A COLLECTION OF Ma^aiuu €(ilonv f riitts, 1Rakem0nos, ^nnmonos, ©riginal Iratoings, lUuatraM looks, Albums ^ ^ketcte. ,01 moiii CATALOGUE OF A COLLECTION OF iJapamsi Cnbur prints, !Rak^m0nas, ^urimnnns, ©rigiual ©raluings, lUiistrat^tr SJccks, Albums $c M\tit\m, THE PROPERTY OF THE LATE ERNEST HART, ESQ. CATALOGUE OF A COLLECTION OF la|jan^B£ Colour ^prints, kakemonos, ^urim0tt0s, (!!)n0mal I9ratuittgs, HUustratcb THE I'KOPEKTY OF THE LATE ERNEST HART, Esq. INCLUDING THE WORKS OF KANAOKA, MATAHEI, SOSEN, OKIO, MASANOBU, MORO- NOBU, KIYONAGA, SHUNSHO, UTAMARO, TANYU, KORIN, RITSUO, TOYOKUNI, HIROSHIGE, HOKUSAI, HOKKEI, SHIGENOBU, YEIZAN, AND WATANABE SEITEI, AND OTHER REPRESENTATIVE ARTISTS. OSatti^uDing obtv a pi^rtott of (But ^Ijousantr ^taxs oi WHICH WILL BE SOLI) LY AUCTION, BY MESSRS. SOTHEBY, WILKINSON & HODGE, Auctioneers of literary ^^roperty \^* Mtorks illustratibe of tljc ^finc JVrts. AT THEIR HOUSE, No. 13, WELLINGTON STREET, STRAND, W.O. On THURSDAY, tlie 7th day of JULY, 1S9S, and followino' Day, AT ONE o'clock ri!i:CISELV. MAY BE VIEWED TWO- DAYS PRIOR. CATALOGUES MAY BE HAD. URYDF.N press: J. DAVY AND SONS, 137, LONG ACRE, I,OND(>N. CONDITIONS OF SALE. I. The higliest bidder to be the buyer ; and if any dispute arise°between bidders, the lot so disputed shall be immediately put up again, provided the auctioneer cannot decide the said dispute. II. No person to advance less than Is. ; above five pounds, 25. Qd., and so on in proportion. III. In the case of lots upon which there is a reserve, the auctioneer shall have the right to bid on behalf of the seller. IV. The purchasers to give in their names and places of abode, and to pay down 5s. in the pound, if required, in part payment of the purchase-money ; in default of which the lot or lots purchased to be immediately put up again and re-sold V. The sale of any lot is not to be set aside on account of any error in the enumeration of the numbers stated, or errors of description. VI. The lots to be taken away, at the buyer's expense, imme- diately after the conclusion of the sale ; in default of which Messrs. SOTHEBY, WILKINSON & HODGE will not hold themselves responsible if lost, stolen, damaged, or otherwise destroyed, but they will be left at the sole risk of the purchaser. If, at the expiration of Two Days after the conclusion of the sale, the lots are not cleared or paid for, they will then be catalogued for immediate sale, and the expense, the same as if re-sold, will be added to the amount at which they were bought. Messrs. SOTHEBY, WILKINSON & HODGE will have the option of re-selling the lots uncleared, either by public or private sale, without any notice being given to the defaulter. VII. Upon failure of complying with the above conditions, the money required and deposited in part of payment shall be forfeited, and if any loss is sustained in the re-selling of such lots as are not cleared or paid foi-, all charges on such re-sale shall he made good by the defaulters at this sale. Gentlemen, ivho cannot attend this sale, may have their Commhsions faithfully executed by their humble Servants, SOTHEBY, WILKINSON & HODGE, 13, Wellington Street, Strand, London. THE GETTY RESEARCH CATALOGUE OF A COLLECTION OF |n|amse Irints i' grirtoings THE PROPERTY OF THE LATE ERNEST HART, Esq. FIRST DAY'S SALE. JUustrati^tr ^oaks antr 1800k llhtstrations, IN BLACK AND WHITE. LOT MITCHINOBU. 1 Collection of Sketches, 2 vol. published 1736. Kano School MITSUNOBU & KOSAI. 2 Books of Etiquette. 2 vol. SADATAKI. 3 Twenty-eight Prints of Warriors TACHIBANA MORIKUNI. (1670-1748). " One of the mo4 important booh illiisfrafirr.^ nf flw rif/hfrrnfli century." — Anderson. 4 Sixty Illustrations, mounted, rare 5 Hundred Dcsiirns for Japanese Art Workers, mounted. See llluatraiiov " Morikum'^vyll conceived arid skUfidhj cxecided designs rendered d service to the cause of ' artizau. art'' it icould he difficult to estimate.