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Charlene's Picks
Charlene Wang | Acting Director, Asian Art | Business Development
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Nothing is cuter than these two little sisters depicted in this print by Fritz Capelari, dated 1915.
Bathed in the soft red glow of lanterns at a summer night fair, the two girls stood side by side, their small figures wrapped in kimonos, each with a paper lantern in hand. The older girl is wearing a chigo mage (稚児髷) hair knot, originally a boy’s hairstyle, later used by girls as well in the Meiji era. Beside her, the younger girl is half-hidden behind, with her small hand clutching the older one’s sleeve, cautiously looking around her. In this print, the artist captured a moment of the girls' expressions and emotions, where all the noise and crowds at the fair suddenly fade away and no longer matter.
This print was one of the 15 prints published by Watanabe Shōzaburō of Capelari, an Austrian artist who heavily influenced (or arguably shaped) the Shin-hanga (new prints) movement of the 20th century.
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This serene image of the Itsukushima Shrine at Miyajima by Itō Yūhan is not only beautiful, but it also gives off a different vibe from other prints. In the distance, you see the torii gate in the water beneath a full moon, and in the foreground, the shrine appears with two lanterns reflected in the water.
What’s special about Yūhan’s printmaking process is that he doesn’t use a key block, which is the main block that contains outlines and contours. Instead, he applies the color blocks directly, creating borderless imagery that resembles watercolor paintings.
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Yoshida Fujio was a pioneering Japanese woman artist whose legacy has long been overshadowed by her husband, Yoshida Hiroshi, and her son, Yoshida Toshi. Yet Fujio’s contributions to modern Japanese art are deeply significant. Fujio and Hiroshi, adoptive siblings through her father Yoshida Kasaburō, studied Western style painting together and traveled to the United States and held exhibitions from 1903 to 1905, when Fujio was just 16. Both gained early recognition and later married in 1907. Her promising career was interrupted by the death of her daughter Chisato and the illness of her son Toshi. Like many women artists, she stepped away from her work to fulfill family obligations.
It wasn’t until 1953, decades later, that she returned to art through woodblock printmaking. This group of Abstract Flowers prints reflects her quiet defiance and long-overdue artistic voice. While the compositions may evoke the floral abstractions of Georgia O’Keeffe, Fujio was actually not familiar with O’Keeffe’s work, these are wholly her own original expressions.
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Megan's Picks
Megan Ma | Associate Specialist & Department Coordinator, Fine & Decorative Arts
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Ms. Ruth Nelkin must have been a cat lover as her joyful collection of sōsaku-hanga (creative prints) featuring these furry companions says it all. One group, in particular, by Saitō Kiyoshi, especially caught my eye. He is renowned for his distinctive style that incorporates wood grain patterns into his prints, infusing his works with the rich texture of nature. If you’re a fan of cats, Japanese woodblock prints, or sōsaku-hanga in particular, don’t miss this opportunity to add these charming pieces to your collection!
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Another standout in the sale is this complete set of Hagiwara Hideo’s Thirty-six Views of Mt. Fuji. Rarely offered as a full set with the original portfolio folder, this lot is a must-see. The theme of Thirty-six Views of Mt. Fuji has long inspired Japanese woodblock artists, with the most iconic series being that of Katsushika Hokusai, who famously integrated Japan’s most beloved mountain into a variety of landscapes. Hagiwara Hideo offers a distinctly 20th-century interpretation. Using crayon-like strokes, bold outlines, and vibrant color blocks, he reimagines Mt. Fuji amid wild nature, urban skyscrapers, and quiet countrysides.
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This work by Lilian Miller immediately evokes Vincent van Gogh’s many still-life paintings of flowers set against vibrant turquoise backgrounds. Van Gogh’s artistic style was deeply influenced by traditional ukiyo-e masters such as Hiroshige and Hokusai, and it’s fascinating to witness this creative cycle come full circle, where Van Gogh, in turn, inspired later woodblock printmakers. In this piece, the bonsai-style plum blossoms bloom with full vitality, their branches extending beyond the frame of the composition, symbolizing renewal, growth, and the enduring spirit of life.
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Charlene Wang
Acting Director, Asian Art,
Business Development
CharleneW@HA.com
(212) 486-3731
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Megan Ma
Associate Specialist &
Department Coordinator,
Fine & Decorative Arts
MeganM@HA.com
(214) 409-1196
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