NOTES ON THE PRINTS
by RICHARD LANE, PH.D.
RESEARCH ASSOCIATE
HONOLULU ACADEMY OF ARTS
WITH THE injunction "describe 257 prints in thirty pages," brevity has necessarily been the first consideration in the following notes. Where a brief notation on subject matter would suffice to clarify a print, I have always tried to include such. With the numerous Kabuki prints, however, simply recording the names of the actors, their roles, and the name of the play itself has used up my allotted space, making unfeasible any thought of outlining the plays, or even the scene in question. Actually, every detailed book on ukiyo-e must comprise in itself a full encyclopedia of Japanese history, folklore, and manners as mirrored in the prints. In that sense the present volume must admit to aiming itself more at simple identification, and fostering appreciation, than to presenting an advanced guide to the prints herein displayed.
There has, perhaps fortunately, been no space to comment on the often curious translations and comments of earlier cataloguers who were unfamiliar with the Japanese language and customs of the Edo period. Sexes are frequently confused, Japanese names are misspelled as often as not, and translations are sometimes but ill-inspired guesses, like that in the Wright Catalogue description of Print 228: "Two voices over Gomosaki. (The voice of the cuckoo and the voice of the rain.)" It will be another forty years, doubtless, before ukiyo-e studies may be expected to reach any generally sound, scholarly basis either in Japan or in the West, and it would be as unkind to correct connoisseurs still living as it would be ungrateful to criticize the pioneers of sixty years ago. We are still not too far removed from the era when a personable connoisseur of European art plus the most sociable Japanese student available were considered the perfect combination for compiling a study or catalogue of Japanese prints.
Several innovations of this volume should be noted. It is the first book on ukiyo-e to follow modern Japanese romanization throughout, including, in the notes, all diacritical marks. (Thus instead of the archaic spellings "Kwaigetsudo," "Yeisho," "ukiyo-ye"-even worse, Ficke's misspelling "ukioye"-we have Kaigetsudo, Eisho, ukiyo-e.) One innovation that may perhaps be thought a retrogression will be seen in the dating. When there is no positive manner of dating a print, but on the basis of style and technique I think it dates from, say, 1743-47,1 write "mid-1740's." I do not record "ca. 1745"-or worse, "1745." This is not done to free myself from the embarrassment of later correction, but rather to indicate that I know no way of more exact dating at the moment. All too often the "exact guesses" of early scholars have been treated as fact by later students. The great pioneer Fenollosa, for example, on the basis of style dated Print 51 in this book as "ca. 1751"-and later students have assumed he had some secret, perhaps oracular, source of data. My own Kabuki research would indicate an exact month in 1756 for this print: had it been labeled "early 1750's" from the beginning, would it not have been, contrary to expectations, a service and a warning to later students that the matter was by no means settled; (The great Art Institute of Chicago Primitives catalogue, which I reviewed for the Harvard Journal of Asiatic Studies in 1957, is but one example of how pernicious this mania for "exact guessing" has been on museum personnel.) Of course, I do not deny that a gifted student may, through prolonged study of a particular artist or period, come to know his special field well enough to ascertain dates as close as a year or two; but the total field of ukiyo-e studies is too complex to be known that well in less than a lifetime, and during the first decade or so of study it is best to be humble before the vast mountain of material that must be learned and assimilated-while at the same time maintaining a rigid skepticism of all earlier theories and supposed facts that do not stand up under detailed scrutiny.
And a warning should be given regarding Kabuki dating in general-including that in these notes. I have seen the greatest Kabuki experts in Japan make errors of as much as twenty years in Kabuki dating when they happened to find a role that seemed to fit the print in question. Often the only method of verifying a date after the general combinations of actors and roles have been pinned down, is to read the entire play and find the exact scene represented. Yet a majority of the early Kabuki texts were never published, and of those that were, a considerable percentage have been lost; even the extant works have seldom been reprinted. In effect, then, even if given ideal conditions for study-continued presence in Japan, with twenty hours available for each print-a tenth of the Kabuki prints would still remain mysteries to the most skilled researcher.
The only advice I can give to the serious student of ukiyo-e is this: rely on no one, base opinions on original sources, and make first editions of dated prints and illustrated books your bible when you seek to determine the date of an undated print-for in such cases stylistic dating is the only reasonably accurate method I know.
These notes have been written in Japan, far from the actual prints they describe, and I must note with profound gratitude the continued cooperation of Mr. Michener, Mr. Grilling, Miss Morse, and other personnel of the Honolulu Academy of Arts in providing me with all the photographs and information I required-even sending the originals in a few cases where authenticity was in doubt. Data on size, condition, provenance and number of colors are entirely the work of these devoted people. In Japan, friends Tsuihiji Nakasuke and Kikuchi Sadao have lent helpful suggestions, and Yoshida Teruji was kind enough to recheck much of the Kabuki dating. At the publishers', thanks are due to Meredith Weatherby and Ogimi Kaoru, who have seen to the backbreaking work of editing, make-up, and bookmaking. While most of the material of this section is original with the writer, notes for the modern prints incorporate many suggestions by Mr. Michener (his comments will be readily distinguished by their more colloquial style) and have also been kindly checked over by Oliver Statler. However, final responsibility for the print captions and notes as a whole necessarily rests with the present writer. I may add that, unlike some such projects, I think this one has proved a joy and an education to all concerned.
Tokyo, Summer, 1959
Key to the Notes
1. THE ARTISTS. All Japanese names, whether ancient or modern, are given in their original form, surname first, art-name last. (Note that Sugimura, No. 13, is the only important ukiyo-e artist known by his surname rather than his art-name; with a few artists, like Chōki, the surname is either unknown or seldom used, and the studio name is given instead.) For what they may be worth, very brief biographical notices have been included for each of the artists represented, featuring, most often, his work as it relates specifically to the prints illustrated. At the present stage of ukiyo-e studies even the most elementary statements may involve highly complex problems, but such have only been hinted at here. The notes are grouped under the respective artists, and the artists are in general arranged in the same roughly chronological order of the text. For the convenience of the reader, an alphabetical list of artists, together with their prints, will be found beginning on p. 6.
2. TITLES. Few of the earlier Japanese prints were given titles by the artists, and those devised by Western students have uniformly reflected prevailing Occidental tastes rather than Japanese. Thus Nos. 11 and 13 have, even in modern times, often retained such mildy titillating, but inaccurate, titles as "Spying on Lovers" and "An Interrupted Embrace." Once one is aware of the naturalistic Japanese view of sex and, moreover, of the fact that these prints were originally frontispieces to albums containing the most frank depictions of 17th-century sex life, this Victorian coyness seems somewhat ridiculous. Nearly all prints in this book have been newly titled, with emphasis on the main idea of the print rather than its secondary features. Intrusive poetry has been eschewed in titles: to call Hokusai's great print of Mt. Fuji at dawn "The Breezy Call of Incense-breathing Morn" seems to me a hindrance rather than a help to direct perception of the beauty of the work. With the Kabuki prints, there has not been much choice but to give the names of the actors as the title; even here, however, in the few cases where the drama is well known in the West I have sometimes given, instead, the names of the roles portrayed. For the moderns, of course, the title chosen by the artist has been followed so far as possible.
3. DATES. To conserve space, for detailed dating I simply give the month in roman numerals; thus XI/1715 signifies "Eleventh Month in the lunar year 1715/16." (Old Japanese dates were recorded in the lunar calendar, which varied from year to year but was generally two to five weeks later than the Gregorian year. Thus most of the Twelfth Month, and sometimes the end of the Eleventh Month, in the Japanese calendar would fall in January or early February of the following Gregorian year. For our purposes here it has seemed sufficient simply to record the Japanese month with the roughly equivalent year; dates are seldom precise enough to warrant more involved calculations.) The order of the plates was largely settled before these notes were written (the determining factor often being layout considerations) and hence sometimes bears little relation to chronological order. In such cases I have occasionally added a note to the biographical data, commenting on the artist's chronological development in relation to the prints illustrated.
4. DESCRIPTIONS. These expand upon the title and aim at pointing out and explaining matters significant, but not readily apparent to persons unfamiliar with Japan. There was no space to go into detail on the numerous literary allusions in the prints, but cross-references to other prints in the volume (see, for example, Print 101) will usually make the general idea clear to the persistent reader.
5. LEGENDS OR TRANSLATIONS. Verses, whether good or bad in the original, have been translated as literally as possible, but with a view to making their relation to the print apparent. At the same time I have avoided over-translation, and when the original is subtle or obscure, I have tried to make the translation conform. With a print like No. no, of course, I have gone a bit deeper into the literary significance than the average Edoite of Harunobu's day would have fathomed, but this was an example of particular interest. Like the verses, legends inscribed on the prints have been given in translation only, except when they consist primarily of Japanese proper nouns.
6. ALTERNATE VERSIONS. Much work remains to be done in the comparative study of alternate impressions of many of the prints shown here. My own notes are necessarily limited in this respect, for they were prepared from small monochrome photographs, without having access either to the originals or to such publications as Ledoux, Hirano, and many of the great Occidental catalogues.
7. SIGNATURES AND SEALS. Data on signatures, seals, and publishers' inscriptions are given in romanization rather than translation as they will be principally of interest to specialists. Publishers' names and seals are often cited literally, in abbreviated form, when their identity would be apparent to the student, but in fuller form when they represent some difficulty in deciphering. Unsigned works are so indicated; when no external evidence of authorship is noted, the attribution is simply my own opinion, though I have been careful to indicate all cases (e.g., Nos. 3, 4, 52) where a definite attribution seemed unwarranted at the present time. Note that the recurrent terms hitsu, shōhitsu, zu, and ga appearing after artists' names signify "painted by"; hammoto means "publisher"; kiwame (later aratame) is the censor's seal found on many prints after 1790; -za means "Theater." Owner's seals on the front or back of a print are generally not recorded in these notes other than the mention under provenance.
8. CONDITION.. The present evaluations of condition are generally conservative. Note that line-cuts often, and color plates sometimes, do not reproduce the slight defects in a print. The background tones of the color plates in this book approximate, so far as possible, the paper colors of the prints as they appear today, often including the natural darkening of age. The notation "holes" refers generally to minor wormage. Whether a print is trimmed or not is sometimes difficult to determine, since minor differences sometimes date back to impressions originally made on slightly odd sizes of paper. "Oxidation" refers to the phenomenon seen when chemical change partially darkens a color; mineral red often turns blue-gray, but more crucial is the occasional change of mineral white to gray; this phenomenon may be studied in the following prints, notice of which is accordingly omitted from the notes proper: 5, 16, 65, 118, 126, 127, 128-29, 130, 139, 143, 145-46, 180.
9. PROVENANCE AND PRIOR PUBLICATION. Under provenance, following the citation "From," are listed the names of all known previous owners of the particular print, beginning with the latest and, when earlier owners are unknown, sometimes including date of acquisition. A bibliographical citation following "In" signifies that the particular print shown in this book was the one illustrated in that publication. If readers know of other appearances of these prints, or of additional former owners, the Honolulu Academy of Arts would greatly appreciate correspondence. A key to the abbreviations of book and catalogue titles will be found in the Bibliography. Following is a list of former owners of the prints, including their full names, where available, and print numbers:
Adachi Toyohisa (Tokyo ukiyo-e printer), 231
Ainsworth, Mary E., 62, 113
Anderson Coll., 238, 254
Appleton, Col. Henry, 199
Baker, Kington, 46, 101, 103-4, 112
Bateson Coll., 24, 26, 112
Berts, Huguette (Paris dealer), 43
Bing, Siegfried, 168
Blanchard, Mrs. John Osgood, 115, 190
Brussel, Jack (N. Y. dealer), 19, 212
Bullier Coll., 78, 184, 205
Carrier Coll., 29
Chandler, Charles H., 1, 3, 4ff.
Church, Frederick Edward, 37
Cox, Warren (N. Y. dealer), 9, 64, 68-70, 116, 119, 153, 186
Crist Coll., 153
Cutter, Marian, 186
Doi Coll., 136, 160
Fenollosa, Ernest Francisco, 15, 23(5), 33, 116(?), 119(?), 142(?)
Ficke, Arthur Davison, 58, 78, 100, 118, 180, 257
Field, Hamilton Easter, 187
Ford, Tod, 1, 5, 143, 162, 189
Forman, Georgia, 229
Freer, Charles Lang, 1, 5, 143, 189
Fukuda Bunko (Fukuda Coll.), 102
Gonse, Louis, 158, 170, 175, 177-78
Gookin, Frederick W., 58, 257
Grabhorn, Edwin, 156, 201
Gunsaulus, Helen C., 229
Happer, John Stewart, 10
Hartnett, William C., 236, 238, 254
Haviland, Charles, 157, 193
Hayashi Tadamasa, 65-67, 68-70, 107, 150, 182, 184, 200, 223, 226-27
Hillier, J., 36, 211
Hubert Coll., 57
Itō Tokumatsu, 7, 99
Jacquin, Charles, 151, 203, 215
Jaeckel Coll., 13
Kane, Louisa Langdon, 45, 76, 86-88
Kegan Paul (London dealer), 12, 14, 176, 211
Kellogg Coll., 24, 26, 85
Ketcham, W. H., 15, 23, 33, 51, 116, 119, 142
Kobayashi Bunshichi, 29, 108, 156
Koechlin, Raymond, 149
Kondō Toyotarō (Kyoto dealer), 28, 114
Koscherak, Raymond (N. Y. dealer), 126, 177-78, 180, 183
Kuki Saburō, 2, 35
Lane, Richard, 2, 35
Ledoux, Louis V., 92, 126, 177-78, 183
Lewis, Robert E. (San Francisco dealer), 24, 26, 85, 112
Litchfield, A. M., 101, 103-4, 109
Longweil, Mme., 92
Mansfield, Howard, 222
Manzi, Michel, 38, 42, 72
Matsuki Bunkio, 1, 5, 74, 208
Matsuki Kihachiro, 25, 126, 138
May, Frederic, 110, 164
Mayuyama & Co. (Tokyo dealer), 20, 30, 49, 130, 139. 144, 152, 181, 206
Metzgar, Judson D., 58, 61, 100, 209, 223, 236, 257
Mihara, A.S., 184
Morse, Charles J., 9, 15, 23, 48, 51, 64, 68-70, 116, 119, 142, 145-46
Murata Kimbei, 82
"Nadeshiko-sono," 102
Nail, Harry (Palo Alto dealer), 121, 238, 254
Orange, James, 49
Oshima Kano, no, 164
Ōya Shobō (Tokyo dealer), 171
Packard, Harry, 121
Rouart, Alexis, 100, 154-55
Ruth Coll., 112
Sakai Tokichi (Tokyo dealer), 18, 230
Salomon, Charles, 154-55, 227
Samuel Coll., 112
Schraubstadter, Carl, 105-6, 197, 217
Shōbisha (Tokyo dealer), 17, 39, 40, 96, 97, 137, 140-41, 163, 184, 232, 234-35
Shūgyō Hiromichi, 96
Sotheby & Co. (London auction house), 27, 111
Stark Coll., 36
Statler, Oliver, 235, 240, 244, 250, 255-56
Straus-Negbaur, Tony, 16, 59, 107, 126, 131, 167, 169, 174, 185
Thornicraft, T. C., 49
Tikotin, Felix (Dutch dealer), 13, 29, 36, 197
Tomita Gisaku, 10
Tomoda Coll., 47, 127
Tregaskis, James, 46, 101, 103-4, 109, 112
Tuttle, George, 229
Vignier, Charles, 72
Von Heymel, Walter, 46
Wakai Kanesaburo, 21, 65-67, 169
Walpole (N. Y. dealer), 192
Wright, Frank Lloyd, 41, 73, 79, 82, 123, 133-35, 161, 205
Yamanaka & Co. (Kyoto-Osaka dealer), 38, 42, 85, 92
Yōseidō (Tokyo dealer), 239, 245-46, 248
10. TECHNIQUES.. Data concerning techniques and dimensions are made available for ready reference by placing them at the end of each note. The traditional Japanese techniques of printing are summarized briefly below. Examples of each are cited from the plates, which will often provide a better idea of the method and result than words can.
Sumizuri-e: printed from one block, in black. (11, 21)
Tan-e: a sumizuri-e handcolored in orange (red lead), yellow, sometimes mineral green or gray. (16, 22)
Beni-e: a sumizuri-e handcolored in vegetable colors such as orange or red, yellow, blue, green. (In older books sometimes confused with benizuri-e; in the 18th century almost synonymous with urushi-e; due to its ambiguity, not used here.)
Urushi-e: a beni-e characterized by the addition of glue to the pigments, giving a lustrous appearance; "gold" dust (generally bronze or brass) or powdered mica was sometimes sprinkled on the wet pigments. (24,27)
Ishizuri-e: a rare form consisting of a sumizuri-e with the outline in white on black, after the manner of Chinese stone-rubbings. (36, 50)
Benizuri-e: a true color-print in red and green, sometimes yellow, blue, gray, all printed from blocks, sometimes with overprinting to produce three colors from two blocks. (73, 98)
Nishiki-e: A full-color print, a natural extension of the technique of the benizuri-e to a full scale of colors. Most of the prints from Harunobu on employ nishikie techniques. Among the more unusual devices found in nishiki-e is that of gaufrage; as its Japanese name karazuri ("empty-printing") indicates, it consists of heavy embossing with a block to which no color is applied. Karazuri is particularly effective in giving dimension to snow, waves, and kimono patterns, but of course is hardly susceptible to ordinary reproduction methods. (1, 103-4)
Modern creative-print artists employ some of the above methods (particularly sumizuri-e and nishiki-e), but also many new devices peculiar to themselves, as well as some borrowed from the Dadaists.
The number of colors shown for a given print is only a rough guide to the complexity of the printing. It includes neither related shades of a single color nor the color of the key block, although black is counted if applied other than by the key block. Nor is this number a guide to the number of blocks used, since a single color may be printed several different times from different blocks to achieve numerous shade variations, or, on the other hand, different colors may be applied at different times by printing from portions of a single block. See No. 189 for an example. The notation "gradation" indicates that a gradation of coloring has been achieved by wiping portions of the wet block before printing.
11. DIMENSIONS. Measurements are given in centimeters and take in the entire paper area, including margins. (As a handy comparison, the pages of this book are about 31 X 23 cm. or 12¼ X 9 in.) Common Japanese print sizes mentioned in the text are roughly as follows:
| Chūban: | 25.5 X19 cm. | 10 X 7½ in. |
| Hashira-e: | 73 X 12 cm. | 28¾ X 4¾ in. |
| Hoso-e: | 33 X 14.5 cm- | 13 X 5⅝ in. |
| Kakemono-e: | 76.5 X 23 cm. | 30 X 9 in. |
| Ōban:* | 38 X 25.5 cm. | 15 X 10 in. |
| Tanzaku: | 38 x 13 cm. | 15 X 5 |
* Many early ōban were originally issued as album sheets.
Moronobu
Hishikawa Moronobu (d. 1694). The first great consolidator of the ukiyo-e style worked from the early 1670's to shortly before his death in 1694, His dynamic early work is seen in No. 12, the supple power of his peak years in No. 11, and the graceful style of his last years in No, 257.
11. LOVERS WITH ATTENDANT. Early 1680's. At the right, the lover reclines upon the bedding, his elbow on an armrest. Before him sits his paramour, probably a courtesan. Above them is mosquito-netting, indicating the season is summer. At the left, the courtesan's attendant. Such prints were usually frontispieces to erotic series. Unsigned. Condition good (two ink stains, horizontal creasing, backed). From Chandler, 1910. Sumizuri-e. 29.9 X 35.1.
12. GROUPS OF TRAVELERS. Mid-1670's. At the right, a samurai with his two servants and baggage, possibly on a journey. To the left, going in the opposite direction, a group of five ladies with their servants. The latter group is doubtless returning from cherry-blossom viewing, for one of the ladies bears a branch of cherry blossoms and the servants carry picnic utensils. Unsigned. Condition fair (tears in margin, stains, scuffing, backed). From Kegan Paul. Sumizuri-e, with late handcoloring. 28.3 X 42.3.
257. STROLL BY THE BAY (detail). 1695. A lady takes 2 summer stroll beside a bay. In the original her maidservant follows with a fan and above the illustration appears the biography of the poetess Ise, with the famous love verse that the design illustrates: "Bay of Naniwa: must I spend my life without meeting him, even for an interval as brief as these reed-nodes;" Detail from an illustration appearing in Vol. I of The Hundred Poets Illustrated, Edo, IV/1695. This book records the death of Moronobu in its preface and, like several of Moronobu's signed works of the 1690's, shows evidence of having been redrawn for publication, most probably by the master's son Morofusa. Condition poor (smudged, trimmed, corner damaged). From Metzgar, Gookin, Ficke. Sumizuri-e. Detail from book page measuring 19.3 X 14.3.
Sugimura
Sugimura Jihei (worked 1680's to 1690's). The most impressive of Moronobu's immediate followers, Sugimura specialized in love scenes and erotica. Much of his unsigned work was formerly attributed to Moronobu.
13. LOVERS BY A SCREEN. Mid-1680's. A young samurai, seated while practicing with a small hand-drum, is interrupted by the embrace of a maiden. At the right a young girl peeks from behind the screen. Poem: "My longings ere we met are as naught: parting is indeed the beginning of love." Unsigned, Condition good (some general spotting, backed). From Tikotin, Jaeckel. In Hillier, Pl. 3; Ostier, No. 13. Sumizuri-e. 27.2 X 39.6.
Nishikawa Sukenobu (en. 1671-1751). Even more than Moronobu's, Sukenobu's work lay primarily in the field of book illustration, and only a few independent prints are known. A quiet grace was the ideal of the Kyoto ukiyo-e artists, of whom Sukenobu was the most prominent.
3. [Style of Sukenobu.] COURTESANS IN PROCESSION. 1710's. The procession of a leading courtesan; she is followed by two girl attendants and a manservant, who carries her large umbrella. Although the print seems closest to the style of the Kyoto master Sukenobu, it might possibly be an early work of Masanobu's done under strong Sukenobu influence. Unsigned. Condition good. From Chandler. Sumizuri-e. 26 X 36.5.
14. HAIRDRESSING. Ca. 1730's. A young man sits before a mirror playing the samisen, while a girl coifs and perfumes his hair. The printed signature appears to be a late addition, possibly applied by a publisher or dealer to an unsigned album sheet. Signature: Yamato-eshi Nishikawa Sukenobu hitsu. Condition fair (patched, heavy general scuffing, trimmed?). From Kegan Paul. Sumizuri-e. 26.2 X 17.5.
Kaigetsudō Dohan
Kaigetsudō Dohan (worked 1710's). In his paintings Dohan was the least inspired member of the Kaigetsudō school, but in his prints he ranks among the ukiyo-e greats. Like the other Members of his school, he treated the gorgeous Japanese kimono as sufficient raison d'être for his work, and rather consistently avoided other means of creating atmosphere. It is with good reason that the prints of the Kaigetsudō school have come to symbolize the spirit of ukiyo-e, and of the period which bore them: they are the most powerful manifestation we have of the Japanese courtesan, arbiter of taste and of love in an age when these were a cultivated man's principal concerns. More than anything by Moronobu, Sugimura, Kiyonobu, Kiyomasu, or Masanobu-all masters of the strong black line - the Kaigetsudō prints manage to stand alone in their massive contours as eternal symbols of Japanese womanhood.
7. COURTESAN. 1710's (late impression). A young courtesan pauses in her promenade to gaze at something or someone, her right sleeve lifted in feigned modesty. On the back of the present print appear both the Happer and Watanabe seals and the following notation in Happer's handwriting: "Print made from a genuine old block engraved not later than 1705, on paper of the same period, with ink over 300 years old. Tokyo, Oct. 1916. Printer: S. Watanabe. Certified as a true statement: J. S. Happer." Signature: Nippon giga Kaigetsu matsuyō Dohan zu; Dohan seal. Publisher's seal: Moto-hama-chō, Igaya, hammoto. Condition good. From Chandler. Sumizuri-e. 58.1 X 28.6.