^' — Anderson. Wu-Tao-tsz and the pictured Dragon, by Tachibana Morikuni. 6 Chinese and Japanese Legends, illustrated, 2 vol. signed Kosoken, published in 1716, a very rare hook OKUMURA MASANOBU. (Works 'published between 1690-1720). 7 Poems illustrated, signed Tanchosai, published about 1700 SEKIYEN. (Master of Utamaro). 8 Pictures of a Hundred Ghosts, 2 vol. pulilished 1776, very rare TAKATA KEIHO. (1674-1755). ^^ An original and tcdcnted artist." — Anderson. 9 Sketch Book, published 1789 OGATA KORIN. (1640-1716). 10 Collection of Sketches, 1 vol. published by Hoitsu 11 Another Collection, published by Hoitsu 12 A hundred Designs, 2 vol. published 1864 HOITSU. (1761-1828). 13 Collection of Sketches, 1 vol. 14 Ten Volumes of Stories, illustrated by Kiyonaga, Masanobu. Sankioku, Sancho, Toyokuni I, and Masayoshi, published 1803, a series very valuable to the collector NISHIGAWA SUKENOBU. (Early 18th century). " SuJcenobu won his rejmtafion by his clraivings of uwnen, attractive little personages ^vith every charm that graceful and varied action, gently undulating contours, and clinging folds of cunningly-devised drapery ivere able to confer. The woodcuts in his more noted albums are amongst the most pleasing pictures of his century." — Anderson. 15 Twenty Studies of Birds and Flowers ; ten Prints of Famous Person- ages ; and twelve Prints, various subjects 16 Twelve Prints of Women 17 Nine Prints illustrating Social Customs 18 Illustrations of Old Customs, 1 vol. published 1743 19 The same subject, 1 vol. 20 Illustrations of the Ancient Customs of Japanese Women, 3 vol. pub- lished 1755 21 Illustrations of Women's Conduct, 1 vol, published 1744 B 22 Illustrations of Social Life, twenty prints, figures large size, published 17 55, verij rare. See Illvdration Out of the Illustrations of Social Life, Jjij Sukenohn, 23 Another Set of twenty Prints 24 Historical Subjects, 3 vol. published 1745 25 26 27 28 HOKUSAI. (1740-1849). Twelve Prints, mounted Illustrations of the Chinese War, mounted, sixteen sheets Story of the Forty-seven Ronins, thirty-four ilkistrations Ilhistrations of a Thousand Characters, very delicate work, thirty-five prints 29 Several hundred Designs for Art "Workers 30 Album of Illustrations of the priest Nichiren 31 Album containing eighteen Prints, various subjects; and two Albums containing a large number of Sketches The AVar between Korea and Japan, illustrated, 4 vol. published 1830, very rare Dramatic Subjects, (jood impremons, published 1840 Illustrated Legends, 2 vol. fine impressions Illustrations of Chinese Poems, complete, fort^^-eight prints, mounted Portraits of Wavriois, fine impressions, published 1786 Illustrations of Chinese Poems, complete, twenty-eight prints, mounted The hundred Views of Fujiyama. See Illustration 32 33 34 35 36 37 38 irilMiaiMNatrfci«aM»»agas«Bg«l One of the Hundred Vievs of Fujiijamu, hij Hoi,- n ski 39 The Mangwa, 3 vol. old edition 40 VieAvs of the Tokaido, old edition 6 HOKKEI. (Pupil of Hokusai). 41 Twelve Prints, mmmted on cardboard 42 Portraits of Celebrated Poets GAKUTEI. (Pupil of Hokusai). 43 Portraits of the hundred and eighty Comic Poets, mounted TAITO. (Pupil of Hokusai). 44 Collection of Designs for Pipe-makers Portraits of the" Actor Ichikawa Hakmjen in three different characters. By Utagaiva Kanisada. 