<b>IIDIBASHI</b> / Toshi Yoshida1939$800</em>

Details

Toshi Yoshida was the oldest son of Hiroshi and Fujio Yoshida. In early childhood, one of Yoshida’s legs was paralyzed. Unable to attend school, the young Yoshida enjoyed watching and sketching animals and being in his father’s print shop. As Yoshida grew older, he showed interest in making prints and started carving and printing in the family studio under his father’s tutelage. Yoshida carved and printed his father’s designs.

Yoshida’s first original designs date to the mid-1920s, and his career started in earnest in the late 1930s with a series of chuban-size landscapes that advanced his father’s style but demonstrated a sensitivity and flair for color that was all his own. In the 1950s, after his father’s death, the young Yoshida experimented with various styles and began working in abstraction concurrently producing highly representational designs. Like his father, Toshi Yoshida traveled the world in search of inspiration and produced a large body of work featuring foreign subjects. Yoshida’s diverse abilities and spirit of experimentation set him apart from his father, advancing his own style and artistic perspective and bolstering the Yoshida family legacy.

This striking design, showcasing a stunning canal scene bathed in the light of dawn, is among the first prints the artist produced. It belongs to a series of chuban-size landscapes executed between 1938–1942. This print clearly demonstrates the young artist’s ability to produce woodblock printed designs. The charming landscape and its striking atmospheric effects strongly suggest his father’s influence. However, the young Yoshida’s use of light is masterful, and his sense of color anticipates his later masterpieces, which would yield him great acclaim

Connoisseur's Note

This work is a rare lifetime impression produced by the artist himself, not a later posthumous impression. Lifetime impressions bear a live pencil signature at the bottom right margin, in contrast to the later one with stamp signatures closely resembling pencilwork. Later impressions also showcase the name and information of the current publisher on the reverse, which this print lacks. This impression was never framed or displayed for extended periods, ensuring the colors are in a pristine state of preservation, appearing as vivid today as they were the day the work was produced.