15. COURTESAN. 1710's. The courtesan lifts her long skirts and swings her left under-sleeve as she prepares to walk. On her kimono we see a New Year's design of battledore, shuttlecock, pine branches, and other festive decorations; while her outer robe shows a rich rhythm of cursive calligraphy against black and white cloud patterns. Signature: Kaigetsu matsuyō Dohan zu; Dohan seal. Publisher's seal: Moto-hama-chō, Igaya, hammoto. Condition fine (several patched worm holes in background, minor tears in margin, backed). From Morse, Ketcham, Fenollosa. [The first adequately presented U.S. exhibition of ukiyo-e was held in the Fine Arts Building, 215 "West 57th Street, New York, January 1896. All prints not otherwise attributed were presumed to belong to the art auctioneer, W. H. Ketcham, but it has always been confidently believed that most of them were actually the property of Ernest Francisco Fenollosa, then Curator of the Department of Oriental Art, Boston Museum of Fine Arts, who compiled the trail-blazing catalogue. In the present collection appear more than a dozen choice prints from that first major American exhibition, but only two, this and No. 33, are specifically traced to Fenollosa.] Sumizuri-e. 57.5 X 31.7
Torii Kiyonobu I (ca. 1664-1729). (There is some doubt that the exact dates and relationships of the early Torii artists will ever become clear, but it seems best for the moment to assume that the names Kiyonobu and Kiyomasu each represent two generations of artists working under the same name.) Kiyonobu I began his work as an illustrator in the Moronobu style in 1687, and had illustrated a number of novels and dramas by the end of the century, when he began issuing albums and independent prints. Pl. 2 is a good example of the linear power that characterizes Kiyonobu's middle period; Nos. 24, 29, and 31 show the more refined grace of his later years, a style that was to dominate most of the subsequent Torii work, and is often, as here, difficult to distinguish from the early work of his pupils.
2. SEATED COURTESAN, Early 1700's. The right half of an erotic album plate; the courtesan exposes her thigh while her lover, at the left, is suggestively depicted in the nude. Unsigned. Condition good. From Lane, Kuki. Sumizuri-e. 22.2 X 21.5.
24. FUJIMURA HANDAYŪ. Late 1710's. The Kabuki records would indicate this print represents Handayū II, probably in the female role of Umegae in Chūjō-hime Kyō-hiina, performed II/1715, Nakamura-za. Stylistically, however, the print would seem to date from several years later, and the Binyon-Sexton guess of "1719" is probably not far off". Signature: Torii Kiyonobu hitsu. Publisher's seal: Hammoto, Moto-hama-chō, Igaya. Condition fine (inconspicuous center fold); this print suffered foxing after leaving England, but the colors are unusually well preserved. From Lewis, Kellogg, Bateson. In Binyon, Pl. XX, Fig. 2. Urushi-e: 5 colors by hand. 34 X 16.
29. KANTARŌ AND TAKENOJŌ. 1721. Sanjō Kantarō in the female role of Shōshō, and Ichimura Takenojō as Soga Gorō in Tsurugame wakayagi Soga, performed I/1721. Ichirnura-za. Signature: Torii Kiyonobu hitsu. Publisher's seal: Sakai-chō, Nakajimaya, hammoto. Condition good (center fold, tear in right margin, trimmed on right, backed). From Tikotin, Carrier, Kobayashi. In Ostier, No. 37. Urushi-e: 3 colors by hand. 28 X 15.6.
31. ICHIKAWA KUZO. 1718. Kuzo as Miura Arajirō in Zen kunen yoroi-kurabe, performed XI/1718, Morita-za. Signature: Torii Kiyonobu hitsu. Publisher's seal; Emiya, Shimmei-mae, yoko-chō. Condition good (creased, stained, backed). From Chandler, 1905. Urushi-e: 2 colors by hand. 29.5 X 15.8.
Kiyomasu I
Torii Kiyomasu I (worked mid-1690's to early 1720's). Little is known of Kiyomasu's early work, but during the 1710's his signed prints far outnumber those by Kiyonobu, who may have been his elder brother. Kiyomasu's style is somewhat more graceful than Kiyonobu's in his middle years, but the two are often difficult to tell apart. Nos. 17-20 are part of a series issued by two publishers during 1715 and 1716 to celebrate the famous Kabuki roles of Ichikawa Danjūirō II. No. 22 includes an interesting portrayal of the handsome actor Ikushima Shingorō, most famous for his role in the notorious Ejima-Ikushima scandal of but two years later, which ended his career (cf. Michener, The Floating World, p. 68; Lane, Kaigetsudō, pp. 29-30).
16. NAKAMURA SENYA IN THE ROLE OF TOKONATSU. 1716. Senya played this female role in XI/1716 at the Nakamura-za in the drama Mitsudomoe katoku-biraki. Legend: "Nakamura Senya, arrived from Kyoto." Signature: Torii Kiyomasu; Kiyomasu seal. Publisher's seal: Komatsuya, Yushima Tenjin, Onnazaka 110 shita. Condition good. From Chandler, Straus-Negbaur. In Einstein, Pl. 36; Frankfurt, No. 14; Straus-Negbaur, No. 13; Kunstwanderer, p. 467; Benn, Pl. 8. Tan-e: 3 colors by hand. 58.4 X 32.9.
17. GŌRŌ, SHŌSHŌ, AND ASAHINA. 1715. A scene in the Yoshiwara. At the left, Ichikawa Danjūrō II as Soga Gorō rising from hiding in a cauldron; to the right, Nakamura Takesaburō as the courtesan Shosho, and Tomizawa Ban-zaburō as Asahina. A young girl is serving sake as Shosho plays the samisen. From Bandō ichi kotobuki Soga, performed I/1715, Nakamura-za. Legend: "Great Cauldron in the House of Assignation." Signature: Torii Kiyomasu; Kiyomasu seal. Publisher's seal: Moto-hama-chō, Igaya, hammoto. Condition fair (worm holes, paper soiled and creased). From Shōbisha; Tokyo sale, 1927. In UT III, 220; Tokyo sale, 1927, No. 3. Sumizuri-e. 30 X 37.7.
18. SAINT NARUKAMI AND PRINCESS TAEMA. 1715. A scene at the saint's hermitage, Ichikawa Danjūrō II as Saint Narukami, with Nakamura Takesaburō as Princess Taenia, in Narukami shōnin, performed V/1715, Nakamura-za. Legend: "A Stylish Narukami." Signature & seals: same as No. 17. Condition fair (two ink stains). From Sakai. Sumizuri-e. 29.3 X 40.3.
19. AGEMAKI AND SUKEROKU. 1716. A scene at the entrance to the Yoshiwara. Ichikawa Danjūrō II as Sukeroku, with Nakamura Takesaburō as the courtesan Agemaki, in Shikirei yawaragi Soga, performed II/1716, Nakamura-za. A servant girl is at left. Legend: "Agemaki and Sukeroku." Signature & seals: same as No. 17. Condition fair (trimmed at bottom). From Brussel. Sumizuri-e. 26.9 X 42.5.
20. FUWA AND OKUNI. 1715. A scene at the entrance to a Kabuki theater. Ichikawa Danjūrō II as the samurai Fuwa Banzaemon, with Nakamura Takesaburō as Okuni, the girl who began Kabuki, in Mimasu Nagoya, performed VII/1715, Nakamura-za, A servant girl is at the left. Legend: (at left) "Okuni Kabuki: Women's Dance, Men's Dance. Okuni's Kabuki Performance"; (at right) "Chōzō of the Wet Hair [a noted wrestler]." Signature & seal: same as No. 17. Publisher's seal; same as No. 16. Condition good (worm holes, stains). From May uyama. Sumizuri-e. 28.5 X 41.4.
21. WARRIORS IN COMBAT. 1710's. This print depicts not Kabuki but a scene of historical combat from the wars of the Taira and Minamoto; Taira no Kagekiyo rips the armor off Miho no Tanishirō as the latter's sword splinters. Signature: Torii uji Kiyomasu zu. Seals: same as No. 17. Condition good (mended tears, stained along right side, thin spots, scuffed). From Chandler, Wakai. [This collection contains about two dozen prints marked with the oval seal of the early Japanese collector Wakai Kanesaburō. He was the Tokyo vice-president of a firm that exported ukiyo-e to Paris, but he always maintained that he held back the choice examples for his personal collection, stamping each with his seal, which can be seen on Pl. 21, 67, and 169. The present collection also contains about six dozen prints marked with the circular seal of Hayashi Tadamasa, 1853-1906, who served as Paris agent for Wakai's firm. Hayashi acquired most of the Wakai prints, and also assembled a handsome collection of his own, which was the subject of a detailed sales catalogue published in Paris in 1902, listing 1,797 items, many with illustrations. Collectors have always prized Wakai and Hayashi prints, but the presence of their seals on a print does not automatically insure authenticity, for dealers have found them easy to forge; nor do the seals insure quality, for judging merely from some of the poorer prints in this collection which bear both Wakai and Hayashi cachets, the artistic judgment of the owners must have been quite elastic. In this book the Hayashi seal appears on Pl. 65, 68-70, 107, 150, 182, 184, 200, 223, 226, and 227. Of these, four are listed in the Paris catalogue, 65, 107, 184 and 227-the first and third being illustrated.] Sumizuri-e. 54 X 31.5.
22. TAKIE, SHINGORŌ, AND DANJŪRŌ. 1712. From top to bottom, Kirinami Takie as Takiguchi's younger sister, Ikushima Shingorō as Yorimasa, and Ichikawa Danjūrō as Hayata, in the drama Fukuwara yunzei Yorimasa, performed I/1712. Yamamura-za. The legend gives the names of the three actors. Unsigned, but probably by Kiyomasu I. Publisher's seal: Sakai-chō, Nakajimaya, hammoto. Condition good (some stains, hat of standing figure painted purple by later hand). From Chandler, 9/11/1918. Tan-e: 3 colors by hand. 30.4 X 15.6.
23. HEIKURŌ AND TAKESABURŌ. Stylistically one would tend to date this print ca. 1710; the Kabuki records, however, indicate that it may depict Yamanaka Heikurō as Sadatō, and Nakamura Takesaburō as a page, in Yoroi-kurabe Ōshū no kogane, performed XI/1716, Ichimura-za. Signature: Torii Kiyomasu; Kiyomasu seal. Condition fine (folded, slightly scuffed, backed; lower third of print employs darker shade of paper). From Morse, Ketcham, Fenollosa(?). Sumizuri-e. 65.2 X 32.5.
25. COURTESAN. Ca. 1705-10. A lone courtesan walking. Signature: Torii Kiyomasu; Kiyo seal. Condition good (mended tear lower right, some stains). From Chandler, K. Matsuki. Tan-e: 2 colors by hand. 31.5 X 15.2.
Torii Kiyonobu II (worked 1720's to ca. 1760) probably collaborated in the late work of Kiyonobu I, making it difficult to distinguish the artist involved in "Kiyonobu" prints of the 1720's. Like Kiyomasu II, he never attempted prints on the scale of the great work of the first generation of the Torii, but his small handcolored prints are impressive in their own quiet way, as are his later color prints and illustrations.
26. FUJIMURA HANDAYŪ. 1727. Handayū II as Kikusui, wife of Kusunoki, in Hōnen Taiheiki, performed XI/1727, Morita-za. She is disguised as a vendor of bamboo articles. Signature: Torii Kiyonobu hitsu. Publisher's seal: Koma-tsuya. Condition good (weather spots, repaired worm hole left margin); like No. 24, suffered foxing after leaving England, but colors unusually well preserved. From Lewis, Kellogg, Bateson. In Lewis, cover. Urushi-e: 2 colors by hand, gold dust. 34.6 X 16.
27. SEGAWA KIKUNOJŌ. 1737. Kikunojo, in the role of the fox-spirit Kuzunoha, dances before a fox-trap, baited with a rat, in the drama Ōuchi kagami Shinoda-zuma, performed III/r737, Nakamura-za. Legend: "Shinoda Dance; Segawa Kikunojo." Signature: Torii Kiyonobu hitsu. Publisher: hammoto, Murataya. Condition fine (double fold, slight breaks right margin, possibly trimmed). From Chandler; Sotheby, 10/18/1920. In UT II, 93, trimmed. Urushi-e: 3 colors by hand, gold dust. 32.1 x 15.2.
Kiyomasu II
Torii Kiyomasu II (worked 1720's to early 1760's). His work is uneven, but at his finest he represents one of the quiet peaks of ukiyo-e. Like Kiyonobu II, he is at his best in his handcolored lacquer-prints; the firmer lines of color printing tend to emphasize a certain awkwardness of composition inherent in both these artists.
28. THE MAIDEN TAMAMUSHI. 1730's. She stands in the prow of a ship beside the fan at which the archer Nasu no Yoichi will bend his bow - signaling the commencement of the Battle of Dannoura. Signature: Torii Kiyomasu. Publisher: Sakai-chō, Nakajimaya, hammoto. Condition fine (urushi on woman's haori is rough). From Kondō. Urushi-e: 4 colors by hand, gold dust. 31.9 X 16.1.
30. DANJŪRŌ AND HIROJI. 1720's. Ichikawa Danjūrō II stripped to the waist in the role of Soga Gorō, with Ōtani Hiroji as the warrior Asahina, probably in the "Kusazuri-biki" scene of the same drama noted in No, 19. Unsigned, but in the style of Kiyomasu II. The style and lacquer technique would indicate a date somewhat later than that of the first Kabuki performance. Publisher's seal: Shimmei-mae, Izutsuya. Condition fine (trimmed right?). From Mayuyama; Tokyo sale, 1933. In Tokyo sale, 1933, No. 8. Urushi-e: 3 colors by hand, gold dust. 31.9 X 15.2.
32. SEGAWA KIKUJIRŌO. 1746. Kikujirō as Okiku in Fuji no yuki mitsugu Soga, performed I/1746, Nakamura-za, Signature: Eshi Torii Kiyomasu hitsu. Publishe: Urokogataya hammoto. Condition good (center fold, small patches, urushi upper right possibly retouched). From Chandler, 1/5/1927. Urushi-e: 3 colors by hand, gold dust. 31.4 X 14.8.
Masanobu
Okumura Masanobu (ca. 1686 to 1764). Masanobu's work covers the whole range of early ukiyo-e, from sumizuri-e and tan-e through urushi-e, ishizuri-e, and beni-e, on down to the benizuri-e that just precede the development of full-color prints. Masanobu's prints abound in the wit and Edo verve that typified the best in eighteenth-century popular art. He was often his own publisher, and thus exercised a greater control over the final printed result of his designs than most ukiyo-e artists. In his early work he shows a great fondness for parody and novel designs (Nos. 9, 34, 35). With maturity - and with the increasing importance of coloring in the success of a print - he concentrates his attention more on design and harmony of composition. Some critics speak of a "decline" in his later work; but I think they are simply expressing a preference for the strength of the earlier ukiyo-e. Certainly I know no more satisfying print in ukiyo-e than No. 51. one of Masanobu's last designs, and the only example of his work in color printing which we show here.
4. [STYLE OF MASANOBU]. COURTESANS IN PROCESSION. 1710's, Two courtesans, at left, with three attendants. Unsigned. Condition good. From Chandler. Sumizuri-e. 27 X 37.
8. ONOE KIKUGORŌ, 1744. Kikugoro as Kichisa, in Nanakusa wakayagi Soga, performed early spring 1744, Ichimura-za. The young page holds a love letter partly concealed by his sleeve-intended, doubtless, for his paramour, the maiden Oshichi. Signature: Hōgetsudō shōmei Okumura Bunkaku Masanobu shōhitsu; Tanchōsai seal. Condition good (worm holes left margin, slight tear upper corner, backed). From Chandler. Urushi-e: 3 colors by hand. 66.9 X 16.2.
9. LADY MURASAKI, 1720's. The Lady Murasaki is depicted in modern dress, samisen at her feet, in a pastiche on the famous scene showing her composing the Talc of Genji at ishiyama Temple. In the distance to her right is a scene from classical legend, a parody on the exile of the courtier Yukihira and his affair with the salt-water carriers (cf. Nos. 1,219) Matsukaze and Murasame. The cartouche at the upper right reads "A Stylish Suma," referring to a chapter in the Tale of Genji wherein the hero is, in imitation of Yukihira's story, exiled to Suma. Signature: Okumura Masanobu zu; Masanobu seal. Publisher's seal (lower left): Kikuya, Asakusa Komagata-chō. Condition good (marginal tears and stains, backed). From Cox, Morse. Sumizuri-e. 29 X 44.5.
33. YOUNG SAMURAI ON HORSEBACK. Mid-1740's. A stylish young samurai is seated upon an elaborately bedecked mount. Above his head bloom cherry blossoms, and through a window two girls peek at him admiringly. Poem: "To the breeze of love the cherry blossoms fall, beside the viewing-window." Signature: Hōgetsudō shōmei Okumura Bunkaku Masanobu shōhitsu; Tanchōsai seal. Condition good (signs of framing). From Chandler, Ketcham, Fenollosa. Urushi-e; 4 colors by hand. 60 X 25.6.
34. CUTTING UP THE FLUTE FOR FIREWOOD. 1710's. At the left the host, a gay blade now come down in the world, chops up his treasured shakuhachi for firewood to prepare tea for the fair young samurai visitor. The ornaments of the room and their inscriptions bear witness to the man's former station: (left to right) "Though somewhat cracked, the inrō owned by Kenkō [famous 14th-century writer]"; "Though somewhat damaged, a courtesan-painting by Hishikawa [Moronobu]"; "Though somewhat worn, the Hachijō-silk cloak of Narihira [9th-century poet and lover]," The title of the print is given as "A shakuhachi version of Hachi no ki" - referring to the famous Noh drama in which an impoverished samurai, visited by the Shōgun incognito, chops up his treasured potted trees to provide firewood. The ukiyo-e version bears vaguely pederastical implications. The painting in the alcove has the signature "Hishikawa hitsu," and it is interesting to note that Moronobu was already now recognized as the founding genius of the new ukiyo-e style. This print is the last of a series of twelve parodies on Noh plays. Signature: Okumura Masanobu zu; Masanobu seal. Condition good (paper thin on lower left corner and crudely repaired). From Chandler. Sumizuri-e. 26,2 X 36.5.
35. LOVERS PLAYING CHECKERS. 1720's. A courtesan and her lover play checkers with silver pieces, employing for checkerboard the man's patterned jacket, which is thrown over his knees. The man's pocketbook lies open at the lower right. The word Kyō written to the upper left may indicate this represents one of a series of three prints dealing with amusements in the gay quarters of the three metropolises, Kyo[to], Osaka, Edo. Unsigned. Condition fair (damage at centerfold repaired). From Lane, Kuki. In Shibui, Series II, 43. Sumizuri-e. 26.6 X 36.7.
36. [19th-century imitation of Masanobu.] COURTESAN WALKING. This problem print dates stylistically from about the 1710's, but the hardness of the lines and the distortions (for example, the over-large head and, even more, the dwarfed hips) cast rather conclusive doubts upon its authenticity. The girl's face, too, is rather closer to the Kaigetsudō style than to Masanobu's, and the paper seems clearly of the 19th century. Japanese critics assume the print to be a Meiji-period production for export purposes; however, the synthetic style and odd technique make me wonder if it may not represent, rather, an amateur "antiquarian" print of the late Edo period. Signature: Okumura Masanobu; Masanobu seal. Condition fine (three thin spots patched and reblackened). From Tikotin, Hillier, Stark. In Hillier, Pl. 6; De Gruyter, cover and No. 36. Ishizuri-e. 40.3 X 29.
37. GIRL WITH MIRROR. Mid-1740's. A girl walking as she applies rouge with the aid of a hand mirror. Signature: Hōgetsudō shōmei Okumura Bunkaku Masanobu shōhitsu; Tanchōsai seal. Condition good (small holes patched). From Chandler, Church. Urushi-e: 3 colors by hand. 71 X 25.4.
38. ONOE KIKUGORO. 1744. Kikugoro as Soga Gorō in the same drama as No. 8. He holds the reed hat and flute of the wandering komusō. Signature: Hōgetsudō shōmei Okumura Bunkaku Masanobu shōhitsu; Tanchōsai seal. Condition fine. From Chandler, Yamanaka, Manzi. In Manzi, No. 10; V&I, I, 128; UT, III, 153. Urushi-e: 3 colors by hand. 62.5 X 14.2.
39. ICHIKAWA EBIZŌ. 1749. Ebizō as Sukeroku, in Otokomoji Soga monogatari, performed I/1749, Nakamura-za. Poem: "Become young again, with plum branches for arrows Ebizō enters second youth." Signature: Hōgetsudō hashira-e kongen Okumura Bunkaku Masanobu shōhitsu; Tanchōsai seal. Condition poor (backed). From Shōbisha. Urushi-e: 3 colors by hand. 67.6 X 24.8.
40. COURTESAN WALKING. Mid-1740's. A courtesan walks lifting her long skirt with Her right hand. Poem: "The courtesan's procession: he loses his powers of levitation—the cuckoo-bird," Signature: Hōgetsudō shōmei Okumura Bunkaku Masanobu shōhitsu; Tanchōsai seal. Condition poor (backed). From Shōbisha. Urushi-e: 3 colors by hand. 69 X 25.
41. SANOKAWA ICHIMATSU WITH PUPPET. Mid-1740's. The actor Ichimatsu is seen handling a puppet representing the courtesan Matsuyama. Poem: "She wends her way on through the tears of rain at dusk, and then at last Matsuyama." Signature: Hōgetsudō shōmei hashira-e kongen Okumura Bunkaku Masanobu shōhitsu; Tanchōsai seal. Condition good (worn spot along right margin, repaired). From Chandler, Wright. In Wright, No. 4. Urushi-e; 2 colors by hand. 71 X 24.9.
42. COURTESAN WITH LOVE LETTER. Mid-1740's. A courtesan stands reading a love letter, probably soon after rising in the morning, for her kimono and sash are but summarily arranged. A lenient critic might suggest the courtesan's sloppy appearance represents a realistic depiction of a decadent scene; such realism is seldom seen prior to Utamaro, however, and I would, rather, suggest this as simply a rare example of hasty design and poor execution on Masanobu's part. A comparison with the other fine prints shown here from the same period (No. 40, for example, which is in equally bad condition) will show how far this print falls short of Masanobu's ideal. Signature & seals: same as No. 40. Condition fair (horizontal creasing, spotting, scuffing, backed). From Chandler, Yamanaka, Manzi. In V&I, I, 127; UT III, 157. Urushi-e: 4 colors by hand. 70 X 16.7.
43. EVENING COOL BY RYŌGOKU BRIDGE. 1740's. A large "perspective-print" showing the interior of a teahouse, the guests, geisha, and courtesans amusing themselves at backgammon, music, dancing, drinking-or just resting. (For the same subject with significant variations, cf. UT III, 163). Title at upper right: "Evening Cool at Ryōgoku Bridge: Large Perspective-print." Publisher: Tōri-shio-chō akaki hyōtan-jirushi Okumuraya Genroku hammoto. Signature: Tōbu Yamato gakō Hōgetsudō Tanchōsai Okumura Bunkaku Masanobu shōhitsu; Tanchōsai seal. Condition fine (inconspicuous center fold, wormage, two crudely patched holes), colors almost as originally painted. From Beres. Urushi-e: 10 colors by hand. 47.7 X 67.
44. SANOKAWA ICHIMATSU. Mid-1740's. The actor is seen not in a role, but as he enters the stage-door, holding his reed hat in his hand. Signature: same as No. 40. Condition good (center fold). From Chandler. Urushi-e: 3 colors by hand. 69.4 X 14.7.
45. SHIDŌKEN THE STORYTELLER. Mid-1740's. The famous but eccentric 18th-century storyteller Shidōken is seated at his podium. An open volume of the classic Tsurezure-gusa is before him, and in his hand he holds his trademark, a wooden phallus used to "pound home" the climax of a recitation. The tablet by his head reads "Tales of Ancient Battles. Lecturer: Shidōken." Verse: "The over-ripe persimmon is shaped like Daruma: its bottom rotten." A him of the later realism of Sharaku's prints may be discerned in such satirical early prints as this. Signature: Hōgetsudō Okumura Bunkaku Masanobu shōhitsu; Tanchōsai seal. Condition good (worn spots roughly patched). From Chandler, Kane. Urushi-e: 4 colors by hand. 69.3 X 17.
