<b>TWO MALLARDS IN FLIGHT IN FRONT OF MOON</b> / Ohara Koson20th Century<b>SOLD</b></em>

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ARTIST: Ohara Koson (1877-1945)

TITLE: Two Mallards in Flight of Moon

MEDIUM: Woodblock

DIMENSIONS: 7 1/2 x 14 1/2

CONDITION: Excellent; no problems to note

LITERATURE: Amy Newland et. al., Crows, Cranes & Camellias: The Natural World of Ohara Koson 1877-1945, 2001, cat. no. K7.1

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ARTIST: Ohara Koson (1877-1945)

TITLE: Two Mallards in Flight of Moon

MEDIUM: Woodblock

DIMENSIONS: 7 1/2 x 14 1/2

CONDITION: Excellent; no problems to note

LITERATURE: Amy Newland et. al., Crows, Cranes & Camellias: The Natural World of Ohara Koson 1877-1945, 2001, cat. no. K7.1

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ARTIST: Ohara Koson (1877-1945)

TITLE: Two Mallards in Flight of Moon

MEDIUM: Woodblock

DIMENSIONS: 7 1/2 x 14 1/2

CONDITION: Excellent; no problems to note

LITERATURE: Amy Newland et. al., Crows, Cranes & Camellias: The Natural World of Ohara Koson 1877-1945, 2001, cat. no. K7.1

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Details

In this print, Koson presents the viewer with the spectacle of a midnight flight taken by two Mallard Geese as they swoop towards a full moon. The close perspective of the design heightens the drama, as the geese are shown disproportionally larger almost eclipsing the moon in their flight. The bokashi color gradation in the background, rendered as clouds around the moon add texture and sharpen the perspective. The detail in the geese is faithful as it is beautiful, demonstrating why Koson is known as the Audubon of Japan.

Connoisseur's Note

Scholarship on Koson is lacking, and not much information has been published at identifying first state designs vs. later printings. There are, however, some rules of thumb. In the case of this design, the earliest impression bare the red seal of the artist at the bottom left (later impressions lack the seal), as well as margins on all four sides. Granted, prints often suffer trimming, so it is the seal that will be an instant giveaway as to the state of printing. Other noteworthy aspects of this design are the subtle printing throughout, but most evident in the skillful application of bokashi in the background as well as the gray and brown used in the ducks’ under feathers. The small clip to the top right corner is original to the print and is known on other early impressions.