Lingering Dreams — 夢の後
by Binnie Paul (1967- )

Original caretaker of this artwork: Scholten Japanese Art

	Artist:	Binnie Paul (1967- )
	Title:	Lingering Dreams — 夢の後
	Series:
	Date of first edition?:	2006
	Publisher (first edition)?:	Self
	Publisher (this edition)?:	Self
	Medium (first edition):	Woodblock
	Medium (this edition):	Woodblock
	Format (first edition):	Large Oban
	Format (this edition):	Large Oban
	DB artwork code:	47778
	Notes (first edition)?:
	Notes (this edition)?:	The following information was taken from the original web listing of this artwork. Note that there may be some inaccuracies: Paul Binnie Scottish, b. 1967 Lingering Dreams (Yume no ato) signed in kanji, Bin-ni, followed by artist's red seal Binnie, the title, Yume no ato, at upper left margin, embossed Binnie at center of bottom margin, numbered and signed in pencil, 17/200, Paul Binnie, ca. January 2009 obaiban tate-e 21 5/8 by 16 3/8 in., 55 by 41.5 cm This print, and a related print, Ho-o (Phoenix), are both derived from a much sought-after design commissioned in 2006, Ho-o no Yume (Phoenix Dream). Both new releases employ many of the original blocks, but Binnie in effect has split the original composition into two distinct subjects, the ho-o tattoo, and the dream. This print uses the same striped kimono as the original composition, but now in shades of pink, while the background is delicately shaded as to suggest a small high window casting light down on to the beauty with the somewhat dreamy expression.
	Artist Bio:	Paul Binnie was born at Airthrey Castle, Scotland in 1967 and lived in Alloa, Central Scotland until 1985. He then attended Edinburgh University and Edinburgh College of Art, taking his MA (Fine Art) in 1990. From then until the spring of 1993 he lived in Paris where he worked mostly in oils and watercolours, painting figure subjects and occasional landscapes. He began to collect Japanese Woodblock Prints in the late 1980s on a summer trip to Paris, and his extended stay in France allowed him to expand his collection and his knowledge of the subject. It was this interest in Japanese Prints along with a desire to understand the methods of their production that prompted him to move in March 1993 to Tokyo. He there sought training in the techniques of block print-making. Unable to enter the Yoshida studio, his first choice for training, due to the illness of Yoshida Toshi, he was advised to contact Seki Kenji. Kenji had been the head printer at Doi-Hangaten and Binnie worked with him for several years developing his own block printing style.