Page 216 - Christies Japanese and Korean Art Sept 22 2020 NYC
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                                                              ONCHI KOSHIRO (1891-1955)
                                                              Daibingu (Diving)
                                                              Woodblock print with mica, circa 1932, unsigned, embossed K.
                                                              Onchi and a jizuri seal
                                                              15æ x 12Ωin. (40 x 31.7cm.)
                                                              $10,000-20,000

                                                              PROVENANCE:
                                                              F. Kawasaki Collection
                                                              LITERATURE:
                                                              Onchi Koshiro, ed., Onchi Koshiro hanga shu/Prints of Onchi Koshiro
                                                              (Tokyo: Keishosha, 1975), no. 179.
                                                              For another print, see The National Museum of Modern Art,
                                                              Tokyo, ed., Onchi Koshiro to “Tsukubae”/Koshiro Onchi and
                                                              “Tsukubae” (Tokyo: The National Museum of Modern Art, 1976),
                                                              pl. 109; Onchi Koshiro hangashu/prints of Onchi Koshiro (Tokyo:
                                                              Keishosha, 1975), pl. 179, p. 275.








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          ONCHI KOSHIRO (1891-1955)                           Onchi was trained in traditional calligraphy which he received
          Bijin Shiki (Beauty in Each Season)                 from his father and also in western art. After failing to enter Daiichi
                                                              koto gakko (First High School), he studied oil painting at Aoibashi
          The complete set of Bijiin shiki (Beauty in Each Season), each titled
          Le Printemps (Spring), L’Eté (Summer), L’Automne (Autumn) and   branch school of Hokubakai. Encouraged by Takehisa Yumeji
          L’Hiver (Winter), woodblock prints, 1927, unsigned, accompanied   in 1909, he entered Tokyo School of Fine Arts, studying first oil
          by original covers with embossed                    painting and then sculpture. In 1913, he began to plan the print
          titles as above, signature Onchi Ko and date 1927, and by frontispiece   and poetry magazine Tsukubae with his fellow students Tanaka
          with printed series title, signature and date       Kyohei and Fujimori Shizuo.
          11º x 9. 1/8 in. (28.5 x 23.1cm.)
                                                              In 1916, he joined the poets Muroo Saisei and Hagiwara Sakutaro
          $40,000-60,000                                      in starting the poetry magazine Kanjo in which he contributed
                                                              cover designs, poems and prints. In 1917, he published his first
          PROVENANCE:                                         prints collection, Happiness (Kofuku). He participated in the first
          F. Kawasaki Collection                              Nihon Sosaku-Hanga Kyokai exhibition and, in 1921, began
                                                              publication of the general art magazine Naizai with Otsuki Kenji
          LITERATURE:
          Onchi Koshiro, ed., Onchi Koshiro hanga shu/Prints of Onchi Koshiro   and Fujimori Shizuo. He was a founding member of Nihon Hanga
          (Tokyo: Keishosha, 1975), no. 109, 110, 111 & 112.  Kyokai and also exhibited prints in Teiten and Kokugakai. By
                                                              1927, Onchi had established a reputation as a book designer.
                                                              Onchi’s contribution as a traditionalist and innovator can be well
                                                              seen in his single prints. He was one of the founders of the sosaku
                                                              hanga movement. Unlike traditional woodblock print makers, these
                                                              artists were inspired by painting and did every stage of production
                                                              themselves, then circulating the finished works to a small
                                                              selected circle. His prints were produced in very small editions,
                                                              demonstrating his skill to unique prints.
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