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• Lot n° 1122 Paul Jacoulet (1902-1960) "Le Génie Sans Noms. Corée," 1953 Woodcut in colors on handmade mulberry paper Edition: One of fewer than 145 total impressions Signed in pencil above the artist's red ink peony stamp in the image at the lower right: Paul Jacoulet; the title printed in the lower margin, at right; Kentaro Maeda, carver; Onodera, printer Image: 15.5" H x 11.75" W; Sight: 15.75" H x 12" W Literature: Miles 127 Other Notes: According to Richard Miles, the master printer Fusakichi Ogawa was most involved with work for Jacoulet between 1935-1942, but also printed some of the artist's woodcuts between 1948 and 1951. Miles also states that, "...Jacoulet's numbering system was eccentric at best....Existence of an edition does not mean that the edition was printed in full, and in most cases many fewer were pulled. It was Jacoulet's practice to print only what he expected to sell, or had already sold, to subscribers....In addition, he tried not to duplicate numbers, and largely succeeded. Therefore, in [a hypothetical example], although a print stamped 290/350 is known to exist, there are fewer than 100 actual impressions with the edition of 350 stamp, because 200 of the earlier numbers were used up in the edition of 150 and 250. Even the edition of 150, of which number 150/150 is known, may have existed in fewer impression, because Jacoulet started printing some editions of 250 before completing the first printing....It goes without saying that many of the pre-war prints that did not leave Japan prior to 1941 are no longer in existence, and in many cases the delicate vegetable pigments have faded." Paul Jacoulet was born in Paris in 1902 to a French father, Frédéric, who worked as an educator, and a Basque mother, Jeanne. Soon after his birth, Jacoulet's father took a job as a language tutor in Tokyo. Jacoulet and his mother joined his father in Japan in 1906 where he received an academic education while also learning languages and painting and receiving lessons in music and voice. Jacoulet was also tutored in many aspects of local Japanese culture and was versed in traditional customs, art forms, and fashion (often wearing kimonos) including language, calligraphy, samisen, gidayu style ballads, and literature. The World War I period was difficult for the artist’s family and at about age 20, Jacoulet went to work for the French Embassy in Tokyo, while continuing his painting studies and fostering an interest in collecting ukiyo-e prints. After his house survived the devastating 1923 Tokyo earthquake, Jacoulet resolved to completely focus on artistic endeavors. By about 1930, Jacoulet regularly visited the Marianas, Carolines, and other islands in the South Pacific, where he sketched and collected butterflies. He also visited his mother and her new Japanese physician husband who were living in Seoul (his father had died in the early 1920s). There he continued to make sketches and also befriended brothers Joseph and Louis Rah who returned with him to Japan and worked as assistants to Jacoulet for the rest of his life. The following year, in 1931, Jacoulet moved to Akasaka and began a working relationship with woodblock printmaker Shizuya Fujikake who taught him the craft. Quickly establishing himself as a printmaker, Jacoulet founded the Jacoulet Institute of Prints in 1933 and published his own designs by the following year. The late 1930s were dynamic for the artist. While producing a number of important woodblock print subjects, mostly figural in composition, Jacoulet's work was featured in the magazine "Ukiyo-e Geijutsu" and he had important one-person shows in Tokyo and Honolulu. In 1944, escaping an escalation of fighting during World War II, Jacoulet moved permanently to the Karuizawa region. Despite the turmoil of war, American occupying forces in Japan discovered his work and were enthusiastic collectors. After the armistice and through the 1950s, Jacoulet continued to receive worldwide attention and participated in group and one-person shows in locations including Paris, New York, and Helsinki. Distinguishing himself from many shin hanga publishers, Jacoulet credited his carvers and printers by including their names on and in the margins of his work. He was meticulous about the wood, ink, and paper used to create his prints, and was innovative in his use of exotic materials including mica, crushed pearl, and powdered metals. Jacoulet was also exacting in his inspection of impressions, discarding anything that was not excellent. Some early works from the Rainbow Series were sold by subscription, but the vast majority of Jacoulet’s works were self-published. The colors slightly attenuated. With small margins showing. Not examined out of the frame. Framed under glass: 24.75" H x 20.25" W x 1.125" D