45 46 47 48 49 50 SHIGENOBU. (1781-1842). (Pupil and Son-in-la\A' of Hokusai). Portraits of the hundred and eight Chinese Heroes, published 1829, a rare book Illustrations of a Romance, fourteen prints UTAGAWA KUNISADA. (1787-1865). " One of the imncipal designers of book illustrations i/t the present century." — Anderson. Ten Prints of Dramatic Scenes, fine impressions. See Illustration Portraits of eighteen famous Actors Twenty outline Sketches KUNIYOSHI. Dramatic Illustrations, 1 vol. 51 ITSHI KINSAI. Pictures of Famous Men, published 1750 l-^L 52 /^/_53 /^^54 /0/vPO /t?._56 SONKEISEN. Twenty-four Prints of Birds and Flowers A similar lot A similar lot A similar lot SENSAI EITAKU. Album of Sketches, 2 vol. " There are no coloured engravings in the uwld that may be eom- 'pared uith those of Japan in the long period from the coming of Torii Kiyonaga to the passing of IJlagav-a I'oi/oJcuni: the eye is beguiled by a brush stroke of ineffable calligraphic beauty, and by a tender harmony of colour that cheers, hut never ivearies the senses. In most of the popular broadsides of this time an cdnwst feminine gentleness pervades the choice of motive and its treatment, and it is but rarely, as in some of the earlier icork of Toyohuni and his pupil Kuniyasu, that a stronger chord is struck. As schemes of dramatic decoration tliey are scarcely to be surpjassed and have rarely been equalled, and the time is not far distant ichen the sheets which brought to artist and engraver the jnttance of a mechanic, and were sold for a loio prrice in the streets of Yedo, Osaka and Kyoto, icill rank in tlie estimation of the collectm- ivith the masterpieces of the engraver's art." — Anderson. " The first colour print from a icood hlark was p-odvced in Japan in 1743."— FenoUosa. OKUMURA MASANOBU. (1680-1745). " Masanobu's forte does not lie in strength so much as in delicacy." — / Fenollosa. •^/57 "Music and Tea," coloured by hand, probable date 1720 X758 " In the Rice-fields," coloured Ijy hand, very rare print, probable date P 1720 2// 59 "Eagle on the branch of a Tree," coloured by hand, signed and sealed, / very rare print, probable date 1720 2 •?/ 60 " A Group of Three Women " / *^* A print of unusual size and in fine condition, probable date about 1745, shortly after the introduction of colour-printing, and the work of Masanobu near the end of his life. These early colour prints of Masanobu are very rare even in Japan. L '^ 61 "A Duet on the Samisen," of the same date and quality as the previous 62 " At Play," the same SUZUKI HARUNOBU. (His best work pmblished between 1763 and 1779). / " Noted for drawings of reigning beauties." — Anderson. ■y 63 Three Portraits, unsigned. ("In some of Harunobu's earliest work he / / disdained signature." — Fenollosa.) (a) Fortune-telling l»y the Flowers (b) A fair Lady (c) Ladies walking 9 64 Three Portraits (a) Nursing the babj' (b) Hair-dressing (c) Child and cat 65 Three Portraits (a) Walking in the country (b) Lady with a fan (c) Lady and child 66 Three small-sized Prints (a) Opening a letter (b) Girl with a Samisen (c) Girl and a Goto 67 Three small-sized Prints (a) Girl with a Samisen (b) The same subject (c) Girl with a fan IPPITSUSAI BUNCHO. (Principal works published between 1760-1780). ^^ The colour prints after Buncho's pictures are highly esteemed." — Anderson. 68 Two prints — (a) A Samurai Avith a fan ; (b) Portrait of a Lady TOEII KIYOMITSU. {His best work published heticeen 1750-1765). 69 Two Portraits — (a) An Actor, printed in dull blue and red, a fine example of early colour-printing ; (b) A Lady, printed in grey and S!Ay~-4hy-'-^ pink y_Z/ 70 Girls picnicing under the Cheny -blossoms ; printed with four blocks, a p'int of unusual size, and in eoxellent preservation for such early tvork "V 71 72 73 TOEII KIYONAGA. (1765-1790). " Kiyonaga's colour-prints, lohich are unfortunately scarce, nearly reached the limits of pierfection in their combined grace of draicing and purity of ^ones."