Watanabe Prints

Published by The Limited Editions Club, New York; printed by Watanabe Studio Ltd., New York, under the direction of Jo Watanabe, New York, 1984.

Published by The Limited Editions Club, New York; printed by Watanabe Studio Ltd., New York, under the direction of Jo Watanabe, New York, 1984.

Published by The Limited Editions Club, New York; printed by Watanabe Studio Ltd., New York, under the direction of Jo Watanabe, New York, 1984.

Published by The Limited Editions Club, New York; printed by Watanabe Studio Ltd., New York, under the direction of Jo Watanabe, New York, 1984.

Published by The Limited Editions Club, New York; printed by Watanabe Studio Ltd., New York, under the direction of Jo Watanabe, New York, 1984.

Published by The Limited Editions Club, New York; printed by Watanabe Studio Ltd., New York, under the direction of Jo Watanabe, New York, 1984.

Published by The Limited Editions Club, New York; printed by Watanabe Studio Ltd., New York, under the direction of Jo Watanabe, New York, 1984.

The image was commissioned to commemorate Lincoln Center Festival 50th Anniversary Celebration and printed at Watanabe Press. American Pop artist, Jim Dine (b. 1935, Cincinnati, OH)...

While coloring the sketch, I am already imagining the effects in a woodblock print.” — Kawase Hasui Kawase Hasui (1883–1957) is the most celebrated 20th-century Japanese print desig...

He continued to work as an artist in the kabuki theater, but did not design any other actor prints until the early 1950s. From 1951 to 1954, he again collaborated with Watanabe on an...

Signed 'Hasui' with the artist’s seal 'Kawase', lower left. Published by Watanabe Shozaburo with the Watanabe ‘D’ seal indicating an early impression printed between 1931 - 1941.

Signed and numbered 73/108 in pencil, lower right. Printed by Watanabe Studio, Ltd., Brooklyn. Published by the Lincoln Center/List Poster and Print Program, New York.

By the age of 18, Shôtei was a co-founder of the Japan Youth Painting Society, and by 1907 he had been recruited by Shōzoburō Watanabe to produce prints for his Shin Hanga movement.

Signed by the photographer

Set of 4 signed abstract intaglio prints by Kazuko Watanabe, framed. Signed in pencil by the artist and numbered 16/30, 19/20, 7/10, 9/10.

Set of 4 signed abstract intaglio prints by Kazuko Watanabe, framed. Signed in pencil by the artist and numbered 16/30, 19/20, 7/10, 9/10.

Set of 4 signed abstract intaglio prints by Kazuko Watanabe, framed. Signed in pencil by the artist and numbered 16/30, 19/20, 7/10, 9/10.

Donald Sultan Yellow Roses, 1992 Screenprint in colors on wove paper Pencil signed, titled, dated March 9, 1992 and numbered 70/100 by Donald Sultan on the front Published by Parasol...

Artist: Donald Sultan, American (1951 - ) Title: Wallflowers Year: 1994 Medium: Screenprint on Somerset Rag, Signed and numbered in pencil Edition: 44/50 Paper Size: 24 x 34 inches ...

This trip deepened his connections with key Japanese print publishers, including Watanabe Shozaburo, a major proponent of the Shin Hanga movement.

This trip deepened his connections with key Japanese print publishers, including Watanabe Shozaburo, a major proponent of the Shin Hanga movement.

浅草観音堂大提灯 Woodblock print. Publisher: Watanabe Woodblock Print Shop, Ginza, Tokyo.

These pictures not only portray the monkeys with great dignity and respect, but are also a beautiful, quiet reflection of watanabe's sensitivities and artistic soul. This stunnin...

These pictures not only portray the monkeys with great dignity and respect, but are also a beautiful, quiet reflection of Watanabe's sensitivities and artistic soul. This stunnin...

In the series “Comedy of Double Meaning’ Japanese photographer Hiroshi Watanabe photographs members of a Venetian theatrical troupe, the Pantakin Company, dressed as Pulcinella, Inna...

In the series “Comedy of Double Meaning’ Japanese photographer Hiroshi Watanabe photographs members of a Venetian theatrical troupe, the Pantakin Company, dressed as Pulcinella, Inna...

In the series “Comedy of Double Meaning’ Japanese photographer Hiroshi Watanabe photographs members of a Venetian theatrical troupe, the Pantakin Company, dressed as Pulcinella, Inna...

In the series “Comedy of Double Meaning’ Japanese photographer Hiroshi Watanabe photographs members of a Venetian theatrical troupe, the Pantakin Company, dressed as Pulcinella, Inna...

In the series “Comedy of Double Meaning’ Japanese photographer Hiroshi Watanabe photographs members of a Venetian theatrical troupe, the Pantakin Company, dressed as Pulcinella, Inna...