46. KUO CHü THANKS HEAVEN. 1720's. Kuo Chü (in Japanese Kakkyo), the filial son, thanks heaven for the pot of gold; beside him are his wife and baby. For the full story see No. 215. Legend: "Twenty-four Filial Paragons: Kakyo [the name is given in a facetious misspelling]." Signature: Nippon gakō Okumura Masanobu shōhitsu, Tōri-shio-chō Okumuraya: Tanchōsai seal. Condition fine (worm holes through cartouche, patched and recolored). From Chandler, Baker, Tregaskis, Von Heymel. In Baker, No. 30. Urushi-e: 3 colors by hand. 31.2 X 15.2.
47. ACTOR IN SNOW. Mid-1720's. An unidentified actor in female role (the robe bears the crest later used by Osagawa Tsuneyo) is walking in the snow with a small dog. The role is clearly from a drama based on the Hachi no ki story (cf. No. 34), possibly that of Sano's wife in Matsu-kazari Kamakura-biraki, performed I/1724, Nakamura-za. (The Kabuki authority Yoshida Teruji suggests Tsuneyo in the role of Koto no Naishi in Gaijin Taiheiki, performed XI/1750 at the Ichimura-za; but this date is stylistically difficult to reconcile with the print.) Legend: "Winter; Pictures of the Four Seasons: Plum Blossoms in the Snow." Signature: Ukiyo-e Nippon gakō Okumura Masanobu shōhitsu, Tōri shio-chō beni-e toiya ezōshi oroshi akaki hyōtan mejirushi itashisōrō Okumuraya, Condition fine (backed). From Tomoda. Urushi-e: 4 colors by hand, gold dust. 33.8 X 15.3.
48. SŌJŪRŌ AND KANTARŌ. 1721. Sawamura Sōjūrō as Soga Jūrō plays the hand-drum, while Sanjō Kantarō in the female rote of Shōshō stands behind him. From the same drama as No. 29. Signature: Nippon gakō Okumura Masanobu shōhitsu, Tōri-shio-chō edoiya beni-e ezōshi oroshi akaki hyōtan mejirushi tsukamatsuri sōrō Okumura; Tanchōsai seal. Condition fair (trimmed, several holes and tears, backed). From Chandler, Morse. Urushi-e: 5 colors by hand, gold dust. 31.4 X 16.
49. ICHIKAWA MONNOSUKE. 1723. Monnosuke dances beside his horse in the role of Hōjō Tokimune. From Hachi no ki onna mikyōsho, performed XI/1723, Ichimura-za. Signature, etc.: same as No. 48. Condition good (trimmed, glue stain right margin, backed). From Mayuyama, private Japanese collector, Orange-Thornicraft. In Orange, Pl. 1. Urushi-e: 4 colors by hand, gold dust. 30 X 15.5.
50. HSü AND CH'AO RESIST TEMPTATION. 1740's. The ancient Chinese sage Hsu Yu was offered the throne of China by the Emperor Yao; he hurried to a waterfall to cleanse his ear of the taint of worldly ambition. His friend Ch'ao Fu went a step further and hastened to stop his ox from drinking of the contaminated waters. A Zen story popular in Japan, it well illustrates the spirit of resistance to worldly temptation. Legend: "Hsü Yu washes his ear; Ch'ao Fu leads his ox and goes home." Signature: Hōgetsudō Okumura Masanobu ga; Tanchōsai seal. Condition good (backed). From Chandler, 12/26/1907. Ishizuri-e. 31.2 X 14.9.
51. SANOKAWA ICHIMATSU. 1756. Ichimatsu plays the flute before a gate, in the role of Uga no Rangiku-maru. From Masakado shōzoku no enoki, performed XI/1756, Nakamura-za. Legend: title of play and name of actor. Signature: Hōgetsudō Okumura Bunkaku Masanobu ga; Tanchōsai seal. Condition fair. From Morse, Ketcham. In Wadsworth, No. 27. Benizuri-e: red, green. 31 X 14.1.
Wagen
Hanekawa Wagen (Chinchō?). The name Wagen, which appears on a few rare prints of the 1720's, is usually considered to represent an obscure pupil of Hanekawa (Hagawa) Chinchō's (ca. 1679-1734). The recent discovery, in an illustrated book by Chinchō, of the same hand-seal as that on our print, makes me wonder if "Wagen" should not be added to Chinchō's several noms de plume. There is a certain "rough" element in the Chinchō-Wagen prints which lends them a unique favor. Although Chinchō's remaining works are few, he is famous among ukiyo-e artists as being of samurai stock, and working at his artistic calling only when the spirit moved him.
53. YAMASHITA KINSAKU. 1723. Kinsaku as Naniwazu, a woman peddler of tooth blackening. She carries her wares in a box on her back and holds a sample package in her left hand. The text of the actor's speech advertising the wares is given at the top of the print. From the same drama as No. 49- Signature: Hanekawa Wagen hitsu, with handseal. Publisher's seal: Murataya hammoto. Condition fair (stained, backed). From Chandler. Urushi-e: 3 colors by hand, gold dust. 33.5 X 15.5.
Kiyotomo
Torii Kiyotomo (worked 1720's to 1740's) was probably a late pupil of Kiyonobu I; his work greatly resembles that of his fellow-pupil Kiyonobu II, both in its strong points and its weaknesses.
54. YAMAMOTO KOHEIJI WITH PUPPET. Ca. 1732. The puppeteer Koheiji is shown manipulating a female puppet. Legend: "Osaka Dewa; Yamamoto Koheiji at the puppet." No detailed records seem extant for the Osaka Dewa troupe, but they are known to have been performing at the Sakai-chō theater district of Edo in 1732. Signature: Torii Kiyotomo hitsu. Publisher's seal: Nakajimaya. Condition fair (numerous small patches, general discoloration). From Chandler. Urushi-e: 2 colors by hand, gold dust. 31.8 X 15.9.
Katsukawa Terushige (worked late 1710's to early 1720's). Nothing is known of this rare artist, who may perhaps have been a gifted amateur. The publisher's seal is notable in that it includes the claim that he is the inventor of the beni-e genre.
55. MANGIKU AND DANJŪRŌ. 1718. Sanokawa Mangiku as the maiden Sanada, and, in the background, Ichikawa Danjūrō II as Kawazu Saburō. From Hiragana yomeiri Izu nikki performed XI/1718, Nakamura-za. Signature: Katsukawa Terushige. Publisher's seal: Asakusa-mitsuke Dōbō-chō, beni-e kongen Gonshirō. Condition: fair (discolored because of framing, general fading from exposure to light). From Chandler. Urushi-e: 3 colors by hand, gold dust. 29.7 X 15.9.
Kiyotada
Torii Kiyotada (worked 1720's to 1740's), like Kiyotomo, seems to have been a pupil of Kiyonobu I. In his fusion of the Kiyonobu and Masanobu styles he impresses one as being possessed of more talent than either Kiyotomo or Kiyonobu II; it is unfortunate that so little of his work is now known.
56. OSOME AND HISAMATSU. Ca. 1720. The maiden Osome rends her toy garden while her lover Hisamatsu stands behind her, a love letter protruding from his kimono. Though not a Kabuki print, this probably dates from shortly after the first Edo performance of the story of these two lovers in 1719. Legend: Aburaya Osome utasaimon, with part of the text of the long ballad. Signature: Torii Kiyotada. Condition good (stained at top). From Chandler. Urushi-e: 3 colors by hand, gold dust. 31.8 X 16.1.
Toshinobu
Okumura Toshinobu (worked ca. 1717 to 1740's), possibly an adopted son of Masanobu's, principally designed small lacquer-prints featuring one or two figures of actors or girls. Within this limited field, however, he often excelled all but the finest work of his master, and in sustained performance maintained a remarkable standard of quality.
52. [Style of Toshinobu.] GIRL PLAYING SAMISEN. Ca. 1720. A girl is seated playing the samisen with a practice-book open on her lap. The song is Edo Handayū's "Matsu no uchi," acted by Sanjō Kantarō as part of the drama Keisei Fuji takane, performed I/1718, Ichimura-za. The print, unsigned, has usually been attributed to Masanobu, but the pose seems a bit stiff for that master. (Stylistic differences are apparent, but notice should be made of a signed Toshinobu print [UT II, 114] depicting the same figure, position reversed, with samisen and the same "Matsu no uchi" practice-book. Our print may well represent an alternate version of this Toshinobu print, redrawn by an anonymous artist of considerable skill.) Condition fine (stains along left). From Chandler, 6/22/1919. Urushi-e; 3 colors by hand, gold dust. 32.8 X 15.8.
57. ICHIKAWA GENNOSUKE. 1729. Gennosuke as Ushiwaka, from Yahagi no chōja kogane no ishizue, performed XI/1729, Morita-za. Signature: Okumura Toshinobu hitsu. Publisher's seal Igaya. Condition fine. From Chandler, Hubert. In Hubert, No, 3. Urushi-e: 2 colors by hand, gold dust. 33.3 X 15.6.
58. SANJŌ KANTARŌ. 1724. Kantarō as Okuni, the girl who began Kabuki. She is performing the tea ceremony under cherry blossoms. Poem, written on a card hanging from the branch: "The early flowers of Yoshino: cherry blossoms that support the snow." From Taiheiki Okuni Kabuki, performed XI/1724, Nakamura-za. (Note that Torii Kiyoshige's similar design of the same actor [UT II, 202; Hayashi, opp. p. 70] may well derive from this print.) Signature: Yamato gakō Okumura Toshinobu hitsu. Publisher's seal: Izutsuya. Condition good (slight stains, holes, rubbing). From Chandler, Metzgar, Ficke, Gookin, Metzgar. Urushi-e: 5 colors by hand, gold dust. 30.4 X 15.2.
59. MONNOSUKE AND WAKANO. 1723. Ichikawa Monnosuke as Tokimune carries on his back Arashi Wakano as the Princess Tokoyo. From the same drama as No. 49. Signature: Okumura Toshinobu hitsu; Okumura seal (this seal is rather oddly inscribed; for more accurate examples, cf. Buckingham, p. 182, Nos. 21-22, where it is misread "Mitsuoki"). Publisher's seal: Shiba shimmei-mae yoko-chō, hammoto, Emiya. Condition fine (wormage). From Chandler, Straus-Negbaur. In Einstein, Pl. 23; Frankfurt, p. 23, No. 42; Straus-Negbaur, No. 79, Pl. 12; UT, II 116; Kunstwanderer, p. 467. Urushi-e: 4 colors by hand, gold dust. 31 X 14.3.
60. SANJŌ KANTARŌ. 1725. Kantarō as the Princess Nao. From Semimaru onna-moyō, performed XI/1725, Ichimura-za. Signature: Okumura Toshinobu hitsu. Publisher's seal: Hasegawa-chō hammoto, Ōmiya. Condition good. From Chandler, 1908. Urushi-e: 4 colors by hand, gold dust, 33 X 16.2.
Shigenaga
Nishimura Shigenaga (ca. 1697-1756), though not one of the artistic geniuses of ukiyo-e, was one of the great teachers and innovators, and his name deserves to be better known. He experimented with perspective and was the earliest ukiyo-e artist to work extensively in the landscape-with-figures genre shown in No. 61. He popularized the triptych form, and, taking hints from Chinese art, developed the ishizuri-e ("stone-print," cf. No. 50) and mizu-e ("water-print," employing blue pigment) genres. His own style was an individual one based on Kiyonobu, Sukenobu, and Masanobu; his pupils Toyonobu and Harunobu were to prove the leaders of the following generation.
61. DESCENDING GEESE AT KATATA. 1720's. No. 7 in a series celebrating the famous "Eight Views of Lake Biwa" (cf. No. 144). In the right foreground a peasant and his son carry firewood, while a townsman, a priest, and a servant approach from the left. In the background is the "Floating Shrine" of Katata with a flock of wild geese landing. Poem: "Many the peaks they have crossed on their journey; near to the Northland they now pause en route and descend at Katata, the wild geese." (For Masanobu's version of the same subject, including the same verse, see Nogu-chi's Ukiyoye Primitives, Pl. 54.) Signature: Eshi Nishimura Shigenaga; Shigenaga seal. Publisher: Shiba Shimmei-mae yoko-chō Emiya hammoto. Condition fine. From Chandler, Metzgar. Urushi-e: 3 colors by hand, gold dust. 33.3 X 16.
62. SHŌKI THE DEMON-QUELLER. 1740's. Shōki, originally a Chinese benign god, was adopted by the Japanese and became associated with Boy's Day, when his picture was displayed. Besides being a queller of bad devils, he was traditionally a woman-hater; hence his frequent depiction by facetious ukiyo-e artists in rather compromising situations (cf. No. 101). Signature: Senkadō Nishimura Shigenaga hitsu; Shige seal. Condition fair (tear left margin, discolorations). From Chandler, who received it as a wedding present from the distinguished collector of early prints, Miss Mary E. Ainsworth. Urushi-e: 2 colors by hand. 66.6 X 10.2.
63. SHŌKI THE DEMON-QUELLER. 1740's. Verse: "Driving out each and every evil demon, Spring comes to our house." Signature: Senkadō Nishimura Shigenaga hitsu; Shigenaga seal. Publisher: Bakuro-chō itchōme Shōkakudō Yamashiro; Fuji seal. Condition fine (browned). From Chandler, Urushi-e; 2 colors by hand. 65.2 X 23.7.
64. SANOKAWA ICHIMATSU. Ca. 1743. Ichimatsu as the young man Hisamatsu; under his sleeve he conceals a folded love letter. Ichimatsu played this role at the Nakamura-za I/1743 in Kadomidori tokiwa Soga, and again IX/1745 in Higashiyama-dono takara no ishizue. This print (and a similar one by Toyonobu) is generally supposed to date from the first performance. Signature: Senkadō Nishimura Shigenaga hitsu; Urokogataya seal. Condition good. From Cox, Morse. Urushi-e: 2 colors by hand. 68.5 X 16.
Mangetsudō
Mangetsudō (worked 1740's). All of the rare prints bearing the name Mangetsudō are done in late Masanobu style, and among them are several which are simply pirate editions of Masanobu's work (e.g., Nos. 68-70). This makes one wonder if Mangetsudō was really an individual artist, or simply a name used by the publisher for his pirating activities. Whatever the ethics of his business, however, the Mangetsudō publisher printed with care, and his prints are only inferior to Masanobu's originals in a certain hardness of the facial features.
65-67. YOSHIWAHA KOMACHI. Late 1740's. An uncut triptych entitled "Three Scenes of a Yoshiwara Komachi." The left panel is entitled "Komachi Washing the Booklet" and shows a standing courtesan with the verse: "Komachi now washes away her bitterness: the shaded vines." The center panel is entitled "Komachi the Parrot" and shows a courtesan whispering in her maidservant's ear, with the verse: " 'Tell him this,' the parrot repeats, 'Let's meet in October.'" The right panel is entitled "Visiting Komachi" and shows a forlorn young man, lantern in hand, with the verse: "The bleak winter wind, and toward the Yoshiwara embankment, surge unknown the seaward breakers." Each section displays a small inset with a scene symbolic of that episode in the life of the ancient poetess Komachi; each is signed "Mangetsudō," with the seal "Kōrin" (Beni-bayashi). Interestingly enough, the words "right" and "left," found, respectively, at the tops of the cartouches for the left and right panels, are the reverse of their actual position. This is a phenomenon to be found in about two-thirds of extant uncut triptychs; in some cases the panels were clearly meant to be reordered after cutting, but in most such, as here, the composition demands that the notations be interpreted as "stage right" and "stage left," i.e., as seen by the characters within the picture. Condition fair (folded, generally scuffed, poems which were originally printed in red badly faded, greens and blacks still good, backed). From Chandler, Hayashi, Wakai. In Hayashi, p. 42, No. 325; UT III, 114. Benizuri-e: red, green. Uncut triptych: 30.6 X 43.
68-70. LOVERS UNDER UMBRELLAS. Late 1740's. The three sheets, which are divided, bear the title "Triptych of Lovers under Umbrellas," with the order noted: left, center, right. Each is signed "Mangetsudō," with the seal "Kōrin." The verses originally printed beside the figures have faded beyond recognition. (Pl. 68-70 reproduce the panels in the order in which they are currently mounted. Compositionally, the sequence 70-69-68 is obviously preferable and was doubtless that originally intended, for, as I note under Nos. 65-67, a majority of the early triptychs are similarly "mislabeled." A glance at the Buckingham catalogue, for example, reveals some thirteen uncut triptychs with the order noted; of these, four - pp. 219, 221, 233-are labeled left to right; one - p. 72 - is labeled in reverse but with the obvious intention of being corrected after cutting; and the other eight-pp. 85, 92, 169, 197, 198, 220-are labeled in reverse but, as in our own Nos. 65-67, with no intention of later adjustment.) This triptych seems to be a direct copy of a work by Masanobu, the "right sheet" (actually, left) of which may be seen in Buckingham, p. 168. Condition fair. From Cox, Morse, Hayashi, Benizuri-e: red, green. Rejoined triptych; 31.4 X 43.6.
Shigenobu
Nishimura Shigenobu (worked 1730's to early 1740's). This is generally considered the early name of Ishikawa Toyonobu, but the matter is by no means certain. Shigenobu's work follows in the direct style of his teacher Nishimura Shigenaga during the 1730's and early 1740's; the prints signed Toyonobu appear in the early 1740's in a quite new style. It would seem best to treat Shigenobu as a separate entity for the time being. With this problem in mind it is interesting to note the Shigenobu-Toyonobu influence recorded under No. 71. Toyonobu is either copying Shigenobu (who may well, then, have been his teacher rather than Shigenaga), or is copying an earlier work of his own.
71. ICHIKAWA EBIZŌ. 1736. Ebizō as the warrior Shinozuka Gorō, in Hobashira Taiheiki, performed IV/1736, Ichimura-za. (For Toyonobu's version of this print, done two decades later, see the left panel of UTS IV, part 2, No. 34.) Legend: the name of the role and the actor. Signature: Nishimura Shigenobu hitsu. Publisher: hammoto, Tōri-abura-chō, Murata. Condition good (paper brown, worm holes). From Chandler (E.T.S. 12/26/1922). Urushi-e: 2 colors by hand, gold dust. 32.2 X 15.4.
72. GIRL SELLING FLOWERS. 1730's. A girl flower-vendor walks along bearing her wares. To the larger branches are tied tanzaku (poem cards). (Note the similar design by Toshinobu in No. 60.) Signature: Yamato-eshi Nishimura Shigenobu hitsu. Publisher: Izutsuya, Shimmei-mae yoko-chō. Condition good (trimmed left, right, bottom; worm-age, tears along right margin, backed). From Chandler, Vignier, Manzi. Urushi-e: 2 colors by hand, gold dust. 30.4 X 14.5.
Ishikawa Toyonobu (1711-85) owed as much to Masanobu as he did to his teacher Shigenaga (or Shigenobu). Again, in the grand impassivity of his girls there is something of the Kaigetsudō manner. Toyonobu's relation to Shigenobu is discussed under that artist. Following the lead of Shigenaga, Toyonobu experimented in the depiction of the nude. Such prints of his as No. 10 are almost sexless in their formalism, yet are interesting as an early ukiyo-e attempt to escape from the domination of the kimono in depicting female beauty.
10. GIRL AFTER BATH. Late 1750's. The girl has just come from the bath, her bathrobe pulled over one shoulder. Poem: "Well formed young breasts bloom like a pair of chrysanthemums." (For a version with different publisher and coloring, cf. UTS IV, part 2, No. 18.) Signature: Ishikawa Toyonobu zu; Toyonobu seal. Publisher's seal: Kyōichi, Hei; Dōsei(?). Condition good. From Chandler, Tomita, Happer. In Happer, April 1909, No. 200. Benizuri-e: red, green, blue, 69.3 X 10.8.
73. ICHIMATSU AND KIKUGORŌ. 1756. Two wandering komusō with their basket-hats: Sanokawa Ichimatsu as Soga Gorō, and Onoe Kikugorō as Kyō no Jirō, in Umewakana futaba Soga, performed III/1756, Ichimura-za. Signature: Tanjōdō Ishikawa Shūha Toyonobu zu; Toyonobu seal. Publisher: Urokogataya. Condition fine (two tears right margin). From Chandler, Wright. In Ficke, Chats, Pl. 7; Wright, No. 9. Benizuri-e: red, green. 44.8 X 31.9.
74. ICHIMATSU AND KIKUNOJO. 1747. Sanokawa Ichimatsu as Kōsuke, and Segawa Kikunojō as Onatsu, in Unohana nise no aikago, performed IV/1747, Ichimura-za, Signature: Tanjōdō Ishikawa Shūha Toyonobu zu; Ishikawa uji; Toyonobu seals. Publisher: Urokogataya. Condition good. From Chandler, B. Matsuki. Benizuri-e: red, green. 43.6 X 28.1.
75. MAIDEN. Mid-1740's. A young girl stands holding in her right hand a samisen plectrum, and in her left a practice-book for the Tokiwazu ballad "Ochiyo Hambei ukina no mōsen," first performed VIII/1744, Nakamura-za, (For another version of the same subject by Toyonobu, cf. UT III, 135.) Signature: Tanjōdō Ishikawa Shūha Toyonobu zu; Ishikawa uji, Toyonobu seals. Publisher's seal: Izumi. Condition fine (paper browned). From Chandler, 1/8/1905. Urushi-e: 4 colors by hand. 61.5 X 24.
76. GIRL HOLDING UMBRELLA. 1740's. A girl in a raincape and high clogs walks under an umbrella, possibly in light rain. Poem: "Though she hides her love, it comes out in her face: the cuckoo-bird." Signature: same as No, 75. Publisher's seal: Mura, hammoto. Condition good (tears on margin). From Chandler, Kane. Urushi-e: 3 colors by hand. 68.9 X 14.8.
77. GIRL WITH FLOWERS. 1740's. In her right hand she holds a pail filled with blossoms, and in her left, a poemcard. Signature: same as No. 75. Publisher's seal: Mura. Condition fair (thin spots, toned). From Chandler. Urushi-e: 2 colors by hand. 69.5 X 16.1.
78. GIRL WITH UMBRELLA. 1740's. She is dressed in a raincape and high clogs, and is closing or opening her umbrella. Signature and publisher the same as for No. 74. Condition fair (water stains, folds). From Chandler; Ficke; Hakone sale, 1919; Bullier. In Ficke cat., 1925, No. 20; Hakone sale, 1919, No. 6; UT III, 11; UTS IV, part 2, 20; V&I, I, 212. Urushi-e: 3 colors by hand. 70 X 15.6.
79. GIRL WITH LANTERN AND FAN. 1740's. Dressed in negligee, she is doubtless retiring on a summer night. Signature and publisher the same as for No. 74. Condition good (browned). From Chandler, Wright. In Wright, No. 3. Urushi-e: 3 colors by hand. 67.3 X 15.9.
80. COURTESAN AND MAIDSERVANT. Late 1740's, A courtesan walks holding a samisen while her little maidservant carries her Tokiwazu practice-book. Poem: "Her form so resilient, like the pale-cherry tree." Legend upper left: "Triptych, Edo, right." This is one of a series of three prints showing, respectively, the beauties of Osaka, Kyoto, and Edo. The three are illustrated in the Bulletin of the Worcester Art Museum, April 1915, p. 8. Signature and publisher the same as for No. 74. Condition fair (apparently framed without glass, therefore exposed portions soiled). From Chandler. Urushi-e: 4 colors by hand. 65,4 X 24.7.
81. ICHIMATSU AND KIKUGORO WITH PUPPETS. 1749. Manipulating the marionettes representing Agemaki and her lover Sukeroku are the actors Sanokawa Ichimatsu and Onoe Kikugoro, in the roles of Ushiwaka and the Princess Go-ō. From Hatsu-tora Kurama Genji, performed 1/1749, Ichimura-za. Signature and publisher the same as for No. 73. Condition fair. From Chandler, 2/11/1921. In UT III, 22. Benizuri-e: red, green. 37.4 X 44.7.
