Japanese shunga of the early 20th century

This series consists of monochrome Japanese woodblock prints (shunga) executed within the classical ukiyo-e tradition. The compositions rely on clear contour lines, expressive bodily forms, and restrained yet precise use of black ink. Solid areas are applied sparingly, emphasizing rhythm, gesture, and the flow of the figures rather than decorative surface effects.
The visual language continues the late Edo erotic tradition, where intimacy and physical interaction take precedence over elaborate backgrounds. Interior elements are kept minimal, allowing each scene to unfold in a concentrated, almost theatrical space.

The prints date to the late Meiji – Taishō – early Shōwa period, a time when traditional Japanese woodblock printing was still actively practiced, while modern materials and formats were increasingly adopted. These works belong to a moment of reinterpretation, when established ukiyo-e themes were revisited in a more restrained and simplified manner.
Such series were intended for private viewing and retained the visual grammar of eighteenth- and nineteenth-century shunga, despite their later production date. In this period, erotic woodblock prints often took the form of loose sheets or small series rather than bound albums.

In their composition and treatment of the human figure, the prints recall the legacy of major ukiyo-e masters, particularly the circle of Kitagawa Utamaro, with its emphasis on bodily presence, gesture, and intimate interaction. Certain scenes also suggest affinities with the more dynamic approach associated with Katsushika Hokusai, especially in the articulation of poses and the rhythmic movement of line.
Rather than quoting specific works, the series adopts a well-established visual language of classical shunga, shaped during the late Edo period and carried into the early twentieth century.

The set comprises twelve prints, some of which share closely related compositions with variations in detail and execution. Such repetition with variation is characteristic of Japanese print series of this period and reflects their serial nature rather than an emphasis on uniqueness.
Each scene functions as a self-contained episode, while together the prints form a coherent visual cycle within a single artistic tradition.