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Scholten Japanese Art


Paul Binnie: 30 Prints for 30 Years of Printmaking

To celebrate the release of new prints by Paul Binnie, as well as his highly prolific and accomplished career, we have assembled this very special online exhibition celebrating his 30th year as a printmaker.

This online show not only features the recent print releases of Bubble Era of 1990 and Tears (red-bronze variant), but also some of the artist’s most rare and sought-after designs, including such rarities as his 1994 Nocturne and the 2005 Butterfly Bow, both of which have long proven (nearly) impossible to acquire by his most ardent collectors.

To view these works and others in the exhibition, click here.


Paul Binnie

We are pleased to announce the release of an exciting new print set by Paul Binnie, The Moon Moth Suite, comprising of a set of three woodblock printed illustrations, Moon Moth Mask, Scarlet Sabre Bills, and Sea Dragon Mask. The designs are featured in a 2023 re-release of the 1961 science fiction book, The Moon Moth, by Jack Vance (1916-2013).

Binnie was commissioned by the publisher Cordes Press in the United Kingdom to provide the prints for a new edition of the famous and influential novella. The Cordes edition features three black and white illustrations which are based on Binnie’s keyblock prints of the designs, and there is also a (sold-out) luxury edition limited to only fourteen copies of the book with hand-printed color woodblock prints. Inspired by this unique project, Binnie used the same blocks to produce this small edition limited to thirty impressions of the suite of three full-color prints utilizing slightly variant color schemes embellished with the addition of mica, embossing, gold metallic printing, and extra bokashi shadings.

To learn more about this exciting new release, click here.


KAZUMA/KOIZUMI: Chasing Modernity

This Fall, Scholten Japanese Art presents KAZUMA/KOIZUMI: Chasing Modernity, which juxtaposes the work of two modern printmakers, Oda Kazuma (1881-1956), and Kishio Koizumi (1893-1945), both prominent members of the sosaku hanga (creative print) movement who shared an interest in depicting daily life in views of modern Japan, particularly the restoration and transformation of Tokyo following the 1923 earthquake. Although both embraced the ‘artist as creator’ ethos associated with sosaku hanga, they utilized varying techniques; Oda Kazuma was the leading color lithographer in Japan who also produced self-carved as well professionally published woodblock prints; while Kishio Koizumi was a dedicated woodblock carver and printer.

The exhibition is displayed in two parts:

Part One: Oda Kazuma features various landscape and figural works produced using different techniques including lithographs, as well as self-carved and professionally published woodblock prints.
The full index can be viewed here.

Part Two: Kishio Koizumi features a complete set of the artist’s monumental series, One Hundred Pictures of Great Tokyo in the Showa Era (Showa dai Tokyo hyakuzue), produced between 1928 and 1940.
The full set can be viewed here and individual works from the set here.


Meiji Period (1868-1912)

An online presentation of Meiji Period (1868-1912) woodblock prints in celebration of the Japanese Art Society of America’s 50th anniversary exhibition, Meiji Modern: Fifty Years of New Japan, opening on October 3, 2023 at the Asia Society here in New York.

Our selection includes works by Kiyochika, Yoshitoshi, Ginko, Kunichika, Chikanobu, and Shuntei, among others, and concludes with a group of fifteen prints from the collaborative series promoting modern goods, Collections of Famous Products, The Pride of Tokyo, featuring complex mitate (parodies) enriched by layered meanings and cultural references which are revealed by unlocking the rebuses (picture puzzles) and wordplay.

View the exhibition here.
View the exhibition index here.

In Memoriam – 1923 Great Kanto Earthquake

This year the month of September marks the 100th anniversary of the 1923 Great Kanto Earthquake and we recognize the tragedy in solemn commemoration. While we frequently refer to this event in our field as a means to date and categorize modern Japanese prints (as in ‘pre-earthquake’ or ‘post-earthquake) it is imperative to remember the humanity, resilience, and profound spirit of those who endured its devastating impact.

View the exhibition here.
View the exhibition index here.