82. YOUNG MAN WITH FLOWER-CART. Late 1750's. A young samurai carries a hanging flower arrangement done in the manner of a flower-cart. Poem: " The cherry blossom blooms but a moment: so too the flowering days of fair young lads." Signature: Ishikawa Toyonobu hitsu; Ishikawa uji, Toyonobu seals. Publisher: Urokogataya. Condition fine (slight discoloration). From Chandler, Wright, Murata. In UTS IV, 17. Benizuri-e: red, green, yellow. 38.8 X 17.4.
Kiyoshige
Torii Kiyoshige (worked late 1720's to early 1760's). A late pupil of Kiyonobu I, Kiyoshige often lends a rather stiff, angular note to his figures. His large pillar-prints in the Masanobu manner, however, rank among the masterpieces of the Torii school.
83. SANOKAWA ICHIMATSU. Early 1740's. The actor is seen in the role of a samurai, carrying a branch of cherry blossoms. (Yoshida Teruji suggests the role may be that of Yoriie in Ainoyama onna katakiuchi, performed III/1761. Nakamura-za; but stylistically the print would seem to date from nearly two decades earlier.) In an unsigned version this print has always been given to Masanobu; cf. UT III, 154 and V&I I, 133. Signature: Torii Kiyoshige hitsu; Kiyoshige seal. Publisher: Urokogataya. Condition fine (small worm holes, backed.) From Chandler. Urushi-e: 3 colors by hand. 71.2 X 16.
85. ICHIKAWA YAOZŌ. 1754. Yaozō in the role of Soga Gorō, from Satsuki-matsu Soga tachibana, performed I/1754, Ichimura-za. Poem: "They bloom in two colors: the flowering azaleas of Matsushima." Signature: Torii Kivoshige; Kiyoshige seal. Publisher: Yamamoto. Condition good. From Lewis, Kellogg, Yamanaka. Benizuri-e: red, green, gray, overprinting. 39.1 X 17.5.
Kiyomitsu
Torii Kiyomitsu (ca. 1735-85), son of Kiyomasu II, represents the final period of glory of the traditional Torii school. His output was extensive, and many of his actor prints are dull, but in such imaginative scenes as that of No. 92 he displays a dreamlike grace that equals the best of Harunobu.
84. BANDŌ HIKOSABURŌ II. Ca. 1760. The actor is shown in the role of Akaneya Hanshichi, probably from Furiwakegami suehiro Genji, performed I/1760, Ichimura-za. Poem (by Jōa): "The face of first love: pale blush of early maples." Signature: Torii Kiyomitsu hitsu; Kiyomitsu seal. Condition good (small section of upper left corner missing, folded, toned). From Chandler, 11/12/1912. Benizuri-e: red, green, gray. 48.8 X 19.5.
92. MAIDEN DREAMING. 1760's. In the center, a maiden of the nobility dreams of being frightened by a large cat which leaps from amidst the peonies as butterflies scatter about. At the left a maidservant holds a lantern while to the right another maidservant with lantern enters with a samurai, possibly the maiden's lover. Signature: Torii Kiyomitsu ga; Kiyomitsu seal. Publisher: Tōri-abura-chō, Hōsendō, Yamamoto Kohei. Condition fair (folded). From Chandler, Longweil, Ledoux, Yamanaka. In London, No. 41. Benizuri-e: red, yellow, gray, overprinting. 31.3 X 43.5.
93—95. DANCERS. 1760's. Three girl dancers are depicted in roles derived from the Noh drama. Bach panel is signed the same as No. 92. Publisher: Yamamoto. A cut triptych with original sheets rematched. Condition good (each sheet is folded along the center, the two outside sheets with vertical folds, indicating that the triptych was once backed). From Chandler, 4/5/1927. Benizuri-e: red, green, blue. Rejoined triptych: 31 X 43.7.
97. ICHIKAWA EBIZŌ. 1758. Ebizō II sharpens an arrowhead in the role of Yanone Gorō, from Kyūjūsanki ōyose Soga, performed 1/1758, Ichimura-za. Signature is the same as for No. 92. Publisher: Yamamoto, Iwatoya. Condition fair (trimmed). From Shōbisha. Benizuri-e: red, yellow, blue, gray. 41.8 X 28.7.
Kiyohiro
Torii Kiyohiro (worked 1750's to 1760's). His figures are patterned closely after those by Kiyomitsu and Toyonobu, but in his overall compositions Kiyohiro reveals a special genius of his own. Nos. 87 (central panel) and 96, for example, rank among the masterpieces of the late Torii style.
86-88. COUPLES UNDER UMBRELLAS. 1750's. Left: A man holds the umbrella for a courtesan under plum blossoms Poem: "Spring rain: the plum blossoms not only fragrant, but the roads also muddy." Center: A young man holds the umbrella for a maiden, her pose reminiscent of Komachi praying for rain with a verse. Poem: "Heavy evening showers: thus we feel the force of poetry again." Right: A maidservant holds the umbrella for a maiden who is imitating the manner of a samurai. Poem: "First showers of autumn: in the dress of a man she's really lovable." A noted actor's crest appears on the umbrella above each figure: (1. to r.) Ichimura Uzaemon IX, Nakamura Kumetarō, Sanokawa Ichimatsu II, Nakamura Tomijuro, Arashi Wakano, Segawa Kikunojō. They are placed in accordance with the type role each actor specialized in, but the actual figures do not represent actors. Each panel is signed: Torii Kiyohiro hitsu. Publisher: Tōri-abura-chō, Yamamoto (Maruya Kohei). Condition good (trimmed, stained, water spot on left umbrella, small crease). From Chandler, Kane. Benizuri-e: red, 2 shades of green. Uncut triptych: 28.7 X 43.6.
89-91. YOUNG PEOPLE BY THE WATERSIDE. 1750's. A triptych. Left: Two girls playing with fireworks by the river. Poem: "To Ishigake, the fireworks of Nawate float." Center: Two young lovers eloping. Poem: "'The fireflies light'-thus he answered at Akuta River." Right: A young traveler gazes at the morning sun. Poem: "The first dream of the year: even Master Yuriwaka must cut his forelocks." Each panel is signed: Torii Kiyohiro hitsu. Publisher; Urokogataya. Condition fine (coloring smeared, some wear at corners, backed). From Chandler, 2/10/1920. In Ukiyo-e Kabuki gashū, Pl., 28, Benizuri-e: red, green. Uncut triptych: 31.4 X 44.4.
96. HIKOSABURŌ AND KICHIJI. 1753. Bando Hikosaburō II as Sōchōden and Segawa Kichiji II as Jikokuden in the dance "Akutagawa momiji no shigarami." This was performed as part of the drama Kammuri-kurabe yawar. gi Kuronushi XI/1753, Ichimura-za, An alternate version of this print (UT III, 73; Buckingham, p. 239) omits the upper right set of boxes carried by the noodle-vendors, changes the actors' names and crests, and fills the background with a dialogue concerning noodles from another play. On the noodle-boxes are the shop-advertisements "Ippachi, sobakiri" and "Yamatojiya," and between the actors the legend: "This scene, a great hit." Signature: Torii Kiyohiro hitsu; Kiyohiro seal. Publisher: Tōri-abura-cho, Hōsendō, Maruya, with seal. Condition good (patched along left margin and lower right corner, some smearing of black lettering, blue registry imperfect lower left and upper right). From Shōbisha, Shugyo. In UT III, 74. Benizuri-e: red, blue. 42.5 X 30.2.
Fujinobu
Yamamoto Fujinobu (worked 1750's to 1760's). His prints are rare and the name may well be but a nom de plume of the well-known ukiyoe-publisher Yamamoto Kohei (Maruya), employed for his occasional essays in the creative field.
98. SANOKAWA ICHIMATSU. 1758. The actor is seen in the role of the courtesan Umegawa, from the same drama as No. 97. The verse is apparently by Ichimatsu: "Umegawa-with the ferryman of love, at Sano." Signature: Yamamoto Fujinobu ga; Yamamoto, Fujinobu seals. Publisher: Yamamoto. Condition fine (small discolorations). From Chandler. Benizuri-e: red, green, blue, overprinting. 38 X 18
Suzuki Harunobu (ca. 1725-70). Although Harunobu's role in the technical development of full-color prints has been often exaggerated, there is no doubt that he ranks among the great geniuses of ukiyo-e. He studied first under Shigenaga, but his early prints are in the Torii and Toyonobu styles. By 1762, however, he had already developed his own unique style, which was soon to dominate the ukiyo-e world. Toward the end of 1764, Harunobu was commissioned to execute a number of designs for calendar prints for the coming year. Various noted literati of Edo contributed designs and ideas, and the printers outdid themselves to produce technically unusual work. From this combination of talents was bom the nishiki-e ("brocade-picture"), or full-color print, where formerly only two or three colors had been featured. Among the prints thus produced at New Year's, 1765, were Nos. 101, 103, and 109. The designs are a bit harsher than the more supple work of Harunobu's maturity, but we can already see here the spirit of parody, and lyricism, that was to characterize his later work. Though we know nothing of Harunobu's formal education, he was certainly one of the most literate of the ukiyo-e designers. In such prints as Nos. 100, 110, and 111, verses and design are wedded in a happy combination seldom seen before or after. But whatever the literary or legendary implications of a Harunobu print, it is his color and his wonderful ideal of femininity that remain after all else is forgotten.
1. GIRL WITH CRANES. Mid-1760's. A girl walks past two cranes, carrying pails of seawater. Possibly a New Year's print with an implied parody on depictions of the god Fukurokuju with cranes. (The straw apron draped on the pail at the right may be supposed to represent Fukurokuju's bald head and long white beard.) The girl carrying sea-water (for making salt) was a favorite subject of ukiyo-e artists; see also Nos. 9 and 219. Signature: Suzuki Harunobu ga. Condition fine (slight scuffing lower left, backed). From Chandler, B. Matsuki, Ford, Freer. Nishiki-e: 6 colors, overprinting, gaufrage. 28.5 X 21.1.
5. GIRL WITH OX. Mid-1760's. A girl, possibly Harunobu's favorite model Osen, is shown in a parody on the standard Far Eastern "Ox-herd Boy" theme. She is depicted beneath a pine tree with broom in hand, sweeping up love letters (possibly written to Osen herself) while the docile ox follows her with baskets for their disposal. The coincidence of the broom and letters suggests the possibility of another parody - on depictions of Kanzan and Jittoku. In this case the ox must be assumed a substitute for one of the Zen monks! Unsigned. Condition fine (stain along left margin). From Chandler, B. Matsuki, Ford, Freer. Nishiki-e: 5 colors, gaufrage. 28.4 X 21.8,
100. GIRL BY VERANDA. Late 1760's. A girl, just come from an afternoon bath, stands by the veranda watching the falling paulownia leaves. A towel hangs on a rack, and the girl's sash is draped over the screen at right. The verse is by Fujiwara Toshiyuki, from the Kokinshu: "Though nothing said too clearly to my eyes that fall had come, yet was I startled by the sound of autumn's wind." In an alternate version of this print (Tokyo National Museum), all of the greens are replaced by mustard-yellow, with an effect more warm, but less suggestive of impending autumn. Signature: Harunobu ga. Condition fine. From Chandler, Ficke, Metzgar, Rouart. Nishiki-e: 5 colors, overprinting. 27.7 X 21.
101. SHŌKI CARRYING GIRL. 1765. The Chinese demon-queller Shōki is shown carrying a girl on his back (cf. No. 62). Several parodies on classical legend may be implied here: the elopment scene in the Tales of Ise (cf. No. 90), Ōmori Hikoshichi carrying the sorceress on his back, and Komachi praying for rain (No. 87). First issued as a calendar print (UT IV, 154; V&I, II, No. 24), which bore the date 1765, and in addition to Harunobu's name, that of Takahashi Rosen as kō (designer, artisan). Unsigned. Condition good (general staining, backed). From Chandler, Baker, Tregaskis, Litchfield Album. In Baker, No. 62. Nishiki-e: 5 colors. 26.7 X 20.8.
102. PRINCESS NYOSAN. Mid-1760's. She is shown with her cat on a leash, in a famous scene from the Tale of Genji. Signature: Suzuki Harunobu ga. Condition fine (some fading). From Chandler, "Nadeshiko-sono," Fukuda Bunko (the latter two represented by seals at lower right). Nishiki-e: 4 colors, gaufrage. 29 X 21.7.
103-4. TWO GIRLS BY STREAM. 1765. A summer scene of two girls relaxing beside a stream. The girl at left has dropped one of her clogs, and the girl at right is retying her sash. The left panel also appears as a calendar print with the date 1765 on the fan (UTS V, 6). Unsigned. Left panel: Condition good. From Chandler, Kington-Baker, Tregaskis, Litchfield Album. In Baker, No. 61. Right panel: Condition good (shows signs of having been washed, slight staining, backed). From Chandler, 1919. Nishiki-e: 5 colors, gaufrage. Diptych: each 26.8 X 20.9.
105-6. GIRL GREETING LOVER. Mid-1760's. In a pastiche on the famous legend of Ōta Dōkan (founder of Edo) and a rustic maiden, we see at the left a girl advancing from her flowered gate to greet a stylish young man who appears accompanied by a boy carrying a cricket-cage. The girl proffers a love letter on her open fan. A stream flows between the pathway and the fence. (The scene is also reminiscent of the "Yugao" chapter in the Tale of Genji.) Unsigned. Condition good (some staining, backed). From Chandler, Schraubstadter. In Schraubstadter, 1921, No. 46; Noguchi, Pl. 33, where it is wrongly attributed to another collection. Nishiki-e: 6 colors. Diptych: each 26.3 X 19.3.
107. THE EMPEROR'S LADIES AT BACKGAMMON. 1766. The T'ang emperor Hsuan-tsung watches while two of his court ladies play backgammon, two maidservants in attendance. The lady to the left is presumably the famous beauty Yang Kuei-fei, who was to prove Hsuan-tsung's downfall. This design is found also as a calendar print, with the date 1766 and the inscription of the artisan, or designer, Toyoko kō- a girl's name (Tokyo National Museum). Unsigned. Condition good (backed). From Chandler, Straus-Negbaur, Hayashi. In Frankfurt, 1909, No. 85; Kurth, Harunobu (1910 and 1923), Pl. 9; Straus-Negbaur, No. 149; UT IV, 91; Yoshida, No, 246. Nishiki-e: 4 colors. 24.3 X 35.5.
108. LOVERS READING LETTER. Late 1760's. On a snowy morning a girl and her lover read a letter-possibly one he had sent when they first knew love. Two pastiches are suggested by this scene: the deity Fugen seated on an elephant (here suggested by the kotatsu brazier) reading a letter; and the famous letter-viewing scene in the Chūshingura drama (cf. Nos. 121, 124). Signature: Harunobu ga. Condition fine. From Chandler; Kobayashi, whose square seal shows through at the lower left corner. Nishiki-e: 7 colors, overprinting, gaufrage. 27.3 X 21.
109. LOVERS READING LETTER. 1765. A calendar print which follows the same genera! design as No. 108. The first part of the letter notes the "long months" with their poetic names, and the second part gives the "short months," together with the year in question, 1765. Unsigned, the print is sealed "Hakusei" (designer of the Harunobu print shown in Hillier. Pl. 16). Quire possibly the present print represents the first version, done by Harunobu after a design by Hakusei. No. 108, which is far more skilled, may then represent a freer version done by Harunobu in his maturity. Condition fine (backed). From Chandler, Tregaskis, Litchfield Album. Nishiki-e: 7 colors. 28.1 X 20.9.
110. CHINESE SCHOLAR AND JAPANESE GEISHA. Late 1760's. On the surface, this print would seem to be an interesting comparison of Chinese and Japanese civilizations: the Chinese scholar at left displaying a subdued painting of orchids in his hand while he rides in a boat elaborately decorated in the Chinese manner; to the right a Japanese girl, probably a geisha, displaying a stylish kakemono print by Harunobu as she rides in a Japanese boat which features the natural wood. These elements alone are enough to interest cultural historians-but not an ukiyo-e artist, to whom a picture of a man and a woman naturally evoked thoughts of love, rather than culture. With this in mind we note the scholarly books at the man's feet, and the samisen at the girl's: he was perhaps sent to Japan to study and instead found love, which he must now renounce. The verse, appropriately enough, is from the chorus of the Noh drama Haku Rakuten (the poet Po Chü-i, who, in the play, was sent by the Chinese emperor to "subdue" Japan with his verse but failed -just as here ukiyo-e may be interpreted as conquering Chinese art). It is adapted here to a new situation: "The moss-grown rock is not all that it seems: docs it not now wear the sash of dawn parting?" (In its original context the verse might be translated; "The rock which bears a cloak of moss wears not a sash; where, strangely enough, the bare mountain does wear one [of clouds]!") Signature on both print and scroll: Harunobu ga. Condition fine (scuffing lower right, blue on man's robe faded). From Chandler, Ōshima, May. Nishiki-e: 6 colors. 28.9 X 20.8.
111. LOVERS AND PLUM TREE. Late 1760's. "The Second Month: Plum Tree by the Stream" from a set, Stylish Poems of the Four Seasons. A young man climbs a fence to break off a plum branch for his ladylove, who reclines against an old stone lantern. The night is black but the stream reflects the moonlight. Poem: "Even the hand of him who tics the knot of love will be fragrant: how then the stream that flows beneath the plum!" Signature: Harunobu ga. Condition fine (the black is a little thin in spots; trimmed at bottom?). From Chandler, Sotheby. In Sotheby, 4/17/1918, Pl. r. Nishiki-e: 4 colors. 27.6 X 20.6.
113. LOVERS IN THE SNOW. Late 1760's, Two lovers walk through the falling snow holding a snow-laden umbrella. We may suppose the scene to represent the morning after a night of love: the man looks in the girl's eyes as she modestly averts her face from his ardent gaze. The contrast of the man in black and the girl in light garments reflects the pairing of the raven and the heron in classical art. For an alternate version of this famous print, see Ledoux, II, No. 29, Signature: Suzuki Harunobu ga. Condition good (small worm holes, backed, slightly trimmed at top). From Chandler, Ainsworth. Nishiki-e: 5 colors, gaufrage. 32.7 X 19.9.
116. YOUNG MAN PLAYING KICK-BALL. Late 1760's. A young man is playing the aristocratic game of kemari ("kick-ball"); the ball flies above his head, and in the background is the bamboo enclosure of the kick-ball court. Signature: Harunobu ga. Condition fair. From Cox, Morse, Ketcham, Fenollosa(?). Nishiki-e: 4 colors, gaufrage. 68.7 X 12.8.
Harushige
Suzuki Harushige (worked mid-1760's to 1770's). Harushige was the ukiyo-e nom de plume employed by the well-known painter and student of occidental matters Shiba Kōkan (ca. 1738-1818). He was a skilled imitator of Harunobu's style and, as he himself confessed, after Harunobu's sudden death in his prime, designed a number of prints to which he affixed Harunobu's signature, and which were accepted as genuine by his contemporaries. Harushige's style is characterized by greater use of Western-style perspective, and his figures are often less delicate than Harunobu's.
112. [Style of Harushige.] GIRLS WITH SNOWBALL. Early 1770's. A courtesan stands watching her two maidservants warm their hands after making a large snowball. In the background a river scene with boatmen. Although it would be unwise to ascribe all Harunobus with perspective-technique to Harushige, this print, with its stiffness and exaggeration, and its typically odd signature, would seem to fall among the forgeries - albeit one of the finest of such. The design may have been suggested by a Harunobu book illustration (Ehon chiyo no matsu, 1767, pp. 7-8). Cf. also various early Tosa illustrations to Ch. XX ("Asagao") in the Tale of Genji. Signature: Harunobu ga. (At the Ruth sale in London in 1911 and at the Kington Baker sale in 1916 this particular print was catalogued as by Harunobu.) Condition good. From Lewis, Bateson, Baker, Tregaskis, Ruth, Samuel. In Ruth, No. 59. Nishiki-e: 6 colors, gaufrage. 27.4 X 20.7.
Koryūsai
Isoda Koryūsai (worked mid-1760's to 1780's). Though possibly a pupil of Shigenaga's, Koryūsai was influenced most by his friend Harunobu, and in his first works employed the derivative name Haruhiro. The best of his early prints (e.g., Nos. 99 and 118) almost reach the level of Harunobu, and some critics consider Koryūsai's work in this large pillar-print category one of the glories of ukiyo-e. Koryūsai's later prints (e.g., Nos. 112-13) are more massive and feature the elaborate coiffures then developing in the gay quarters. With the 1780's Koryusai abandoned popular prints and devoted himself to production of the more prestigious ukiyo-e paintings.
99. YOUNG MAN WITH HAWK. Early 1770's. A boy samurai holds his hawk upon his gloved hand as two sparrows fly past overhead. The hawk regards the little birds with more than passing interest, for sparrows are his favorite food. This print displays an interesting combination of natural innocence (the boy and the sparrows) and predatory cruelty. Signature: Koryusai ga; Masakatsu seal. Condition fine (thin spot at top, has been framed). From Chandler, Itō. Nishiki-e: 6 colors. 64.2 X 12.3.
114. THE COURTESAN MICHINOKU WITH ATTENDANTS. Late 1770's. The courtesan Michinoku, of the Tsutaya House, is reading the Hundred Poets while her little attendants play at "poem cards." From the series First Designs of Model Young Leaves. Signature: Koryusai zu. Publisher: Eijudō. Condition fine. From Kondo. Nishiki-e: 5 colors. 38.9 x 25.9.
115. THE COURTESAN MICHIHARU WITH ATTENDANTS. Late 1770's. The courtesan Michiharu, of the Tsutaya, is on procession with three attendants. From the same series as No. 114. with the subtitle "White garments of the Eighth Month." Signature and publisher: same as No. 114. Condition fine. From Chandler, Blanchard. In Blanchard, Pl. 8. Nishiki-e: 5 colors. 39.4 X 26.7.
118. GIRL WITH MOUSE. Early 1770's. A girl-possibly a courtesan - in dishabille plays with a mouse. The subject matter might suggest dating the print in the zodiacal Year of the Rat, 1768, but the style seems a bit later. Signature: Koryusai ga; Koryū seal. Condition fine. From Chandler, Ficke. In Ficke, 1920, No. 91. Nishiki-e: 5 colors, 72.3 x 13.3.
Kuninobu
Kuninobu (worked 1770's to early 1780's). Kuninobu's work is typical of several obscure but skilled artists in the Harunobu style who attempted to fill the gap caused by that great master's early death in 1770.
117. LOVERS WALKING AT NIGHT. Early 1770's. A man and girl are seen walking beneath a willow tree late at night; the man carries a lantern. The print may well represent the michiyuki travel scene of some famous pair of lovers. Signature: Kuninobu ga. Condition good. From Chandler, 3/17/1906. Nishiki-e: 3 colors, overprinting. 66.4 X 12.6.
Masunobu
Masunobu (worked 1770's) produced a number of delicate prints in the style of Harunobu. Nothing is known of him, but he may possibly be the same artist as Tanaka Masunobu, who designed prints and illustrated books in the Masanobu manner during the 1740's and 1750's.
121. CHŪSHINGURA PARODY. Early 1770's. The famous seventh act of the Chūshingura features a scene in which Yuranosuke, leader of the Forty-seven Rōnin, reads an important and highly secret letter on the veranda of a Gion teahouse; he is overseen by two people: the courtesan Okaru, who covertly reads the letter in her hand-mirror, and a spy of the enemy, who is hiding under the porch. In Masunobu's parody the courtesan and warrior are replaced by a maiden and a fair young man, and the spy by a dog -a pun on the Japanese word inu, which means both "dog" and "spy." Signature: Masunobu ga. Condition fine. From Nail, Packard. Nishiki-e: 9 colors. 70.8 X 12.7.
