<b>CORRIDOR OF KATSURA, KYOTO</b> / Unichi Hiratsukac. 1955<B>SOLD</B></em>
ARTIST: Unichi Hiratsuka (1895-1997)
TITLE: Corridor of Katsura, Kyoto
MEDIUM: Woodblock print
DATE: Not dated, c. 1955
DIMENSIONS: 33 x 24 3/4 inches
CONDITION: Excellent; no condition problems to note
LITERATURE: Helen Merritt, Bernd Jesse, Hiratsuka Modern Master, 2001
SOLD
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ARTIST: Unichi Hiratsuka (1895-1997)
TITLE: Corridor of Katsura, Kyoto
MEDIUM: Woodblock print
DATE: Not dated, c. 1955
DIMENSIONS: 33 x 24 3/4 inches
CONDITION: Excellent; no condition problems to note
LITERATURE: Helen Merritt, Bernd Jesse, Hiratsuka Modern Master, 2001
SOLD
Get in touch to purchase
ARTIST: Unichi Hiratsuka (1895-1997)
TITLE: Corridor of Katsura, Kyoto
MEDIUM: Woodblock print
DATE: Not dated, c. 1955
DIMENSIONS: 33 x 24 3/4 inches
CONDITION: Excellent; no condition problems to note
LITERATURE: Helen Merritt, Bernd Jesse, Hiratsuka Modern Master, 2001
SOLD
Get in touch to purchase
Details
Hiratsuka Unichi, celebrated for his mastery of black and white compositions, presents a captivating portrayal of the corridor at Katsura Imperial Villa in Kyoto. Katsura, located in the western suburbs of Kyoto, Japan (in Nishikyō-ku, distinct from the Kyoto Imperial Palace), stands as one of Japan's most significant large-scale cultural treasures. Renowned for its traditional Japanese architecture and materials, the villa's wooden features, particularly its iconic corridors, are revered for their rustic, weathered qualities acquired over time. In Hiratsuka’s print, the artist offers a glimpse of this revered corridor. Rendered entirely in black and white, the composition showcases the wavy patterns of the natural woodgrain, pulsating with vitality throughout the design and serving as its primary focus. An open door invites the viewer into the garden, while Hiratsuka’s masterful use of light highlights the luminous atmosphere beyond.
Connoisseur's Note
This large-scale and comparatively early-period work is rarely encountered in the market. The print was produced in only a handful of impressions. Furthermore, because of its large size, the original printing block was not brought to the United States when the artist relocated to the DC area in the 1960s; consequently, no post-Japanese impressions from later periods are known to exist.