In the series “Comedy of Double Meaning’ Japanese photographer Hiroshi Watanabe photographs members of a Venetian theatrical troupe, the Pantakin Company, dressed as Pulcinella, Inna...

In the series “Comedy of Double Meaning’ Japanese photographer Hiroshi Watanabe photographs members of a Venetian theatrical troupe, the Pantakin Company, dressed as Pulcinella, Inna...

In the series “Comedy of Double Meaning’ Japanese photographer Hiroshi Watanabe photographs members of a Venetian theatrical troupe, the Pantakin Company, dressed as Pulcinella, Inna...

Sarumawashi, literally "monkey dancing" evolved over a 1000-year history in Japan. Ancient Japanese chronicles refer to it as a form of religious ritual designed to protect the horse...

Sarumawashi, literally "monkey dancing" evolved over a 1000-year history in Japan. Ancient Japanese chronicles refer to it as a form of religious ritual designed to protect the horse...

Sarumawashi, literally "monkey dancing" evolved over a 1000-year history in Japan. Ancient Japanese chronicles refer to it as a form of religious ritual designed to protect the horse...

Sarumawashi, literally "monkey dancing" evolved over a 1000-year history in Japan. Ancient Japanese chronicles refer to it as a form of religious ritual designed to protect the horse...

The Day the Dam Collapses is the new detailed yet quietly poetic series from the California-based Japanese photographer. Working for the first time with digital capture, Watanabe col...

Putting aside his usual black and white palette, Hiroshi Watanabe uses color in his attempt to tell an unbiased story of North Korean culture and everyday life in "Ideology in Paradi...

Putting aside his usual black and white palette, Hiroshi Watanabe uses color in his attempt to tell an unbiased story of North Korean culture and everyday life in "Ideology in Paradi...

Putting aside his usual black and white palette, Hiroshi Watanabe uses color in his attempt to tell an unbiased story of North Korean culture and everyday life in "Ideology in Paradi...

Putting aside his usual black and white palette, Hiroshi Watanabe uses color in his attempt to tell an unbiased story of North Korean culture and everyday life in "Ideology in Paradi...

Putting aside his usual black and white palette, Hiroshi Watanabe uses color in his attempt to tell an unbiased story of North Korean culture and everyday life in "Ideology in Paradi...

Putting aside his usual black and white palette, Hiroshi Watanabe uses color in his attempt to tell an unbiased story of North Korean culture and everyday life in "Ideology in Paradi...

Putting aside his usual black and white palette, Hiroshi Watanabe uses color in his attempt to tell an unbiased story of North Korean culture and everyday life in "Ideology in Paradi...

Putting aside his usual black and white palette, Hiroshi Watanabe uses color in his attempt to tell an unbiased story of North Korean culture and everyday life in "Ideology in Paradi...

Putting aside his usual black and white palette, Hiroshi Watanabe uses color in his attempt to tell an unbiased story of North Korean culture and everyday life in "Ideology in Paradi...

Putting aside his usual black and white palette, Hiroshi Watanabe uses color in his attempt to tell an unbiased story of North Korean culture and everyday life in "Ideology in Paradi...

Putting aside his usual black and white palette, Hiroshi Watanabe uses color in his attempt to tell an unbiased story of North Korean culture and everyday life in "Ideology in Paradi...

Putting aside his usual black and white palette, Hiroshi Watanabe uses color in his attempt to tell an unbiased story of North Korean culture and everyday life in "Ideology in Paradi...

Putting aside his usual black and white palette, Hiroshi Watanabe uses color in his attempt to tell an unbiased story of North Korean culture and everyday life in "Ideology in Paradi...

Putting aside his usual black and white palette, Hiroshi Watanabe uses color in his attempt to tell an unbiased story of North Korean culture and everyday life in "Ideology in Paradi...

Putting aside his usual black and white palette, Hiroshi Watanabe uses color in his attempt to tell an unbiased story of North Korean culture and everyday life in "Ideology in Paradi...

Putting aside his usual black and white palette, Hiroshi Watanabe uses color in his attempt to tell an unbiased story of North Korean culture and everyday life in "Ideology in Paradi...

Putting aside his usual black and white palette, Hiroshi Watanabe uses color in his attempt to tell an unbiased story of North Korean culture and everyday life in "Ideology in Paradi...

Putting aside his usual black and white palette, Hiroshi Watanabe uses color in his attempt to tell an unbiased story of North Korean culture and everyday life in "Ideology in Paradi...

Putting aside his usual black and white palette, Hiroshi Watanabe uses color in his attempt to tell an unbiased story of North Korean culture and everyday life in "Ideology in Paradi...

Putting aside his usual black and white palette, Hiroshi Watanabe uses color in his attempt to tell an unbiased story of North Korean culture and everyday life in "Ideology in Paradi...