Bunchō
Ippitsusai Bunchō (worked 1760's to 1770's) combined the lyricism of Harunobu with the realism of Shunshō to produce some of the most uniquely individual prints in ukiyo-e. His speciality was actors, but some of bis greatest work lay in the depiction of girls and courtesans. The nervous, haunting brilliance of Bunchō's work led one critic (Ficke) to imagine "an intangible spiritual abnormality" about him; perhaps so, but it is the same quality that compels us in Memling, Grünewald, El Greco.
125. ŌTANI HIROJI III. 1769. The actor as Shirobei in Edo no hana wakayagi Soga, performed I/1769, Ichimura-za. He poses menacingly beside a pine tree in a storm, lifting his rain-cap from his head. Signature: Ippitsusai Bunchō ga; Mori uji seal. Condition fine (flaw near right foot from defect in block). From Chandler. Nishiki-e: 5 colors. 31.2 X 14.3.
126. OSEN. Ca. 1770. The famous waitress and beauty Osen is depicted in front of her tea-shop, the Kagiya, which stood beside the torii of the Kasamori Inari Shrine in Edo. She holds a tray of cakes in her hand, and behind her we see teacups and utensils, a cherry-blossom flower arrangement, a sign with the name of the shop, and the gateway to the shrine. Signature & seals: same as No. 125. Condition good (slight stains). From Koscherak, Ledoux, K. Matsuki, Barnes, Straus-Negbaur. in Ledoux, III, 5; OAZ, n.f.2:152; Straus-Negbaur, No. 190; UT V, 267 (rephotographed from Straus-Negbaur). Nishiki-e: 4 colors. 32.7 X 14.9.
127. OSEN. Ca. 1770. The same subject and scene as in No. 126. Osen poses with a fan in her hand and a small towel grasped in her teeth. The season here is summer, where in No. 126 it was doubtless early spring. Poem: "At Kasamori the rain ceases, and Osen stands in the summer shade." Signature & seals: same as No. 125. Condition fine (slight discoloration at top). From Tomoda. Nishiki-e: 4 colors. 33 X 15.2.
Shunsho
Katsukawa Shunshō (1726-93) was trained in the genre-pointing schools of Chōshun and Itchō but from the late 1750's began to develop a more realistic style of his own. He learned much from the color harmonies of Harunobu and Shigemasa, and in his special field, the actor print, soon overshadowed the hitherto dominant Torii school. Though no startling innovator, Shunsho ranks with Kiyonobu and Sharaku in his influence upon Kabuki depiction; his pupils were very numerous, not the least of them being Hokusai, Like several other ukiyo-e greats, Shunsho devoted his final years more to paintings than popular prints.
128-29. KIKUNOJO AND SANGORO. 1775. Segawa Kikunojo III as Kawazu Saburo, and Arashi Sangoro II in the female role of Tagasode. The actors are shown here in the "Mandarin-duck Dance" featured in the drama Hatiazumō Genji-biiki, performed XI/1775, Nakamura-za. (Mandarin ducks are the customary symbol of marital felicity in Par Eastern art and rhetoric.) Signature: Shunsho ga. Condition fine (small holes). From Chandler, 1/6/1927. Nishiki-e: (No. 128) 4 colors; (No. 129) 7 colors, overprinting. Diptych: each 32.3 X 15.
130. KŌJŪRŌ, TSUNEYO, AND SŌJŪRŌ. 1785. In the center, Nakayama Kojuro as Hotoke Gozen; at the left, Osagawa Tsuneyo II as the courtesan Naniwazu; at the right, Sawamura Sōjūrō as Komatsu Shigemori. The actors are posed before a flower-viewing pavilion. From the drama Yuki-mochidake furisode Genji, performed XI/1785, Nakamura-za. Unsigned; Hayashi [Shunsho] jar-shaped seal. Condition fine (slight stains). From Mayuyama. Nishiki-e: 5 colors. 39 X 26.1.
131. SUKEGORO AND NAKAZŌ. 1768. Nakamura Sukegorō III, as Danshichi Kurobei, and Nakamura Nakazō as Giheiji, quarrel in a scene from Natsu-matsuri Naniwa kagami, performed V/1768, Nakamura-za. Signature: Shunsho zu; Hayashi seal. Condition good (stains, some rubbing). From Chandler, Straus-Negbaur. In Straus-Negbaur, No. 212; UT V, 176. Nishiki-e: 4 colors. 28.9 X 21.5.
132. NAKAZŌ AS HOTEI. 1780. Nakamura Nakazō is seen in the role of Hotei, one of the Seven Gods of Fortune, in a scene from Kite kaeru nishiki no wakayaka, performed XI/1780, Nakamura-za. Signature: Shunshō ga; Matsu seal. Condition good (marginal stains, scuffing). From Chandler, 6/23/1919. Nishiki-e: 4 colors. 43.3 x 14.8.
Shunkō
Katsukawa Shunkō (1743-1812). Of Shunshō's pupils who devoted their work to the theater, Shunkō ranks first; in his finest prints he is fully the equal of his master. Shunkō's work extends from the early 1770's through his final years; in the late 1780's his right arm became paralyzed, hut, switching to his left hand, Shunkō worked on to produce the type of large actor heads (No. 137) which were one of his main contributions to ukiyo-e.
120. ICHIKAWA DANJŪRŌ V. Mid-1780's. The actor is shown on the street, outside a Kabuki theater, bur probably in an individual portrait rather than a role. Behind him, through the window, we see the theater musicians practicing. Signature (partially cut off): Shunkō ga. Condition fair (trimmed, slight repairs). From Chandler. Nishiki-e: 3 colors. 64.3 X 11.5.
133-35. SUKEROKU, AGEMAKI, AND IKYŪ. 1784. Ichikawa Yaozō III as the hero Sukeroku, Nakamura Rikō as the courtesan Agemaki, and Ichikawa Danjūrō V as the aged suitor Ikyu, in a scene from Soga musume chōja, performed III/1784, Nakamura-za. The series may possibly be made complete by the addition, at left, of the print showing a sake-merchant-actually Soga Jūrō in disguise (Wright Cat. 1927, No. 102); or yet another panel may have existed to the left or right of Ikyū. Signature on each print: Shunko ga. A seal is faintly visible at the lower right of No. 135. Condition fine (No. 135: minor holes, slight stains). From Chandler, Wright. In Wright, No. 154. Nishiki-e: (No. 133) 4 colors; (No. 134) 5 colors, gaufrage; (No. 135) 4 colors. Three sheets of a pentaptych(?): left, 32.1 X 16.3; center, 32.2 X 14.6; right, 32.2 X 15.
136. MOKUEMON, YAMAUBA, AND KINTOKI. 1785. Ichikawa Danjūrō V as Shibakari Mokuemon (in reality the god of Mt. Ashigara), Segawa Kikunojō III in the female role of Yamauba, and Ichikawa Monnosuke as the herculean boy Kintoki. A scene from Shitennō Ōe no yamairi, performed XI/1785, Kiri-za. Signature: Shunkō ga. Condition fine (slight stains and holes, partly backed). From Chandler, Doi, Kawaura. In UT VIII, 193; Kawaura, No. 167. Nishiki-e: 6 colors, overprinting. 38.5 X 25.4.
137. ICHIKAWA MONNOSUKE. 1789. Monnosuke II as the maiden Osome, from Edo Fuji wakayagi Soga (cf. No. 152), I/1789, Nakamura-za. Signature: Shunko ga. Condition good. From Shōbisha. Nishiki-e: 5 colors. 36.7 X 25.3.
Shun'ei
Katsukawa Shun'ei (ca. 1762-1819). Another great pupil of Shunshō's, Shun'ei adds a modem touch to the Katsukawa school, as well as a pronounced element of facial exaggeration which adds to the individuality and dramatic force of his actor prints, but in lesser hands was to lead to the decline of figure work in the 19th century. Sharaku and, most of all, Toyokuni, were among those influenced by Shun'ei's style. He was somewhat eccentric in his behavior but had a wide circle of friends, among them Shunchō, Utamaro, and Toyokuni, with each of whom he sometimes collaborated on prints such as No. 179 below.
138. ICHIKAWA EBIZŌ. 1795. Ebizō (cf. No. 168) as Yokizō (in reality Mita no Tsukau), from a scene in Fuku-botan Azuma dairi, performed XI/1795, Kawarazaki-za. Signature: Shun'ei ga; kiwame, Uemura seals. Condition good. From Chandler, K. Matsuki. Nishiki-e: 6 colors. 38.6 X 25.9.
139. ICHIKAWA EBIZŌ. 1795. Ebizō as the samurai Kakoga-wa Honzō, from Kana-tehon chūshingura, performed V/1795, Kiri-za. (Cf. No. 206 below.) Signature: Shun'ei ga; Iwa seal. Condition fine (imperfection in paper causing white spot at left knee of kimono; oxidation of white). From Mayuyama. Nishiki-e: 6 colors. 39.4 X 26.4.
140. NAKAYAMA TOMISABURŌ. 1795. Tomisaburō as the courtesan Okaru, from the same drama as No. 139, with same signature and seal. Condition fine. From Shōbisha. Nishiki-e: 6 colors. 38,4 X 25.7,
Masanobu (Kitao)
Kitao Masanobu (1761-1816) was the most precocious of Shigemasa's several brilliant pupils and might well have developed into the stature of a Kiyonaga had he continued to work in the print field. But the rewards of the print designer were seldom financial, and Masanobu chose to devote most of his later life to novel-writing under the name Santō Kyōden and running his shop, which sold tobacco-pouches and pipes with great success. Masanobu produced few prints but his remarkable album of Yoshiwara beauties, of which one plate is shown in No. 141, has served to win him a place in any selection displaying the wonders of the Japanese color print. (His name is written differently from that of the pioneer Okumura Masanobu; to distinguish the two in romanization, the form K. Masanobu is sometimes used for the later artist.)
141. COURTESANS AT LEISURE. Ca. 1783. To the left a high-ranking Yoshiwara courtesan stands and inscribes a poem on a card as her attendant holds the writing utensils. In the center another courtesan is seated reading a ballad; before her sits an attendant with samisen in hand; and to the right a young attendant stands holding a saké-container. The scene is of courtesans at leisure, probably on the second floor of a courtesan house; the season is spring and cherry blossoms are seen blooming from the garden below. The verses and calligraphy are supposedly from the courtesans' own hands; that to the right is by Utagawa; that to the left is by Nanazato and reads: "Enfolded in impending rain, the fragrance of the still plum tree!" This is one of a series of seven large prints by Kitao Masanobu published together in album form by Tsutaya Jūzaburō early in 1784. Each print features two leading courtesans with their attendants and two autographic verses. The prints are thought first to have been issued separately during 1782 and 1783, and one bears the date II/1783. Two of the series are signed, "Kitao Rissai Masanobu ga," with the seal "Soseki," and the title "Autographs of Famous Beauties of the Greenhouses." The later title of the series as a whole is Yoshiwara Courtesans: A New Collection of Beauties, An Autographic Mirror. Unsigned. Condition fine. From Shōbisha. Nishiki-e: 9 colors in many shades. 37.3 X 50.4.
Kitao Shigemasa (1739-1820) was the son of an Edo publisher and, in his prime, was considered one of the ukiyo-e greats, though today he is little known even among collectors. The reasons for this are that his signed work is rare and that his prints, though always distinguished by fine draftsmanship, frequently reflect more the general artistic fashions of his time rather than the individual personality of the artist. Shigemasa, like Ins good friend Shunshō, was one of the great teachers of his age, and his pupils have eclipsed him in fame, if not in native genius: Shumman, Masanobu, Masayoshi, as well as such unofficial pupils as Utamaro and Hokusai, Shigemasa's finest prints were probably his rare geisha series, of which two examples are described below; characteristically, they are unsigned.
142. TWO GEISHA. Ca. 1776. Two geisha-entertainers rather than straight courtesans-are shown in a standing pose. They are identified by name as Oshima and Onaka. Legend: "Beauties of the Four Directions: Beauties of the East." ("East" here probably refers to the Fukagawa gay quarter.) The Tokyo National Museum copy of this print has the manuscript notation "An'ei V" (1776). Unsigned. Condition good (holes crudely repaired, backed). From Chandler, Morse, Ketcham, Fenollosa(?). Nishiki-e: 5 colors, gold dust. 39.2 X 26.
143. GEISHA WITH MAIDSERVANT. Late 1770's. A geisha walks to the left, followed by a maidservant carrying a samisen box. The samisen has always been a necessary accouterment of the geisha, and there was a special class of male or female servant, called the hakoya, who carried this musical instrument for the geisha and helped with clothing changes. Shigemasa seems to have been particularly sensitive to fashions in kimono design, and we note in Nos. 142 and 143 the careful attention he has given to such foreign materials as velvet and calico, which were then enjoying a considerable popularity. Unsigned. Condition fine (holes). From Chandler, Ford, Freer. Nishiki-e: 6 colors. 39.1 X 26.8.
Toyoharu
Utagawa Toyoharu (1735-1814) is best remembered today as the founder of the Utagawa school and the teacher of Toyokuni and Toyohiro, but he is an artist of considerable interest in his own right. His early prints, such as No. 119, are in the Harunobu manner, but display a delicacy that almost borders on weakness. Toyoharu's greatest achievement was the development of the uki-e, or perspective-print, as shown in No. 144. Forming a kind of bridge between ukiyo-e and Western art, these prints have been strangely neglected by Western students. Few subsequent ukiyo-e artists failed, however, to be influenced by Toyoharu's view of landscape and background; Hokusai's work would be difficult to imagine without it.
119. LOVERS WITH KITE. Early 1770's. A young man holds a spool of kite-string as a girl ascends a ladder within the garden to disentangle his kite, to which a love letter is attached. Signature: Utagawa Toyoharu ga. Condition good. From Cox, Morse, Ketcham, Fenollosa(?). Nishiki-e: 5 colors. 68.3 X 9.5.
144. EIGHT VIEWS OF LAKE BIWA. Late 1770's. The famous "Eight Views of Lake Biwa" (see Nos. 61 and 229) are here encompassed in a single "perspective print," which combines the traditional Japanese techniques with the concept of perspective as lately adapted from Western art. Each of the set scenes is labeled; in the foreground (left to right): Evening Glow at Seta Bridge, Clear Day at Awazu, Returning Sailboats at Yabase; in the background: Autumn Moon at Ishiyama Temple, Evening Bell at Mii Temple, Lingering Snows on Mr. Hira, Night Rain at the Karasaki Pine, Descending Geese at Katata. Legend: "Perspective-print: Scenic Views of Japan: Eight Views of Lake Biwa." Signature: Utagawa Toyoharu ga. Publisher: Eijudō Nishimuraya. Condition fair (backed). From Mayuyama. Nishiki-e: 3 colors. 26 X 38.8.
Kiyonaga
Torii Kiyonaga (1752-1815), son of an Edo bookseller, was a pupil of Kiyomitsu's, last of the great figures in the traditional Torii line. Although Kiyonaga maintained his responsibilities as "Torii IV," his genius led him far beyond the limits of this school of Kabuki artists, and even in treating the theater Kiyonaga devised quite new forms and approaches, such as we see in Nos. 152 and 156-57. His special field, however, was the depiction of stylish young men, graceful girls and courtesans, against broad and fully realized backgrounds of the Edo he knew so well; the other prints we show are of this type: they utilize elements that had been standard in ukiyo-e since its origins, but combine them on a grand scale, with a solid, realistic draftsmanship that is withal poetic and evocative, a style that was to dominate ukiyo-e for twenty years or more. It was Kiyonaga's vision that formed Utamaro's style, but when the latter's star rose to predominance in the early 1790's Kiyonaga returned to his original work of theater posters and paintings, designing few prints during the last two decades of his life.
122. MAIDEN WATCHING A YOUNG MAN. Early 1780's. From her window a maiden admiringly watches a fair young man pass by. Signature: Kiyonaga ga. Condition fair (backed). From Chandler, 10/20/1906. In Hirano, Pl. 94(?). Nishiki-e: 3 colors. 69 X 12.3.
145-46. EVENING SCENE AT SHINAGAWA, Mid-1780's. Early evening in the gay quarter of Shinagawa, south of Edo. At the left a woman carrying a lantern guides a young male guest; they are followed by a geisha and two girls, the last of whom pauses to converse with another geisha whose servant carries her samisen-box and lantern. Upper right, a lantern of the Sentai Kōjin Shrine. (For an alternate version with sky printed lighter and signature at lower right of No. 145 in white, see Noguchi, Torii Kiyonaga, Pl. 12.) The Seventh Month in a famous series of diptychs entitled Minami jūni-kō, "Twelve Months in the South," devoted to the customs of the Shinagawa gay quarter. Each sheet is signed "Kiyonaga ga," with the title of the series. Condition fine (pasted to form a single print, creased, inconspicuous worm holes, some fading of colors). From Morse. In Morse, No. 80; Wadsworth, No. 102. Nishiki-e: 6 colors, gradation. Joined diptych: 38.1 X 50.7.
147-48. SNOWY MORNING IN THE YOSHIWARA. Late 1780's. At the left the young male guest reclines against the bedding, composing a letter; behind him a young girl attendant looks out over the snowy Yoshiwara embankment while another girl sits before him at the brazier. The principal courtesan stands to the right of her lover, in dishabille, while two lesser courtesans look at the fish a girl has just brought in. Legend: "Snowy Morning in the Greenhouses." Each sheet is signed: Kiyonaga ga. Condition good (holes crudely patched; prints pasted together along center margins, some scuffing, colors excellent). From Chandler, 2/20/1928. In Hirano, Pl. 68. Nishiki-e: 5 colors, overprinting, gaufrage. Joined diptych: 38.3 X 50.4.
149-50. NEW YEAR'S SCENE AT NIHOMBASHI. Mid-1780's. Left, a maidservant carrying plum blossoms and a child's kite, then a matron and a girl whose large hat bears the legend "Enoshima, Monthly Pilgrimage." Right, a maiden of quality accompanied by two maidservants and a boy. Beyond the pillars of the bridge are seen warehouses, Edo Castle, and in the distance Mr. Fuji. Each sheet is signed "Kiyonaga ga," with the publisher's seal of Eijudō. Condition fine. (This fairly well-matched diptych was assembled by Chandler. Left sheet backed, right unbacked. Blue ink notation on back of left sheet shows below foot of the girl with pilgrim's hat.) No. 149 from Chandler, Koechlin; No. 150 from Chandler, Hayashi. Nishiki-e: 6 colors. Diptych: left, 38 X 25.2; right, 38.3 X 25.8.
151. RIVER COOL AT DUSK. Mid-1780's. Two women of the Floating World cool off on a summer evening at Hama-chō by the Sumida River. A waitress stands at the left. This print is the left side of a diptych, the other half of which shows two geisha and a servant walking toward the right. Signature: Kiyonaga ga. Condition fair (folded, holes, stain lower center, fading at right; bottom slightly trimmed;). From Chandler, Jacquin. In Jacquin, No. 282; V&I, III, 125. Nishiki-e: 5 colors, 37 X 25.5.
152. KOMAZO AND MONNOSUKE. 1789. Ichikawa Komazō II as the lover Hisamatsu, and Ichikawa Monnosuke II as the maiden Osome, in the "Yukari no hinagusa" scene of Edo Fuji wakayagi Soga, performed I/1789, Nakamura-za (cf. No, 137). The lovers stand beneath cherry blossoms. Signature: Kiyonaga ga. Publisher: Eijudō. Condition good. From Mayuyama. Nishiki-e: 6 colors, overprinting. 38.9 X 26.
153-55. SUDDEN SHOWER AT THE MIMEGURI SHRINE. Mid-1780's. Left, two men and two women take shelter from the shower under the gateway to the shrine; center, a hotel maid carries umbrellas and clogs for the use of marooned guests, while behind her a girl runs for shelter, her hair protected by a kerchief; right, two girls, skirts pulled up, share an umbrella, followed by another running girl, whose head is bare and sash in disarray. In the heavens are seen the forces of rain and thunder personified as stylish Edoites: the deity at left dangles his leg over the cloud, smokes his pipe, and surveys the rain-drenched confusion that has resulted below; the next three deities are discussing the merits of a calligraphic poem-card; the two deities at the right are listening to suggestions from one of their minions regarding, perhaps, further shower-attacks in the direction of the Yoshiwara, across the river to the west. The Mimeguri Shrine has long been associated with the poet Kikaku, who in 1693 composed a famous verse there, supplicating the gods to end the current drought-a request which was immediately granted. It is perhaps Kikaku's verse that the chief gods seem to be admiring in Kiyonaga's version. To this conceit has been added a fanciful rendition of the idea of "cherry-blossoms scattered by the storm" - with, as is customary in Japanese metaphor, young girls replacing the petals. A substantial essay could be written on the allusions involved in this one print. Each panel is signed "Kiyonaga ga." Condition good. (Although these prints come from two different sources, they have fortunately aged at about the same rate. The ground color, however, was originally more yellow in No. 153, more green in Nos. 154-55. The green of the shrubbery and red of the buildings are well matched. Some scuffing and small stains.) No. 153 from Cox; Crist; Ōiso sale, 1914; in Ōiso, No. 184. Nos, 154-55 from Chandler, Salomon, Rouart; in Salomon (No. 26), Rouart. Nishiki-e: 6 colors. Triptych: left, 38 X 25,7; center and right (joined), 38 X 49.9.
156. IWAI HANSHIRŌ IV WITH MANSERVANT. Mid-1780's. Rather than a scene from a play, this is simply a "candid" view of the actor walking along the street accompanied by a manservant. Such prints met a natural desire among Kabuki devotees for scenes from the private lives of their favorites. Hanshiro IV was noted as a master of female roles, and Kiyonaga's portrait records clearly the delicate grace that pervaded the actor's manner even offstage. Signature: Kiyonaga ga. Condition good (stains). From Grabhorn, Kobayashi. Nishiki-e: 5 colors, overprinting. 33.4 X 15.
157. MATSUMOTO KŌSHIRŌ IV WITH GEISHA. Mid-1780's, Like No. 156, this print supposedly represents a scene from the actor's daily life, Koshiro is depicted in the snow under a willow tree, his hands kept warm inside his sleeves. Beside him stands an immaculate Edo geisha, her stylish femininity nicely balancing the actor's masculine stance. Kiyonaga produced a number of prints of this type and they rank among his most interesting work, forming, as they do, an arresting combination of the two staple subjects of ukiyo-e: girls and actors. Signature: Kiyonaga ga. Condition good. From Chandler, Haviland. In Hirano, Pl. 8. Nishiki-e: 4 colors. 33.2 X 15.3.
Kitagawa Utamaro (1753-1806), pupil of the minor painter Toriyama Sekien, owed his greatest artistic debt to Kiyonaga, to whose graceful, lifelike women he added a strong element of eroticism, flavored, moreover, with an intuitive grasp of the nature of female psychology. It is these elements that have made Utamaro best-known in the West of the dozens of skilled Japanese portrayers of womanhood: his girls and women speak directly to the viewer in personal terms of frankly sensual beauty; and, behind this surface attraction, in Utamaro's finest works we sense the mind of the "eternal female," seemingly oblivious to her own charms, yet all too well aware of their effect upon her male audience and of their profound influence upon her own life and her particular concept of happiness. Harunobu and Utamaro are the great masters of ukiyo-e in the portrayal of femininity and love - but what a difference in their ideals!
123. AGEMAKI AND SUKEROKU. Mid-1790's. The famed lovers Agemaki, courtesan of the Yoshiwara, and Sukeroku, the Japanese Robin Hood. Signature: Utamaro hitsu; Murataya seal. Condition poor (backed). From Chandler, Wright. Nishiki-e: 5 colors. 65.3 X 15.
158. GIRL WITH GLASS PIPE. Early 1790's. A girl in gaily patterned kimono blows a toy glass pipe. One of a scries entitled Ten Studies in Female Physiognomy, of which the present print shows the only younger woman represented in the scries. Though only six of the scries are known, another group of five prints with slightly variant title exists; the print illustrated here is common to both scries, however, so that the total number of subjects is ten. Signed "Physiognomist: Utamaro ga"; kiwame and Tsutaya seals. Condition fine. From Chandler, Gonse. In Gonse, No. 40. Nishiki-e: 6 colors, white mica. 38.7 X 25.7.
