<b>ONOE MATSUSUKE IV AS KOMORI YASU (THE BAT)</b> / Yamamura Toyonari1917<b>SOLD</b></em>
ARTIST: Yamamura Toyonari (Koka) (1885-1942)
TITLE: Onoe Matsusuke IV as Komori Yasu (The Bat) in the play “Yowa Nasake Ukina no Yoroguchi”
MEDIUM: Woodblock
DATE: 1917
DIMENSIONS: 16 1/4 x 11 1/2 inches
PUBLISHER: S. Watanabe Print Co.
CONDITION: No condition problems to note
SOLD
ARTIST: Yamamura Toyonari (Koka) (1885-1942)
TITLE: Onoe Matsusuke IV as Komori Yasu (The Bat) in the play “Yowa Nasake Ukina no Yoroguchi”
MEDIUM: Woodblock
DATE: 1917
DIMENSIONS: 16 1/4 x 11 1/2 inches
PUBLISHER: S. Watanabe Print Co.
CONDITION: No condition problems to note
SOLD
ARTIST: Yamamura Toyonari (Koka) (1885-1942)
TITLE: Onoe Matsusuke IV as Komori Yasu (The Bat) in the play “Yowa Nasake Ukina no Yoroguchi”
MEDIUM: Woodblock
DATE: 1917
DIMENSIONS: 16 1/4 x 11 1/2 inches
PUBLISHER: S. Watanabe Print Co.
CONDITION: No condition problems to note
SOLD
Details
Yamamura Toyonari produced some of the most iconic actor portraits in 20th century Japan, and this design is his supreme masterpiece. This okubi-e of the actor Matsusuke Onoe IV as Komori Yasu (The Bat) has become instantly recognizable in the Shin Hanga genre. Komori Yasu was a rogue and his nickname was derived from the bat tattoo on his cheek. This character appears in the play Yowa Nasake Ukina Yokogushi that was performed in Tokyo in 1916. In the play, Komori Yasu and his crime partner Kirare Yosaburo attempt to extort money from Yosaburo’s former lover Otomi. This powerful design depicts Komori Yasu in a moment of contemplation, only an instant before the resolve of his criminal acts which result in his exile. The portrait immortalizes Yasu and perhaps creates an archetype for all criminals to emulate—the original Scarface.
Connoisseur's Note
S. Watanabe published this exceedingly rare portrait in 1917; as such, it is a rare impression that survived the Tokyo earthquake and ensuing fires of 1923. This catastrophe destroyed much of the city and consumed Watanabe’s shop and all remaining inventory. In addition to their rarity, pre-earthquake Watanabe prints are valued because of their rich coloration and use of deluxe printing techniques such as bokashi and barren marks, as seen on this impression. Watanabe lost two printers in the disaster. Many contend Watanabe’s prints suffered greatly at the loss of his two master printers, never to regain the richness and complexity of printing as was seen in those early pre-earthquake production years.