of the leading figures in the Japanese Shin-hanga movement, Hiroshi Yoshida was born in Fukuoka in 1876. In 1893, he moved to Kyoto and studied yoga and nihonga styles of painting and watercolors. It came only in middle age he started collaborating with the shin-hanga publisher Watanabe Shozaburo. Despite his late debut as a shin-hanga printmaker, he successfully put himself on the map as the greatest artist of the shin-hanga style and is especially noted for his excellent landscape prints. His prints are highly recognized in both Japan and overseas.

Height: 15 3/4 in x width: 11 in.


No visible tears, losses, or any signs of restoration under UV light. The color is bold and bright. The sheet is toned and has two pinholes along the left margin, original to the artistic practice. Along the upper margin, there is a straight line mark, possibly from the artistic practice. To the center, the right margin, and the left margin of the paint, there is a foxing began to form. Along the verso, the sheet is toned. Along the left margin from the verso, there is light browning. The foxing is also visible from the verso.

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