159. OKITA CARRYING TEACUP. Early 1790's. The famous beauty Okita, waitress in the Naniwaya teahouse at Asakusa, is seen carrying a cup of tea on its tray. Like Osen of a generation earlier (Nos. 126-27), the beauties Okita and Ohisa (Nos. 165-66) were the major attractions of their respective shops, and both girls appear frequently in prints by Utamaro and his contemporaries. The poem-card at the upper left is signed with the fanciful pen-name "Katsura Mayuzumi" and reads: "(While resting at the teahouse called Naniwaya.) Like the port of Naniwa, ceaseless the wayfarers, and none do not stop here." In other versions of the print the verse appears further to the left, or is omitted. Signature: Utamaro hitsu; kiwame, Tsutaya seals. Condition fine. From Chandler, 1910. Nishiki-e: 4 colors, overprinting, white mica. 38.2 X 25.
160. THE COURTESAN WAKAUME WITH MAIDSERVANT. Early 1790's. The Yoshiwara courtesan stands in ceremonial costume with her little maidservant half-hidden behind her. The cartouche gives the name and address of her house (the Tamaya, Edo-chō itchōme), the courtesan's name (which means "young plum-blossom"), and the names of her two attendants, Mumeno and Iroka. The poem-card at left is signed Ho Nankō and reads: "Blooming from amidst the linen-white snow, her name likewise fragrant, the young plum-blossom." For another version of this print, see V&I, IV, 30, and UT VII, 33. Signature & seals: same as No. 159. Condition good. From Chandler, Doi. Nishiki-e: 4 colors, overprinting, white mica. 39.1 X 26.1.
161. A MAIDEN OF THE UPPER CLASSES. Early 1790's. At the right stands a maiden of the cultivated class, summer fan in hand; at the left an older woman is seated before a koto (zither), adjusting a plectrum on her finger. In the foreground are seen the plectrum-box and a small cage with a singing insect inside. Legend: "Customs of the Three Classes of Maidens: A Picture of the Cultivated Class." Signature: Utamaro hitsu; Wakasaya seal. Condition fine. From Chandler, Wright. Nishiki-e: 6 colors, overprinting. 38.4 X 25.5.
162. COURTESAN AFTER BATH. Mid-1790's. A Yoshiwara courtesan is seen refreshed after her morning bath, half-clothed in a bathrobe and drying her face with a towel. The little maidservant, also in dishabille, offers her mistress a cup of tea. The cartouche, designed in the shape of an old-style clock, reads: "Hour of the Serpent [9-11 A.M.]. The Twelve Hours of the Day in the Greenhouses: A Series." In old Japan the day was divided into twelve hours, and each of the two-hour intervals was identified with an animal of the zodiac. One of a series of twelve prints devoted to intimate Yoshiwara scenes. Signature & seals: same as No. 159. Condition fine (pasted down along the edges, minor holes, stains). From Chandler, Ford. Nishiki-e: 7 colors, gold dust. 36.4 X 24.2.
163. [UTAMARO II(?)] THE COURTESAN HANAŌGI. Ca. 180607. The famous Yoshiwara courtesan Hanaōgi (Kasen) is depicted with paper and writing-brush in hand, composing a letter to a lover. Note the kimono design, which reflects her name ("Blossom-fan"). The flowered cartouche gives the name and address of her house (Ōgiya, Edo-chō itchōme), her name, and that of her attendants, Yoshino and Tatsuta. The problem of distinguishing late Utamaro I from early Utamaro II is complicated by the fact that the pupil is thought to have assisted the master in several of his late works. I would, however, tentatively assign this to Utamaro II, ca. 1806-07. (For a very similar portrait of Hanaōgi by Utamaro I, but dating from a decade earlier, see Michener, The Floating World, Pl. 53.) Signature: Utamaro hitsu; seal of Enjudō. Condition fair. From Shōbisha. Nishiki-e: 3 colors. 36.8 X 24.1.
164. FESTIVAL TRIO, Early 1790's. In the front, two geisha masquerade as Buddhist priests for a Niwaka danceperformance in the Yoshiwara. The girl at left carries a display of the whisks employed in the tea ceremony; the girl at right holds a hollow gourd, which she taps with a stick. Behind the two geisha stands a high-ranking Yoshiwara courtesan. Legend: "Three Fair Beauties of the Greenhouses." Signature: Utamaro hitsu; seal of Tsuruya. Condition fine (folded, some fading). From Chandler, Ōshima, May. In May, No. 387. Nishiki-e: 4 colors, overprinting, gray mica. 38.8 X 26.
165-66. OHISA, FRONT AND BACK. Early 1790's. Ohisa, like Okita of No. 159, was one of the reigning beauties among Edo girls during the 1790's. She was the daughter of a prosperous cake merchant near Ryōgoku Bridge and was only about fourteen when, around 1791, she began to attract favorable attention at her father's shop. The present print, together with a similar one depicting Okita, is among the most unusual of Utamaro's works: it is printed front and back on one sheet of paper, with perfect registry even when viewed against a strong light. These prints must have been a great novelty to the connoisseurs of the time; the technical difficulties involved were doubtless what prevented widespread use of the ingenious form. Ohisa is depicted in summer kimono, apron at waist and fan in hand, with the legend "Takashima Ohisa." Signature: Utamaro ga; kiwame and publisher's seals. Condition good (some scuffing). From Chandler, 4/9/1911. Nishiki-e: 3 colors. Each 32.4 X 14.8.
Sharaku
Tōshūsai Sharaku (worked 1794-93). Sharaku's extant prints date almost entirely from a ten-month interval in 1794-95] but whatever his native genius, whatever the skilled guidance provided by his publisher, the great Tsutaya Juzaburo, Sharaku's tremendous, evenly-balanced output cannot be explained as the sudden inspiration of an untrained amateur. Attempts to identify Sharaku with other contemporary masters (Maruyama Ōkyo, Kabukidō Enkyō, for example-and Chōki has occurred to me as an intriguing if equally wild hypothesis) have so far proved abortive, but I have a suspicion that somewhere in the vast mass of uncatalogued eighteenth-century paintings and prints the key will some day be found. One print, datable as 1799, has already come to light to confuse the issue, as have one or two dated fan-paintings, which would suggest either that Sharaku did occasional later work or that another of the men who employed that nom de plume also dabbled in art. Although Sharaku's genius is universally recognized today, in his own time the new element of sharp realism and psychological caricature was hardly appreciated by the Edo populace, which doubtless accounts for his short career. Sharaku's earliest prints were among his greatest and most original - the large actor portraits such as are shown in Nos. 167-70. Here we see an individuality of expression and a psychological probing of a depth hitherto unknown in ukiyo-e- though Utamaro's intuitive perception of female vanity in the years just preceding this may well have been Sharaku's immediate spur to creation. In dynamic group composition Sharaku also excelled, as in No. 172; in his panels of single, standing figures, however, such as No. 171. he reveals his basic debt to the school of Shunshō and fails to find the opportunity to wield his incisive brush either in creative character portrayal or sinuous theatrical composition. To point out the limitations of Sharaku's genius at least serves to make more believable the riddle of his existence.
167. TANIMURA TORAZŌ. 1794. Against a striking background of dark-mica pigment we see the Kabuki actor portraying a tense moment as Washizuka Yaheiji, secondary villain of Koi-nyōbō somewake tazuna, performed V/1794, Kawarazaki-za. Torazō, who had migrated from the KyotoOsaka theater world to Edo, was never noted as a great actor, and even this fact has been captured in Sharaku's masterly portrait, which reveals a supporting player exerting bis utmost in a villainous role, bereft of that reserve of strength and character that makes a really superb actor. Signature: Tōshūsai Sharaku ga; kiwame and Tsutaya seals. Condition good (top of head retouched). From Chandler, Straus-Negbaur. Nishiki-e: 4 colors, gray mica. 37.8 X 25.
168. ICHIKAWA EBIZŌ. 1794. The great Ebizō (Danjūrō V) in the role of Takemura Sadanoshin from the same drama as No. 167. Some confusion surrounds the identity of this role, but it seems most likely to represent Sadanoshin, Noh player and father of the heroine of the drama. It is the evil deeds of Yaheiji (cf. No. 167) and his villainous brother which force Sadanoshin to harakiri during the course of the play. (The controversy over whether the actor is Ebizō III or IV would seem to be based on a confusion in the ideographs for the name. Danjūrō V would have been Ebizō IV except that he changed the "spelling" of his name while retaining the same pronunciation. Thus we should have to employ some such odd designation as "II Ebizō I" in the absence of Japanese characters.) Signature & seals: same as No. 167. Condition good (center folds, rubbing, backed). From Chandler, Bing. Nishiki-e: 3 colors, gray mica. 36.8 X 24.4.
169. ARASHI RYŪZŌ. 1794. The actor is seen as the moneylender Ishibe Kinkichi in Hanaayame Bunroku Soga, performed V/1794, Miyako-za. Signature & seals: same as No. 167. Condition good (rubbed; patched hole on right shoulder). From Chandler, Straus-Negbaur, Wakai. In Frankfurt, No. 212; Kurth, Sharaku, p. 170; Straus-Negbaur, Pl. 32; UT VIII, 39 (rephotographed after Straus-Negbaur); Kunstwanderer, p. 469. Nishiki-e: 4 colors, gray mica. 37.7 X 25.
170. SAWAMURA SŌJŪRŌ III. 1794. The actor appears in the role of the samurai Ōgishi Kurando from the same drama as No. 169. Signature & seals: same as No. 167. Condition good (holes; stains and fading at bottom). From Chandler, Gonse. In Gonse, Pl. 4. Nishiki-e: 3 colors, gray mica. 38.8 X 25.7.
171. ICHIKAWA DANJŪRŌ VI. 1794. The actor is seen as the young samurai Fuwa Bansaku, son of the villain in Keisei sambon karakasa, performed VII/1794, Miyako-za. The print probably represents the left panel in a set of three devoted to leading actors in the drama. Signature & seals: same as No. 167. Condition good (some stains, slightly trimmed at bottom). From Ōya shobō, Danjūrō family (?). Nishiki-e: 4 colors. 31.7 X 14.9.
172. ONIJI AND OWUEZŌ. 1794. Otani Oniji II as Ukiyo Tohei and Ichikawa Omezō as the sumō wrestler Ikazuchi Tsurunosuke in Nihommatsu Michinoku-sodachi, performed VII/1794, Kawarazaki-za. Since the same actors appeared in more than one role during the course of the play there is still some controversy regarding the exact roles portrayed, but the above surmise seems most probable. This print is one of the most dynamically executed of all Sharaku's group compositions. Signature & seals: same as No. 167. Condition good (holes, some filled and retouched; some stains, rubbing; backed along top and bottom). From Chandler, 6/15/1934. Nishiki-e: 5 colors, overprinting, white mica. 38.8 X 25.8.
Eishōsai Chōki (worked 1760's to early 1800's). Chōki's art is in some respects as baffling as Sharaku's: amidst a quantity of ordinary prints and book illustrations we discover a small number of color prints that rank with the finest ever produced by any ukiyo-e master. Chōki studied together with Utamaro in Sekien's studio, and his work reflects the influence of both artists, as well as something of the Sharaku manner. His idealized girl is more reminiscent of Harunobu than of Utamaro and, with his unique technique of close-up compositions, was his greatest contribution to ukiyo-e. Though Chōki has never achieved the popular renown accorded to some of his contemporaries, a study of Nos. 174-75 makes one wonder if he did not surpass them all in the evocation of poetic atmosphere.
124. CHŪSHINGURA PARODY. Mid-1790's. A parody on the drama of the Forty-seven Ron in, similar to that noted in No. 121 above. This time the scene is more definitely of the gay quarter, showing courtesan and lover, with the courtesan's little maidservant peeking from beneath the porch. (Note the realistic depiction of the lantern's rays, a concept derived, most probably, from Western art.) Signature: Chōki ga. Condition good (small holes, backed). From Chandler, 3/17/1906. Nishiki-e: 4 colors. 58 X 11.
173. THE COURTESAN TSUKASA-DAYŪ. Mid-1790's. The Osaka courtesan is shown glancing back over her shoulder, sleeve raised to chin. The legend gives the location and name of her house (Ōsaka Shimmachi, Higashi Ōgiya) and the girl's name. Signature: Chōki ga; seal of Tsutaya. Condition good (folded, slightly soiled). From Chandler, 1928. Nishiki-e: 4 colors, white mica. 38.8 X 26.3.
174. GIRL IN SNOW. Mid-1790's. A girl in her late teens stands holding a snow-laden umbrella as her manservant bends to clean off her sandal. Note Chōki's skillful employment of the auxiliary figure, at once noticed yet not obtrusive. His achievement in the invention of this type of close-up with secondary figure is only surpassed by his wonderful girl. This print was at one time surmised to represent a portrait of the Genroku poetess Shūshiki, but such appears unlikely; rather is the scene reminiscent of a Chikamatsu puppet-play. The snowflakes seem to have been hand-sifted or stenciled, and thus vary with each copy of this rare print. Signature: Chōki ga; kiwame and Tsutaya seals. Condition good (garment of man possibly re-vamped). From Chandler, Straus-Negbaur. In Frankfurt, No 190; Kurth, Masterpieces, No. 24; Kunstwanderer, p. 469; Straus-Negbaur, No. 301; UT VII, 452 (rephotographed after Straus-Negbaur). Nishiki-e: 6 colors, gray mica. 38.2 X 24.4.
175. FIREFLY-CATCHING. Mid-1790's. A woman and a little boy are seen amusing themselves at firefly-catching on a summer evening beside a stream with irises. The boy prepares to grasp at a firefly with fan in hand, and the woman holds a little cage in which to take the insects home. (Firefly-catching is still a favorite summer diversion in rural Japan; city-dwellers can also buy the insects at a penny apiece to scatter in their tiny gardens at dusk.) Signature & seals: same as No. 173. Condition good (inconspicuous holes, stains, backed, woman's neck discolored). From Chandler, Gonse. In Gonse, No. 55. Nishiki-e: 3 colors, dark-gray mica. 25.7 X 38.3.
Shunchō
Katsukawa Shunchō (worked late 1770's to late 1790's), though a pupil of Shunshō's and much indebted to that master for his perfect color harmonies, found his ideal in the work of Kiyonaga at its peak and seldom deviated from that style. We are accustomed to judging artists according to their originality, and by this token Shuncho must be relegated to second rank; his actual prints, however, are often quite the equal of Kiyonaga's: they lack the latter's magnificence of concept, but have a peculiar ethereal quality seldom found in Kiyonaga, and a luminous harmony of coloring that is unsurpassed in ukiyo-e.
176. PICNIC PROCESSION. Early 1780's. A wealthy family's cherry-blossom viewing picnic: to the left, in black, the daughter of the family, accompanied by her retinue of servants. The young girls in the center carry utensils for smoking, and a dog, while the manservant at right carries the picnic lunch. A boy, possibly the younger brother, follows. (Cf. Moronobu's version of a similar scene in No. 12,) The influence of Kiyonaga is seen very strongly in this print. Legend: "Stylish Spring Brocade." Signature: Shuncho ga. Condition good (scuffing and some fading, backed). From Kegan Paul. Nishiki-e: 4 colors. 26 X 39.
177-78. WOMEN BY SUMMER STREAM. Mid-1780's. Six women and a little boy ate seen taking their ease variously beside a summer stream. At the left is a footbridge; yellow water-lilies bloom forth from the water, and a willow tree trails its branches overhead. The girl at left is plucking parsley. This design may possibly have been a part of a triptych, but no suitable right panel has yet been found. Each panel is signed: Shuncho ga; seal of Eiyūdō. Condition good. From Koscherak, Ledoux, Gonse. In Gonse, Pl. 1; Ledoux, III, Pl., 25. Nishiki-e: 5 colors in many shades, overprinting. Diptych: left, 38.2 X 25.9; right, 38.2 X 26.
179. [Shunchō and Shun'ei.] STREET SCENE. Late 1780's. Two groups pass, regarding each other: at the left a lady and her servant, at the right two firemen. (The two men wear jackets bearing the crests of Onoe Kikugorō and Arashi Ryūzō; such were often presented by actors to the fire brigade.) The scene is probably the Year-end Sale at Asakusa; the head fireman carries the rope decoration used at New Year's. The two women have the signature "Shuncho ga"; the two men, "Shun'ei ga." Such collaboration between two ukiyo-e artists on one print had been seen occasionally before (e.g., Harunobu and Bunchō), but Shuncho and Shun'ei were among the first to employ it with any regularity. Condition good (hole bottom center crudely patched, some scuffing, trimmed, backed). From Chandler, 8/30/1909. Nishiki-e: 5 colors, repeated overprinting. 31.7 X 22.
180-81 RIVERSIDE SCENE. Late 1780's. The scene is probably Yanagishima, at the eastern edge of Ryōgoku Bridge. At the left a man and his boy servant start across the bridge, glancing at a pair of women, possibly geisha, who have just come from the bath. The man carries a shrine token stuck in his hair - possibly that of the Kameido Shrine, or of Myōken, god of disaster, which was not supposed to be touched by hand. The boy carries some cakes or other souvenir on his back; a kite is flying in the sky and boats ply the river. In the right panel a maiden of quality is seen approaching the bridge, accompanied by two older women. Each panel is signed: Shunchō ga; sealed Chūrin. Publisher's seal: Sen-ichi han. Condition: 180, good; 181, fine. From: 180, Koscherak, Ficke; 181. Mayuyama. Nishiki-e: 6 colors. Diptych: each 39.5 X 25.5.
Chōbunsai Eishi (1756-1829), scion of a high samurai famiy, had been fully trained in the studio of the official painter Kanō Eisen-in before he turned to the popular ukiyo-e style. It was in the early 1780's that Eishi resigned his official duties for the work he loved; he designed first in the style of Shigemasa but soon took (as did most of his contemporaries) Kiyonaga, and later Utamaro, as his model in the portrayal of beautiful women. It is no accident that Eishi's art ranks as the most aristocrate in ukiyo-e: his was not a strikingly original genius, but neither did he have to cater to the whims of popular taste. His women, whether of the nobility or the demimonde, inhabit a special world untouched by mundane thoughts and passions. During the latter half of his career, with the general decline in print quality, Eishi devoted himself to ukiyo-e paintings, a field in which he reigns supreme for this period.
182. THE DOLL FESTIVAL. Mid-1790's. A young woman sits holding in her hand a doll representing a ceremonially-dressed boy beating a Noh drum. At the lower right is the doll's box and a flower arrangement of peach blossoms, the symbol of this festival of the Third Month. One of a series of five prints, each of which bears the title The Five Festivals in Modern Style. Signature: Eishi zu; kiwame and Eijudō seals. Condition fine (trimmed, slight fading). From Chandler, Hayashi. Nishiki-e: 4 colors. 35.8 X 23.3.
183-84. COURTESAN PREPARING FOR BED (two versions). Late 1790's. The Yoshiwara courtesan Misayama is shown about to retire for the evening; she is removing her perfumed amulet from about her neck. On the floor is a black lacquer box. No. 183, with dark background, probably represents the first impression of this print, while No. 184, with light background, was probably printed later, from different blocks. The different impressions are discussed in detail by Ledoux, who, however, did not realize that the present dark background of his print was the result of extensive hand-retouching, and that the cartouche was probably reprinted later, the original presumably having been defaced when the mica-ground flaked off. Legend: "Selected Beauties of the Greenhouses: Picture of Night-attire: Misayama of the Chōjiya." Signature: Eishi giga; Iwatoya seal. No. 183: Condition fair. From Koscherak, Ledoux. In Ledoux, IV, No. 43. Nishiki-e: 4 colors, dark mica (retouched). 37.7 X 25. No. 184: Condition good (slight stains). From Shōbisha; Mihara; Hakone, 1919; Bullier; Hayashi. In Hayashi, No. 695; Mihara, No. 42; Hakone, 1919, No. 87. Nishiki-e: 4 colors, white mica. 38 X 24.4.
Eishō
Chōkōsai Eishō (worked 1790's), Most impressive of Eishi's pupils, Eisho worked in several forms, but it was only in his large heads of girls that he achieved results both original and on a level with the art of his master. Eishō's girls lack the aristocratic refinement of Eishi's, but they are often more human, more lifelike, and we may surmise that the sweetly childish, slightly silly look on the faces of his courtesans mirrors, perhaps unconsciously, one strong element of personality to be found in the Edo gay quarter.
185. THE COURTESAN SHINOWARA. Mid-1790's. The courtesan is shown adjusting a hair ornament while she reads a love letter. Legend: "Beauties of the Licensed Quarter: Shinowara of the Tsuruya." Signature: Eishō ga. Condition fair (holes, scuffing). From Chandler, Straus-Negbaur. In Frankfurt, No. 146; Straus-Negbaur, No. 290; UT VII, 570 (rephotographed after Straus-Negbaur). Nishiki-e: 4 colors, gray mica. 37.3 X 25.4.
186. THE COURTESAN SOMEYAMA. Mid-1790's. The courtesan is shown removing her perfumed amulet (cf. Nos. 183-84), about to retire for the evening. Legend: "Beauties of the Licensed Quarter: Someyama of the Matsubaya." Signature: Chōkōsai Eisho ga. Condition good (trimmed, stains). From Cox; Cutter; Hakone, 1917. In Hakone, 1917, No. 98. Nishiki-e: 5 colors, gray-white mica. 37.1 X 24.9.
Shūchō
Tamagawa Shūchō (worked 1790's to early 1800's) is one of several minor artists of the Kansei period who followed in the wake of the great Utamaro. It might even be suggested that the lack of signature on this type of print was a device of the publisher to capitalize on Utamaro's tremendous success, the idea being that an unsigned "Utamaro" was more saleable than a signed Shūchō. Although Shūchō was no great artist, he had a readily recognizable style of his own, rather between those of Utamaro and Chōki, but lacking the erotic vitality of the one, the refinement of the other.
187. GIRL WITH WHITE MOUSE. Late 1790's. An informally attired girl, possibly a geisha, is seen playing with a white mouse. The Year of the Rat suggests itself as date of composition, but since this fell in 1792 and 1804 a connection seems unlikely. Unsigned (a signed version also exists); seal of Ezakiya. Condition good (some stains, scuffing). From Chandler, Field. Nishiki-e: 4 colors. 36.4 X 25.5.
Hokusai
Katsushika Hokusai (1760-1849). Hokusai's long life embraces much of ukiyo-e history from the late 1770's to the late 1840's: he began as a pupil of Shunsho (employing the nom de plume Shunrō) and did notable prints of actors and wrestlers in the Katsukawa style and girls in the Kiyonaga manner. With the 1790's he developed a remarkable, delicate style of figure drawing that graces his fine surimono (prints employed for greetings, announcements, and the like), book illustrations, and rare prints of the period. By 1810 Hokusai's figure drawing had developed a certain hardness that detracts from its beauty, but his skill as a draftsman, nature-painter, and landscapist had increased to the extent that he was certainly the greatest artist of the time in these fields. Hokusai was already nearly sixty when he produced his great Thirty-six Views of Fuji, but he continued to develop his range and power to the end, some critics considering his series The Poetry of China and Japan the culmination of his style, Hokusai's greatest quality was his passionate interest in all things living, and this included the mountains and trees as well as the variegated people of his native land. His Manga sketchbooks are the fascinating record of his intense curiosity, but practically any of his later prints will reveal the same trait, strengthened and distilled by the discipline of art. In whatever he did, Hokusai's work is so full of humanity as almost to obscure the true quality of his artistic genius.
6. THE POET ABE NO NAKAMARO LONGING FOR HOME (keyblock proof). Early 1830's. The poet is seen on the balcony of a Chinese pavilion, declining the food presented him as he gazes out over the moonlit sea. This print doubtless illustrates Nakamaro's famous poem composed in far-off China, where he had been sent from Nara to study: "I gaze up at the Fields of Heaven and wonder: is this the same moon that rose over distant Mount Mikasa at my home in Kasuga;" Key-block proof of one of a series of ten prints entitled Shiika shashin-kyō, "The Poetry of China and Japan: A Living Mirror" (usually rendered as "The Imagery of the Poets of China and Japan"). The finished print appears in color in Boiler, Hokusai, Pl. 24, with significant variations in coloring from the Honolulu finished print. For others in the series, see Nos. 195-96 below. Signature: Zen Hokusai Iitsu hitsu. Publisher: Moriya; kiwame seal. Condition fine. From Chandler. 63.7 X 27.2.
188. BULLFINCH AND DROOPING-CHERRY. Late 1820's. The inscription gives the names of the bird and flower, and then the following poem by Raiman: "A single bird comes out drenched by the dew: the morning cherry-blooms." Such verses often imply some reference to the human world, in this case, probably, to the picture of a young man returning at dawn from a night of love in the Yoshiwara. One of a series often or more medium-size prints featuring birds and flowers and showing strong influence from Chinese painting styles. Signature: Zen Hokusai Iitsu hitsu; kiwame and Eijudō seals. Condition fine. From Chandler, Nishiki-e: 4 colors. 25 X 18.2.
189. FUJI FROM KAJIKAZAWA. Late 1820's. From a projecting rock the fisherman handles his lines as his boy assistant sits behind him and Mt. Fuji looms in the distance. The scene is at Kajikazawa, on the Fuji River in the province of Kai. Although the fisherman is usually assumed to be handling the lines of a net, he may possibly be employing four cormorants, which are out of sight in their quest for fish. From the series Thirty-six Views of Fuji. Signature: same as No. 188. Condition fine (slight marginal stains, some scuffing). From Chandler, Ford, Freer. Nishiki-e or aizuri-e: 1 color, blue, printed in 13 different shades from 9 separate blocks; gradation (cf. No. 218). 25.9 X 38.8.
190. FUJI FROM HODOGAYA. Late 1820's. A scene on the Tōkaidō highway; left, a palanquin-borne traveler; to the right, a pack-horse driver with passenger, and a mendicant komusō priest. Fuji is seen through a row of pine trees that line the road. Signature: same as No. 188. Part of Eijudō seal on saddle blanket. Condition fine (center fold, slight paper defects.) From Chandler, Blanchard. In Blanchard, No. 191. Nishiki-e: 4 colors, gradation. 25.5 X 37.4.
191. RYŪKYŪ SEASCAPE. Early 1830's. Two islets connected to the mainland by a dragon-shaped causeway and a stone bridge; a boat and small figures. One of a series of Eight Views of the Ryūkyūs, the print is subtitled "The Lake's Voice at Rinkai." The quite different mood of this series from Hokusai's other works of this period is probably due to the fact that he was painting from his imagination rather than from direct observation. Signature: same as No. 189; seal of Moriya. Condition fine. From Chandler, 11/25/1927. Nishiki-e: 4 colors plus brownish-red in cartouche, gradation. 25.2 X 37.8.
192. THE BRIDGE OF BOATS AT SANO. Early 1830's. Travelers crossing the swiftly-flowing Tone River, the current of which has forced the bridge of boats into an arc. In the foreground are the bridge-warden's cottage and a bare pine; snow covers all. One of eleven prints in the Fatuous Bridges series. Legend: "Rare Views of Famous Bridges in All the Provinces: Old Picture of the Bridge of Boats at Sano in Kōzuke Province." The final word in the cartouche, kozu ("old picture"), has generally been misread or omitted in descriptions of this print; it is significant, however, for it means that Hokusai had never seen the bridge in question, for, though famous from ancient poetry, it had long since ceased to exist. Signature & seals: same as No. 188. Condition fine. From Chandler, Walpole. Nishiki-e: 4 colors, gradation. 24.8 X 37.8,
193. BUTTERFLY AND TREE-PEONY. Early 1830's. One of a series of some eleven large-size prints of the "bird-and-flower" type, more graceful, but less personalized than the smaller series represented in No. 188. Signature & seals: same as No. 188. Condition good (center fold, marginal holes and stains). From Chandler, Haviland. Nishiki-e: 4 colors. 25.3 X 37.
194. WINTER LANDSCAPE BY THE SUMIDA RIVER. Late 1820's. A snow-covered view at Mukōjima, looking northeast along the Sumida River from an elevation. At the lower right is a small shrine, probably the Umewaka Shrine dedicated to a little boy who was kidnapped and died there in ancient times. The artist would have been standing near the Mokubo-ji, a Buddhist temple erected in the boy's memory. The water in the foreground with boat is an inlet of the river. One of the series Snow-Moon-Blossoms, featuring the Yodo River (moonlight), Mt. Yoshino (cherry blossoms), and the present Sumida River (snow). Signature: same as No. 188. (Some impressions of the Yodo River print bear the same seals as No. 188 also.) Condition good (fold at right margin, smoothed out holes at left margin). From Chandler, 5/8/1918. Nishiki-e: 5 colors, gradation. 25.2 X 38.6.
195. THE POET LI PO ADMIRING A WATERFALL. Early 1830's. The aged T'ang poet is shown leaning on his staff, supported by two frightened boys, as he gazes in admiration at the cataract, probably that of Lo-shan in Kiang-si Province. Li Po's poetic eulogy on the scene includes the famous lines: "Let me be with the things I love, leaving the world of man forever." For an alternate version of this print see Ledoux, V, No. 10. From the same series as No. 6, data identical. Condition fine (slight marginal stains, backed). From Chandler. Nishiki-e: 6 colors in many shades, overprinting, gradation. 51.8 X 23,2.
196. TRAVELER IN THE SNOW. Early 1830's. A Chinese horseman, followed by his servant, halts his horse on a rocky crag and surveys the snow-clad landscape. In the distance are rustic houses by two old pines; sea gulls float in the chilly water. The name of the poet is omitted in this print and lie has been identified variously with the T'ang poets Meng Hao-jan or Tu Fu, or the Sung poet Su Tung-p'o; all three writers have verses suitable to the scene but it is difficult to settle upon one or the other without knowing the immediate source of Hokusai's inspiration. From the same series as No. 6. Condition good (some discoloration). From Chandler. Nishiki-e: 6 colors, gradation. 51.5 X 22.9.
Shōtei Hokuju (worked late 1790's to mid-1820's). Of Hokusai's pupils Hokuju made the largest contribution as an original landscapist; his cubist landforms, highly stylized clouds, and near-photographic figures and dwellings provide a curiously modern concept of the world. This is not entirely coincidence, for Hokuju was influenced by what little he knew of European art; yet the result must be considered one of the most notable of original Japanese variations upon what were only dimly apprehended concepts of Western forms.
197. MONKEY BRIDGE. Early 1820's. A stylized, draftsmanlike view from space of Monkey Bridge, made famous in the West by Hiroshige's print. Legend: "A Newly Sketched Picture of Monkey Bridge in the Province of Kai." Signature: Shotei Hokuju ga; kiwame and Eikyūdō seals. Condition fine. From Tikotin, Schraubstadter, Nishiki-e: 4 colors, overprinting, gradation. 26 X 37.9.
Gakutei
Yashima Gakutei (worked mid-1810's to 1830's), who often employed the nom de plume Gogaku, studied ukiyo-e under Hokkei and left a number of skilled surimono and book illustrations, among which his impressionistic landscape scenes are notable. Though a native of Edo, Gakutei lived in Osaka during the early 1830's and the album-plate shown is one of several souvenirs of that sojourn.
198. SQUALL AT TEMPOZAN. 1834. A sailing junk caught in a sudden rainstorm near Tempozan, Osaka; a rough sea, with black clouds overhead. One of a series of six illustrations from Gakutei's album entitled Famous Views of Tempozan, published at Osaka in 1834. Legend: "Osaka Tempozan, View of a Squall." Signature: Gogaku; sealed Go. Condition fair (discolored, center fold). From Chandler. Nishiki-e: 4 colors. 25.1 X 38.
Hokkei
Totoya Hokkei (1780-1850). Best known of Hokusai's pupils, Hokkei had first studied traditional painting under Kanō Yōsen'in. He excelled in elaborately executed surimono and landscape panoramas, such as those illustrated here, which convey well the Hokusai technique and add a vaguely formal yet other-worldly atmosphere seldom found in that earthy master.
199. FOREIGN WARSHIP SALUTING. 1830's. Cannon-smoke blankets a three-masted European warship as she salutes, passing Mt. Inasa near the entrance to Nagasaki harbor. One of a series of some fifteen oblong prints (eight in this collection) entitled Famous Views in the Various Provinces; the present print is subtitled "Inasa-yama in Hizen." Signature: Kikō [Aoi-ga-oka] Hokkei ga; kiwame, Shō, and Eijudō seals. Condition fine (slight discoloration). From Chandler, Appleton. Nishiki-e: 5 colors. 17.8 X 38.4.
200. FERRYBOAT IN RAIN. 1830's, A loaded ferryboat crosses the Sumida River as its passengers try to shelter themselves from the sudden downpour of rain. In the foreground are seen the gulls famous at this spot since ancient times. One of the passengers has dropped his fan into the river. From the same series as No. 199, same signature. Subtitle: "Sumida River in Musashi." Condition fine. From Chandler, Hayashi. Nishiki-e: 5 colors. 17.7 X 37.1.
201. TRAVELERS AT FUDŌ PASS. 1830's. Three travelers are walking a mountain path, two traders and, in front, a hunter with his gun and dog. The sun is shining between the cliffs and, to the right, two other travelers pause to refresh themselves at a small cataract, above which is seen a personification of the Buddhist deity Fudo, guardian of the pass. From the same series as No. 199, same signature and seals. Subtitle: "Fudo Pass, Mikuni-goe in Jōshū." Condition good. From Grabhorn. Nishiki-e: 5 colors. 17.5 X 38.2.
202. SUMIYOSHI SHRINE. 1830's. Osaka Bay, seen from the Sumiyoshi Shrine; a drum-bridge and seaside village to the left. From the same series as No. 199, same signature. Subtitle: "Sumiyoshi in Sesshū." Condition fine (backed). From Chandler. Nishiki-e: 5 colors. 18 X 39.3.
203. NIGHT FESTIVAL AT THE SEASHORE. 1830's. Two Shinto priests are seen dashing for the shore as waves pursue them. It was the yearly ritual at the Sumiyoshi Shrine in Nagato for the priest, late at night on New Year's Eve, to run down with torch to the sea, which parted for an instant while he cut one blade of sea-grass for presentation to the shrine. In this print one priest carries the torch while the other holds a small sickle and his sacred prize. From the same series as No. 199, same signature and seals. Subtitle: "Sacred Rites of Sea-grass Gathering in Nagato." Condition good. From Chandler, Jacquin. In Jacquin, No. 203. Nishiki-e: 4 colors. 17.5 X 38.
204. WATERFALL AT NIKKŌ. 1830's. The famous "Back-seeing Falls" at Nikkō; travelers stand on a narrow platform beneath the fall and try to see out through the rushing water. From the same series as No. 199, same signature and seals. Subtitle: "Back-seeing Falls at Nikkō in Shimo-tsuke." Condition fair. From Chandler. Nishiki-e: 5 colors, 17.3 X 38.3.
Toyokuni
Utagawa Toyokuni (1769-1825). Of the leading ukiyo-e designers Toyokuni was the least original, but succeeded so well in emulating the finer points of his more creative contemporaries that in his best work he is universally accorded a place nearly equal to theirs. Toyokuni's direct teacher was Toyoharu, but he studied successively the styles of Kiyonaga, Shumman, Chōki, Eishi, and Utamaro in the field of girl-prints and Shunsho, Shun'ei, and Sharaku for actor prints. His greatest consecutive effort was the famous series Views of Actors in Role, of which at least forty prints were produced in 1795-96, doubtless under the stimulus of Sharaku's great work of the preceding months but, nevertheless, individual masterpieces seldom surpassed in ukiyo-e. Indeed, though we speak of Toyokuni's predominately imitative talent, we must always add that his work, in whatever style, would never be mistaken for another master's, and often manages to equal or surpass the original model.
205. SAWAMURA SŌJŪRŌ. 1796. Sōjūrō III draws his sword in the role of Ume no Yoshibei, from Sumida no haru geisha katagi, performed I/1796, Kiri-za. Signature: Toyokuni ga; Sen-ichi seal. Condition fine. From Chandler, Wright, Bullier. In V&I, VI, 28. Nishiki-e: 6 colors, gradation. 38.6 X 25.6.
206. MATSUMOTO KŌSHIRŌ, 1795. Kōshirō IV in the dress of a komuso as Kakogawa Honzō in that most famous of Japanese dramas, Kana-tehon chūshingura, performed V/1795, Kawarazaki-za. (Cf. No. 139 for a rival performance in the same month.) Legend: "Views of Actors in Role: Kōraiya." Signature & seals: same as No. 205. Condition fine (slight scuffing). From Mayuyama. Nishiki-e: 5 colors. 37.7 X 24.7.
207. ICHIKAWA KOMAZŌ. 1796. Komazō II as the samurai Chōgoku Takumi, from Hikosan gongen chikai no sukedachi, performed IX/1796, Kawarazaki-za. Legend: same as No. 206. Signature: Toyokuni ga; kiwame and Sen-ichi seals. Condition fine. From Chandler, 10/18/1920, Nishiki-e: 4 colors, white mica. 36.9 X 23.9.
208. NAKAMURA NOSHIO. 1796. Noshio II in the role of the courtesan Umegawa, from Ninokuchi-mura iro no dekiai, performed IX/1796, Miyako-za. Legend: "Views of Actors in Role: Yamatoya." (For an alternate version lacking cartouche and lantern, see V&I, VI, 34 and UT X, 116.) Signature & seals; same as No. 207. Condition good. From Chandler, B. Matsuki. In B. Matsuki, No. 313. Nishiki-e: 6 colors, overprinting, gradation. 37.3 X 24.7.
209. IWAI HANSHIRŌ. 1795. Hanshiro IV as Sakurai, younger sister of the patriot general Kusunoki Masashige, from Matsu no misao onna Kusunoki, performed XI/1795, Kawarazaki-za. (For a slightly alternate version see Hillier, frontispiece, and Ledoux, IV, 52. for Sharaku's version of the same scene see Henderson and Ledoux, No. 78; there is some controversy as to which artist was' the imitator.) Legend: same as No. 208. Signature & seals: same as No. 207, with the notation "No. 2" beneath the publisher's seal. Condition good. From Chandler, Metzgar. Nishiki-e: 5 colors, gradation. 37 X 24.4.
210. ICHIKAWA YAOZŌ. 1796. Yaozō III as Soga Gorō, from Furiwakegami aoyagi Soga, performed I/1796, Miyako-za, The actor wears a kimono with butterfly design and holds in his hand the trap used for luring fox-spirits (cf. No. 27). Legend: "Views of Actors in Role: Tachibanaya." Signature & seals: same as No. 207. Condition good. From Chandler, 1920. Nishiki-e: 4 colors. 37.9 X 25.8.
211. ONOE SHŌSUKE. 1795. Shōsuke as Ōboshi Yuranosuke, leader of the Forty-seven Rōnin, from the same drama as No. 206. Legend: "Views of Actors in Role: Otowaya." Signatures & seals: same as No. 207. Condition fine (slight holes). From Kegan Paul, Hillier. Nishiki-e: 4 colors, gray mica. 37.8 X 25.1.
Kunimasa
Utagawa Kunimasa (1773-1810) was Toyokuni's earliest pupil, and one of his greatest. He excelled in actor portraits which strove to combine the intensity of Sharaku with the decorative grace of his master Toyokuni. He succeeded in the latter attempt but not the former, and thus it has been his inevitable fate to be treated as a "minor Sharaku." To those who find the biting genius of Sharaku disquieting, Kunimasa may appeal; certainly he gives a more valid portrayal of the actual pageantry of a Kabuki performance, where Sharaku's genius depicts not only an artistic goal seldom achieved by even the greatest performers, but also the human failings of the human actor behind the role.
212. ICHIKAWA EBIZŌ. 1796. Ebizō as Usui Aratarō (Shibaraku), from Seiwa nidai ōyose Genji, performed XI/1796, Miyako-za, The actor is the same "II Ebizō I" discussed at No. 168. Signature: Kunimasa ga; kiwame and Yama-zen seals. Condition good. From Brussel. Nishiki-e: 5 colors. 36.3 X 24.4.
213. NAKAMURA NOSHIO, 1797. Noshio as the courtesan Shosho, sweetheart of Gorō (cf. No. 17), from Hatsukasumi kuruwa no sugomori, a part of the larger drama Edo no haru kichirei Soga, performed I/1797, Miyako-za. Shosho carries a box on her shoulder like that in No. 12. Signature: Kunimasa ga; kiwame and Ue-yo seals. Condition good. From Chandler. Nishiki-e: 6 colors, gaufrage. 37.3 X 24.9.
214. ICHIKAWA DANJŪRŌ. 1799. Danjūrō VI as Jirokichi, from Ōmiura Date no nebiki, performed I/1799, Nakamura-za. Signature: Kunimasa ga; kiwame and Uemura seals. Condition fine. From Chandler, 12/27/1927. In UT X, 203. Nishiki-e: 5 colors. 37 X 25.4.
Kuniyoshi
Utagawa Kuniyoshi (1798-1861), Toyokuni's second great pupil, was hardly mentioned by the older critics, but is now generally recognized as the outstanding figure designer of the latter days of ukiyo-e, a skilled landscapist, and an interesting experimenter in the harmonious fusion of native and Western styles.
215. KUO CHü FINDS THE POT OF GOLD. Mid-1840's, Kuo Chü and his wife are startled at the discovery of a pot of gold; their naked son plays beside them. From the series The Twenty-four Paragons of Filial Piety: A Mirror for Children. Legend: "Kuo Chü [Kakkyo] was too poor to take as good care of his mother as he would have liked to. Sometimes he would find good things for her to eat, but the old mother dearly loved her grandson, and would always share the food with the child. The husband and wife were grieved at this and concluded that, in the end, the child was too much of an obstacle to their taking proper care of the mother. They began to dig a hole in the ground, determined thus to dispose of their child; but they dug up, instead, a pot filled with gold. From this time on, their house prospered, and they were able to take care of their aged parent just as they had wished." (Cf. No. 46.) Signature: Ichiyūsai Kuniyoshi ga. Publisher: Shiba Shimmei-mae, Wakasaya. Condition good. From Chandler, Jacquin. Nishiki-e: 6 colors. 21.5 X 35.
216. TILE-KILNS AT IMADO. Early 1830's. The tile-makers of Imado, in Asakusa beside the Sumida River, tend their smoking kilns; a lone tree breaks the composition and in the dim distance is seen Mt. Tsukuba. Legend: "Famous Sights of the Eastern Capital: Imado in Asakusa." Signature: same as No. 215. Publisher: Ryūgoku, Kagaya. Condition fair (slightly trimmed, small stain in sky). From Chandler, acquired from "S.S.," 4/27/1920. Nishiki-e: 5 colors, gradation. 25 X 35.
Utagawa Kunisada (1786-1865) was Toyokuni's third notable pupil, and one of the leading artists of his day. The general decline of grace and quality in 19th-century figure work is epitomized in Kunisada's prints, but occasionally in his surimono and his prints of girls or actors he achieves distinction, and in his rare landscapes is to be found some of the most striking work of the period.
217. LANDSCAPE IN MIST. 1830's. Unlike most ukiyo-e landscapes, where the geographical location is exactly recorded (even though the painter may never have been there), here the label is simply "Landscape in Mist"; the scene, however, is doubtless the famous Edo ravine of Ochanomizu, though Mt. Fuji is slightly out of its normal place. A rare work for Kunisada, who specialized in pictures of girls. Signature: Kōchōrō Kunisada ga; kiwame and Yamaguchiya seals. Condition good (backed). From Chandler, Schraubstadter. In Schraubstadter, No. 366. Nishiki-e: 4 colors in many shades, gradation. 26.5 X 37.9.
Eisen
Keisai Eisen (1790-1848) is best known in Japan for his prints of voluptuous girls and his erotica, in the West for his series of landscapes done in collaboration with Hiroshige. He studied first under a Kanō painter, but later with the ukiyo-e master Eizan, was fond of Chinese painting of the Sung-Ming periods as well as of Hokusai's work, and frequently employed the aizuri-e technique, shown here, of repeated printings in shades of blue, a rather successful attempt to evade the government's austerity-ban of 1842 against nishiki-e. (See No. 189 for an earlier usage - from choice rather than necessity - by Hokusai.)
218. BAMBOOS AND MOON. 1840's. Another rare subject by a specialist in pictures of girls. Verse: "The rain washes, so profoundly clean; the wind blows, so minutely fragrant." Signature: Keisai; Keisai seal. Kiwame and Echigoya seals. Condition good. From Chandler. Aizuri-e. 26.4 X 38.1.
Hiroshige
Utagawa Hiroshige (1797-1858) studied under Toyokuni's more subtle confrere Toyohiro and had produced notable work already before he was twenty. He is the Japanese master par excellence of poetic atmosphere in the landscape print, as Chōki was in figure design. Where Hokusai placed his emphasis on the architectural structure of a landscape, Hiroshige viewed the scene more as a mood to be conveyed. The two masters have in common their reduction of each tableau to a balanced, decorative composition; but where Hokusai is dynamic and restless, Hiroshige is reflective and restful. His prints resemble romantic poetry caught at the peak of inspiration and, unlike the case with many earlier prints, one feels little urge to read the actual verses often inscribed thereon.
219. THE SALT-BEACH AT GYOTOKU. Late 1830's. A panorama of the beach at Gyotoku on Edo Bay, famous for its salt-production; on the beach the salt workers are seen carrying seawater or raking the salt-beds. (Cf. Nos. 1 and 9.) One of a rare series of some thirteen panoramas of the environs of Edo. The series is printed in delicate colors without black key-block, and was probably designed for use as letter-sheets, the black calligraphy to form an intricate counterpoint against the landscape, a device reminiscent of the days of Sōtatsu and Kōetsu. The style of this series differs considerably from that of most of Hiroshige's prints, but is quite similar to that of his numerous landscape paintings. Legend: "Picture of the Salt-beach at Gyotoku." Signature: Hiroshige hitsu. No publisher's seal, but thought to be Wakasaya. Condition fine. From Chandler. Nishiki-e: 4 colors, gold dust in cartouche, gradation. 16 X 51.4.
220. CHERRY BLOSSOMS AT KOGANEI. Late 1830's. Sightseers visit the famed, aged cherry trees of Koganei, west of Edo. From the same series as No. 219. Legend: "View of Koganei." Signature: Hiroshige hitsu. Condition fine. From Chandler. Nishiki-e: 4 colors, gold dust in cartouche, gradation. 16 X 51.4.
221. SUDDEN SHOWER AT ŌHASHI. 1857. Wayfarers of Edo shield themselves from the sudden shower, caught on the Great Bridge across the Sumida River at Atake. On the river a logger poles his raft, and in the distance are seen dimly the houses and temples of Fukagawa and Honjo. (Both alternate versions are also in this collection, that with two boats near the far shore, and the late version with clouds cut in a straight line. For Van Gogh's fine copy in oils of this print see Museum, August 1958.) Legend: 'One Hundred Famous Views of Edo: Ohashi [Great Bridge], Sudden Shower at Atake." (The word "Atake" is almost universally omitted from descriptions of this famous print, doubtless due to the difficult calligraphy; it was the lowest-class red-light district of Fukagawa, and stood just east of the bridge shown here.) Signature: Hiroshige hitsu; aratame seal at top margin, with the date DC/1857. Condition fine. From Chandler. Nishiki-e: 6 colors, gradation. 34 X 22.
222. MOUNTAIN VILLAGE. Early 1840's. Two peasants toil across a snow-covered bridge, returning to their village; both wear straw raincoats, and the man at left is carrying firewood. The verse is derifed from the T'ang poet Po Chü-i and reads: "The snow, like wild-goose feathers, is blown and scattered; the men, in garments as though white cranes, stand and wander about." One of a rare series of some six prints illustrating poems from the Heian-period anthology Wakan rōei shū (Japanese and Chinese Verses for Recitation). Signature: Hiroshige hitsu; Ichiryūsai seal. At left, kiwame and Jō-kin seals. Condition good (small holes at bottom right crudely backed). From Chandler, Mansfield. Nishiki-e: 5 colors plus red in cartouche, gradation. 37.4 X 25.8.
223. BY RYŌGOKU BRIDGE. Mid-1830's. A boatman poles his craft past Ryōgoku Bridge; Fukagawa with its lumberyards is seen in the distance, and a full moon is in the sky. Legend: "Famous Views of Edo in the Four Seasons: Summer, Full Moon at Ryōgoku." Verse: "Upon the bridge, I press through the crowds to view the peep-show fireworks shooting up at Ryōgoku." Signature: Hiroshige ga. Condition fine. From Chandler, Metzgar, Hayashi. Nishiki-e: 5 colors, gradation. 36.9 X 12.5.
224. AUTUMN MOON OVER THE YOSHIWARA. Late 1830's. In the foreground two coolies carry a palanquin bearing a nocturnal visitor along the slope leading to the Yoshi-wara, which is seen in the background beneath the autumn moon and a flight of wild geese. Legend: "Famous Sights of the Eastern Capital: Autumn Moon at Emonzaka by the New Yoshiwara." Signature: Hiroshige ga; kiwame and Shōgendō seals. Condition good. From Chandler, 4/5/1916. Nishiki-e: 6 colors, gradation. 34.1 X 12.6.
225. MOON THROUGH LEAVES. Early 1830's. In the foreground a cascade of water, beyond it the full autumn moon seen through maple branches shedding their leaves. Legend: "Twenty-eight Views of the Moon: The Moon through the Leaves." The verse is from Po Chü-i: "So sad the maple leaves now fallen on the green moss ground, and the cold autumn breeze at the time of dusk rain." The collection contains another version of this print with less blue in the sky and less color in the leaves. Signature: Hiroshige hitsu; kiwame and Jakurindō seals. Condition good. From Chandler, 10/19/1919. Nishiki-e: 4 colors, overprinting, gradation. 38 X 17.1.
226. PLOVERS IN FLIGHT. Early 1830's. Two plovers are seen in playful flight across the face of the full moon; beneath them waves break. Verse; "Brother-plovers by the Beach of Keage play kick-ball with the moon." (Cf. No. 116.) Signature: Hiroshige hitsu; Ichiryūusai, Sano-ki seals. Condition fine. From Chandler, Hayashi. Nishiki-e: 4 colors, gradation. 32.2 X 10.9.
227. WILD GEESE IN FLIGHT. Early 1830's, Three wild geese are seen in flight across the face of the moon, surrounded by a spacious sky. As in many of Hiroshige's bird groups, the last wild goose bends his neck, lending variety to the composition. Verse: "Will there ever be a night like this one! wild geese in the moonlight." Signature: Hiroshige hitsu. Publisher's seal: Shōeidō. The seal seen at the bottom of this print is the most interesting of the several decorative designs employed by Hiroshige. The left figure is the word ju (long-life) drawn to resemble a horse seen from the rear; the right is the word roku (emolument) designed like a seated deer. The combination "horse-deer" gives the Japanese word baka, "fool." We do not know Hiroshige's own interpretation of the seal, but it probably suggests a disdain for longevity and wealth, two of mankind's principal desires. The seal is found on only a few prints of the period ca. 1832-33, usually with the design in opposite order from that seen here. Condition good. From Chandler, Salomon, Hayashi. In Salomon, No. 88. Nishiki-e: 4 colors plus red in seals, gradation. 38 X 12.7.
228. CUCKOO IN FLIGHT. Mid-1830's. The cuckoo cries while in flight over the treetops in a driving rainstorm. Verse: "From one cry to the next he's flown past Iozaki: the cuckoo-bird." (The cuckoo flies swiftly and his cries are widely spaced; from the reference to Iozaki, at Mukōjima on the east side of the Sumida River, we may assume the bird's first cry to have emanated over the Yoshiwara, across the river to the west.) Signature: Hiroshige hitsu; kiwame and Shōeidō seals. Condition: fair (backed). From Chandler. Nishiki-e: 4 colors plus red in seals, gradation. 37.2 X 12.8.
229. EVENING BELL AT MII TEMPLE. Mid-1830's. In the distance is seen the towering Mt. Hiei, and before it, nestled among the foothills, the numerous structures of Mii Temple, famed for its evening bell. (Cf. No. 144. The grave of Fenollosa, pioneer of ukiyo-e studies, lies in the cemetery of the abbots of this temple, in the foothills to the right of this print.) Legend: "Eight Views of Lake Biwa: Evening Bell at Mii," Verse: "With one one loves, asleep together until dawn: from the first sound of the dusk bell of Mii." Signature: Hiroshige ga; kiwame and Takeuchi seals. Condition fine (small repair lower left, slight marginal stains). From Forman, Gunsaulus, Tuttle. Nishiki-e: 1 color (gray) in many shades, plus red in seals, and red and blue in cartouche; gradation. 22.8 X 35.2.
Kiyochika
Kobayashi Kiyochika (1847-1915). Of the small group of Meiji artists who attempted to adapt ukiyo-e methods and styles to the new age, Kiyochika stands preeminent. He sought a fusion of Western and Japanese styles, as Kuniyoshi had before him, and succeeded to a remarkable degree, for he had been trained both in Western photography, oil painting (at Yokohama, under the English artist Charles Wirgman), and Japanese painting (under Kyosai and Zeshin). Kiyochika's output of prints was large, and many of them are dull; he is at his best in depictions of the Edo-Tokyo he knew so well and sketched so often.
230. PULLING THE CANAL-BOAT. 1876. By moonlight a boatman and his wife tow their craft (out of sight to the right) by hand against the current of the canal at Koume. (The romanized title is an interesting indication that the new name for Edo had not yet been standardized as "Tokyo" at this time.) Dated August, 1876. Signature: Hōensha Kobayashi Kiyochika ga, Wakamiya-chō No. 212. Publisher: Matsuki Heikichi, Yoshikawa-chō No. 2. Condition good. From Sakai. Nishiki-e: 5 colors plus red in cartouche and yellow border, gradation. 22 X 33.6.
Ryūson
Ogura Ryūson (worked 1880's). Surprisingly, almost nothing is known of this skilled Meiji print-maker. His works are few, but marked by poetic distinction; in imaginative employment of atmospheric effects he often excels Kiyochika, and follows in the line of Hiroshige. Ryūson's prints frequently appeared in two versions, one of them coated with varnish to simulate Western oil painting.
231. MOONLIGHT AT YUSHIMA. 1880. Two citizens of new Tokyo stand on the hill by the Yushima Shrine looking down over the moonlit city; at the left is a tea-shop, at the right a geisha house. Dated Nov. 5, 1880. Signature: Gakō Ogura Ryūson, Tsukiji Odawara-chō, 2-14. Publisher: Arai Hachizō, same address. Condition generally fine. From Adachi. Nishiki-e: 3 colors plus yellow varnish over all. 22.8 X 33.7.
Yasuji
Inoue Yasuji (1864-89), also known as Yasuharu and Tankei, was a pupil of Kiyochika and before his death at the age of twenty-five gave promise of sufficient genius perhaps to have effected a minor revival of the ukiyo-e style. His works are usually printed with care and display a restrained taste in coloring rather rare for this period.
232. SHOP ON THE GINZA. 1882. At the left, the manager watches the arrival of a shipment; at the right, customers inspect some of the new Western-style canned and bottled goods. The sign above the shop reads: "Canner of Native Fruit, Nakagawa Kōshichi, Tokyo, Ginza Block 3." The central sign reads "Canned Bamboo-shoots," and that at left repeats the name and address of the shop. Title on the bottom margin: "Night View of Ginza Shop." Dated July, 1882. Signature: Gakō Inoue Yasujirō, Asakusa Nami-ki-chō No. 19. Publisher: Fukuda Kumajirō, Hasegawa-chō No. 19. Condition fine. From Shōbisha. Nishiki-e: 3 colors in many shades, overprinting, gradation. 35.7 X 24.
Hashiguchi Goyō (1880-1921), though trained in Western oil painting at the Tokyo Art School, soon developed a love for the traditional ukiyo-e and actively engaged in research and writing on the subject. The effect of these studies appeared in creative form during the last six years of his life in the form of a series of impressive studies of women done in modern adaptation of ukiyo-e technique, often printed under the direct supervision of the artist.
233. WOMAN AT TOILETTE. 1918. A young woman in deshabille and holding a small mirror applies cosmetics to her neck with a brush. Dated 1918. Signature: Goyo; sealed Goyō. Condition fine. From two American collectors who wish to remain anonymous, Goyo. [The collection contains ten of the fourteen known prints designed by Goyō; but, following the artist's death, members of his family employed a printer to finish prints Goyo had not completed and in some cases to run off new copies from the old blocks. Also, prints which Goyō had rejected as not up to his standards were rescued. Therefore, the credentials of any Goyo must be questioned, and some coming onto the market now are late printings. It must be assumed that some of this collection's prints are either posthumous or printings which the artist had rejected in his lifetime. The present print, however, one of two copies in the collection, can be traced directly to the artist and may therefore be presumed to have been approved by him.] Nishiki-e: 3 colors, gold dust, gaufrage, white mica, 55.5 X 39.4.
Shinsui
Itō Shinsui (b. 1896). Pupil of the noted painter of women, Kiyokata, Shinsui still prospers today as a specialist in highly stylized paintings of women in neo-Japanese style. His work in the print field dates back to 1916 and includes a series of Modern Beauties.
234. SAMISEN MINSTREL AT IKENOHATA. 1921. A wandering musician plays the samisen and sings a ballad outside one of the tea-houses of Ikenohata, by Shinobazu Pond in Ueno, hoping for a tip from the revelers inside. Unsigned. Condition fine. From Shōbisha (one of the dealers who commissioned the original print), Shinsui. [This flawless print demonstrates what could be accomplished by using traditional techniques and subject matter. It was commissioned for this purpose by the print-sellers of Tokyo, and the entire edition of about fifty copies went to them directly from the artist.] Nishiki-e: 4 colors in many shades, gradation. 39 X 24.2.
Yamamoto
Yamamoto Kanae (1882-1046), founder of the Japanese creative-print movement, was early trained as a woodblock engraver in the Western style, later graduating from the Tokyo Art School and studying for several years in Paris.
235. WOMAN OF BRITTANY. 1920. Like Yamamoto's great Moscow prints, this portrait was done in Japan and thus represents the strong recollection of his European travel. Signed. Condition fine. From Statler, Shōbisha, Yamamoto. In Statler, No. 5. [From here on, each print has been designed, carved, printed, and published by the artist. Observe how frequently the signature appears in Roman letters, an article of faith among a group of artists yearning for an international artistic citizenship.] Woodblock print: 4 colors, overprinting. 38.2 X 29.9.
Sekino
Sekino Junichirō (b. 1914) studied Western art in school briefly, but is largely self-taught. He is well known for his figure-prints and his Kabuki scenes. Recently he has worked in bold, abstract style.
236. LAFCADIO HEARN IN JAPANESE COSTUME. 1953. In portraying the most beloved American ever to reside in Japan, Sekino worked from a full-length photograph in an American edition of Hearn's collected works (Houghton Mifflin, 1910, volume entitled Japanese Letters), modifying the composition to suit his own concept and adding the Japanese-style pipe. Signed, sealed. Condition fine. From Metzgar, Hartnett, Sekino, this being the last print sold by Metzgar before his death in 1958. Woodblock print: 6 colors. 60.5 X 48.
Maekawa
Maekawa Sempan (b. 1888), also self-taught, comes from cm old Kyoto family and his prints are among the most conservative of those produced by the creative-print artists.
237. AKITA DANCER. 1954. This distinguished print-maker has stuck closely to Japanese themes and has had a long series of successes, his scenes of industrial life and hot-bath resorts being especially notable. Signed: Senpan (an alternate spelling). Condition fine. From Maekawa. Woodblock print: 4 colors. 38 X 29.
Saitō
Saitō Kiyoshi (b. 1907) is one of the most productive and popular of the moderns; a native of Aizu, his early work concentrated on the snow scenes of that region.
238. WINTER IN AIZU. 1941. The series of prints thus titled, showing scenes of deep winter in the artist's home country in Fukushima Prefecture, were his first commercially successful work and had much to do with shaping his artistic career. The collection has two copies of this most delightful print in the set; this one is used because of its historical associations. Sealed. Condition fine. From Nail, Anderson, Hartnett, Saitō. In Fujikake, p. 163. Woodblock print: 2 colors plus red in seal. 36.5 X 44.4.
Kawano
Kawano Kaoru (b. 1916) is a native of Hokkaido; his charming visions of girlhood have recently achieved considerable acclaim.
239. GIRL IN SHELL. 1958. This spectacularly successful print burst upon Tokyo in the winter of 1958 and repeated its triumph wherever it was shown, including Chicago. The artist who designed it has produced a series of enticing prints showing little girls and might be called a modern Harunobu, for the spirit evidenced in his work is similar-Signed. Condition fine. From Yōseidō, Kawano. [Yōseidō is the Tokyo art shop of Abe Yūji and the best single source for modern Japanese prints. While this shop does not serve as publisher, it is the gathering place of artists and their major permanent outlet. Most of the modern prints appearing in this book can be obtained from Yōseidō.] In Mitsukoshi, 1958. Woodblock print: 4 colors, overprinting. 41.8 X 58.7.
Mabuchi
Mabuchi Thoru (b. 1920) - the "Thoru" is his own romanization of the name Tōru - was taught first by his father, a woodblock engraver, and later studied at the Tokyo Art School under Hiratsuka.
240. AFTERNOON SUN. 1952. This print, which ends the Statler book on modern prints, is a favorite of many connoisseurs. Its mosaic construction is achieved technically by gluing small fragments cut from wooden lunch boxes to the block, but artistically it derives from Seurat's pointillism and from Byzantine mosaic work. This print required three traditional blocks for ground color, and seven mosaic blocks, from which thirty separate printings were pulled. Signed and sealed. Condition fine. From Statler, Mabuchi. In Statler, No. 100. Wood blocks (1 uncarved, 2 carved, 7 mosaic): 6 colors printed in 30 separate stages. 55 X 75.6.
Hashimoto
Hashimoto Okiie (b. 1899), since graduating from the Tokyo Art School in 1924, has taught art in a Tokyo middle school.
241. GATE AND RETAINER'S HALL, NIJŌ CASTLE. 1957. This artist has specialized in architectural prints showing massive castles depicted in bold line and brilliant color. He has also done several huge prints composed of four segments, each an oversize print in itself. Signed. Condition fine. From Hashimoto. Woodblock print: 5 colors, overprinting. 39.8 X 55.3.
Onchi
Onchi Kōshirō (1891-1955) early received an aristocratic education but at seventeen entered the Tokyo Art School, where he proved a rebellious student. Dedicated to creative prints from his youth, Onchi made a living by his superlative book-designing. From his middle years he concentrated on the abstract designs that have proved his forte, and is today recognized as perhaps the first master of modern prints.
242. LONELINESS. 1951. Signed Onzi (an alternate spelling). Condition fine. From Onchi. In Nippon no yūshū, Vol 4. [Although it is correct to describe the three Onchis shown here as mint, the word has a peculiar significance when used in connection with this artist. A mint Onchi means that it came directly from the artist: dog-eared, rumpled, creased, spotted, and with coloring smeared and edges torn. Onchi kept his finished prints jammed into piles on the floor. Often he walked across one pile to reach another, jerking forth the print he wanted, slapping it smooth with a rough hand, and shoving it at the would-be customer.] Glass plate for background, cardboard for black line, piece of plywood, paper blocks: 8 colors, overprinting. 72 X 57.1.
243. CARICATURE No. 8. 1948. The artist stated that this print reflected the horrors of bombing during the war. Signed: Onzi. Condition fine. From Onchi. In Nippon no yūshū, Vol. 4. Woodblock print: 4 colors. 48.7 X 39.5.
244. POEM NUMBER NINETEEN: THE SEA. 1952. The finest Onchi in the collection and one of his greatest works. Signed: Onzi. Condition fine. From Statler, Onchi. Paper block, wax paper, crumpled cloth: 3 colors. 76.5 X 57.4.
Yamaguchi
Yamaguchi Gen (b. 1903) led a varied career before being drawn to print-making, in which he was influenced by Onchi.
245. DEEP ATTACHMENT. 1957. This subtle and perfect print has been described by Statler as "a design in which every element seems necessary and in exactly the right place." Signed. Condition fine. From Yōseidō, Yamaguchi. Woodblock print: 4 colors. 63.3 X 46.5.
Nakao
Nakao Yoshitaka (b. 1910) lives on the island of Shikoku and has experimented with unusual techniques of print-making.
246. FIGURE. 1957. Working largely by himself, Nakao perfected a system of print-making which produced striking, bold figures that looked as if they had been hewn from rock. He achieved this effect by building a wooden form the size of the print, pouring it with concrete, and inscribing the surface as it dried. Later he found that the same effect could be accomplished by using wood blocks properly, and this print was made from such blocks. Nakao is usually associated with Azechi in the minds of Japanese connoisseurs. Signed. Condition fine. From Yōseidō, Nakao. Woodblock print: 7 colors. 83.8 X 55.8.
Azechi
Azechi Umetarō (b. 1902) is a native of Shikoku, largely self-taught, who has managed to maintain a rough, rustic charm in his works through the years.
247. BIRD IN SAFE HANDS. 1957. This appealing artist is a mountaineer, an essayist, a book illustrator, and a gifted print-maker. He uses bold forms and bright colors and in recent years has achieved wide success with depictions of mountaineers against stark backgrounds. Signed. Condition fine. From Azechi. Woodblock print: 5 colors. 61.2 X 43.2.
Kinoshita
Kinoshita Tomio (b. 1923) is a new print-maker just beginning to succeed in the art world.
248. MASKS: DESIGN 4. 1957. This is one of a series of such prints issued with striking effect by a new artist hitherto unknown. It is one of the most successful of recent prints, but whether the artist can go on to work of increasing stature remains to be seen. Signed. Condition fine. From Yōseidō, Kinoshita. Woodblock print: 2 colors. 56.4 X 79.
Yoshida Hodaka (b. 1926) became a print artist more or less against his artist-father's wishes; much of his work is abstract.
249. ANCIENT PEOPLE. 1956. Any book on Japanese prints would be incomplete without work of the amazing Yoshida family. Father, mother, two sons, daughter-in-law, and grandsons have all issued prints of distinction. The father, Yoshida Hiroshi (1876-1950), had kept traditional print-making alive largely through his own tremendous effort. He traveled widely and some of his most popular works depicted foreign lands. Even today a blizzard of prints continues to fall from his old blocks and to find a ready market among tourists. His gifted sons have also traveled to many countries, and it is highly appropriate that the Yoshida print shown here should have sprung from Hodaka's travels in Mexico. Recently, in an international competition, a print that seemed to have been plagiarized from this very fine work won first prize and evoked a scandal. Signed. Condition fine. From Yoshida. Woodblock print: 2 colors. 51 X 68.
Yoshida Masaji
Yoshida Masaji (b. 1917), unrelated to the famous Yoshida family of print-makers, studied at the Tokyo Art School under Hiratsuka and has himself been most successful in teaching print-making to schoolchildren. He was greatly influenced by Onchi's abstractions, but has lately been developing unique styles and techniques of his own.
250. FOUNTAIN OF EARTH No. 1. 1956. This stark design is not only extremely effective in the large size in which it was issued, but it shows how the sumizuri-e of the early artists can be utilized in modern forms to produce fine prints. Signed. Condition fine. From Statler, Yoshida. In Statler, No. 85. Sumizuri-e. 57 X 83.
Uchima
Uchima Ansei (b. 1921) is an American of Japanese ancestry who was caught in Japan by the war. He has been active in organizing exhibitions of modern prints, as well as in developing a style of his own.
251. SONG OF THE SEASHORE. 1957. Of this print the artist has said: "It was originally commissioned as a decorative tokonoma piece for the new wing of the Toko-en Inn in Kaike, a hot-bath resort in Tottori Prefecture, by the architect of the inn, Shibaoka Isao. The Japanese-style room in which the first print now rests overlooks the waters of the Japan Sea. In the conception of the design I intended to incorporate something of the atmosphere of the seascape and I had in mind the misty view of the sea towards evening. I started by first laying out the darker grey blotches, painting directly on the board. The size and proportions of the print came about as a result of this first stage. After carving and printing this block I then proceeded to lay out the black forms on a second block. Superimposed printings of the two blocks produced the idea for the background grey and the white lines which took the shapes of ships in the sea. Addition of the light-blue block, which came next, was meant as an intermediate tone for the greys and black, and also to enhance the idea. Tones were then altered in the background gray, where an extra printing stage was required for the somewhat darker portion in the center, and in some of the black where the technique of 'dry brush' was employed to provide textural variety to the whole. The title was derived from the name of a popular Japanese song. Four shina-faced veneer blocks were used and torinoko paper. The pigment was sumi, forming greys and blacks, plus Prussian blue taken from watercolor tubes. I plan an edition of 100, of which 23 have so far been printed." Signed. Condition fine. From Uchima. Woodblock print: 3 colors plus handcoloring.
Shinagawa
Shinagawa Takumi (b. 1907) is a restless experimenter in new forms and styles, and his work includes mobiles and photography as well as prints.
252. HERE EVERYTHING WAS ALIVE. 1957. Signed. Condition fine. From Shinagawa. Wood blocks, wood impressions, cardboard forms, and crumpled paper: 8 colors, overprinting. 57.5 X 88.
Hatsuyama
Hatsuyama Shigeru (b. 1897) received his early training in a dyeing shop and has made a living by illustrating books for children in the same mood of fantasy that suffuses his best prints.
253. FLOWERS, BIRDS. 1952. This print is from the same series as the one shown so handsomely in color in Statler, Print 58. Signed. Condition fine. From Hatsuyama. Wood blocks (one progressively carved through various stages, another for circular forms): 4 colors, much overprinting. 53.4 X 65.
Hiratsuka
Hiratsuka Un'ichi (b. 1895) has been the great teacher and quiet leader of the modern print movement for many years. His own work goes back to the ancient Buddhist prints of Japan, the strong sumi-e of Sesshū, and the black-and-white work of such early ukiyo-e greats as Moronobu (Nos. 11 and 12).
254. HŌRYŪ-JI IN EARLY AUTUMN. 1942. This is probably Hiratsuka's masterwork, combining as it does old forms, old techniques, and strong modern approach. It is a print which grows in stature as one comes to know it. The collection has two versions and reproduces this one, even though the corners are torn, because of its historical associations. Signed & sealed. Condition fine. From Nail, Anderson, Hartnett, Hiratsuka, In Fujikake, p. 145. Sumizuri-e. 78 X 59.7.
Munakata
Munakata Shikō (b. 1903) goes back to the same simple, traditional techniques as Hiratsuka, but imbues them with a strange power and near-religious intensity. He first achieved some success as a painter in oils, but eventually determined that he could never fully express himself in that alien form.
255. UBARI. 1939. This print and the next come from Munakata's masterpiece, a twelve-print series entitled Ten Great Disciples of Buddha, the series being completed by the addition of two prominent Buddhist saints. Ubari, shown here, was a barber from the caste of farmers who became a disciple and compiled the first monastic rules. Signed & sealed. Condition fine. From Statler, Munakata. Like No. 256, the printing from the original blocks may have been done in 1955. Sumizuri-e. 115 X 42.5.
256. KASEN'EN. 1939. Since this disciple was distinguished for his grasp of the fundamental principles of law, it is not surprising that Munakata says: "He looks exactly like my father. I like this print because of that, but it always reminds me of a scolding he once gave me." For a complete study of this famous series see Statler's essay on Munakata in Vol. 12, Library of Japanese Art. Signed & sealed. Condition fine. From Statler, Munakata. Sumizuri-e. 115 X 42.5.