- Anderson. Two Prints— (a) The New Year's Visitor; (b) The fair Smoker; both are delightful in colour and graceful in drawing "The Toilet," published about 1780, a very charming example of this master's work Actors and Orchestra 10 ■^^ 78 82 T/l 87 TUlill KIYOMINE. " The Torii line dosed near the end of the century with Kiyomine." — Anderson. Three Portraits of Ladies, in circles Three others Diptych — Girls at play in a garden, a brilliant example of colour-printing at the end of the last century Triptych — Girls feeding the swans MIYAGAWA CHOKL (1 8th century). Two Girls Conversing, heads large size on silver background, a very interesting print KORIUSAI. (Pupil of Harunobu). {Best work beticeen 1770-1781). " Koriiisai is a colourist of the very first order." — Anderson. Two Kakeniono-y6 — (a) Yebishu with his fish ; (b) Diakoku producing the vision of the Marriage Festival of the Mice in the smoke of his pipe Kakemono-ye — Three figures Kakemono-ye— Wrestler lifting a Girl by the finger Kakemono-ye — Two figures, one of which is a Lady playing the Goto, a brilliant example of Koriusai's work, in fine state Belles of the Yoshiwara, a very fine print, a rich effect is obtained by embossing with an un-inked block, published about 1780 Kakemono-ye — A noble youth with a falcon SHIGEMASA. (1739-1809). ^^ Shigemasa's prints lire extreinely rare look, dignified, carefully thought out, sentiment." — Anderson. Kakemono-y6 — A Warrior on horseback fording a river Diakoku, the God of Good Fortune KITAO MASAYOSHL (1788-1800). " He is especially noted for rapid sketches in which the characteristics of the objects depicted ivere suggested tvith reinarkahlc skill by a few aptparently careless strokes of the pencil and a hasty wash of colour." — Anderson. Two Kakemono-yt' — both representing Shoki, the demon destroyer. The f^ul)ject is treated with great force and originality. His u-ijik has a special cool ill coldiir, and choice in 11 KATSUGAWA SHUNSHO. {His best work imblished hetivem 1770-1790). "From about 1770 arose a new line, that of the Katsugawas It^ foiinder, Katsugatva Shunsho, deserves to be ranked with Tor'ii Kiyonaqa amongst the leaders of the pop^dar school... . His pictorial mirror of fair women is perhaps the most beautifod album of colour-prints that Japan has ever produced." — Anderson. f88 Two Prints of actors ro -89 Two Prints of warriors- (a) On a black horse, a very fine composition ; (b) The strong man Portrait of a tall graceful Lady, in shades of chrome, buflf and black Portrait of a Lady, in black and rose Portrait of a Lady, sitting and drinking tea, a harmony of pale greens, reds and white, a venj beautiful print Portrait of a Lady, in pale browns and green Portrait of a Lady, with a fan, in a damask kimono of buff, grey and pink, a fine example of the master's work Portrait of a Lady, by the sea-shore, carrying a basket of sea-weed on her head, a very harmonious composition 96 Eight Prints, illustrating the lives of noble ladies, work of great delicacy, minuteness of detail and richness of colour, coloured by hand 97 Portraits of the Hundred famous Poets of Japan '' Shunsho' s collection of portraits of the hundred poets of Japan is one of the treasures of the collector."— Anderson. ' SHUNKO. (Pupil of Shunsho). (His best work published between 1780-1800). " Good .'specimens of Shunko's loork are rctre."~E. F. Strange. Two Portraits of Actors ; harmonious compositions in tones of yellow Two Portraits-(a) Actor with sunshade, in black, pink and grey; (b) Lady, in same colours, fine condition 100 Diptych— Actor and Actress dancing, in warm greys and pinks ; note the elaborate diapers of the draperies. 101 Portrait of a Lady, in buffs and yellows, with draperies blown by the wind 102 Portrait of a Lady, a study of greys and orange 1P3 Portrait of a Lady, in warm tones of grey and rose, a beautiful print, in ' fine condition KATSUGAWA SHUN YET. (Pupil of Shunsho). Ur.A m T. (1761-1819). '104 Two Portraits of Actors 105 Tall graceful Lady, in a pale green kimono with yellow sash, and bars of black behind b3 98 99 12 TTT -nf .^A K m y.. i y ■i^ ^^\ 1 / In ■/■ ■■^ 1^'^ m^ s^ Kakemono-ye by SJmncho. 13 109 l^i 7/1 123 /'1 25 KATSUGAWA SHUNCHO. (1800-1820). " Shuncho's prints of holiday scenes are amongst the most delicate and pleasing of the broadsides of the end of the last century." — Anderson. A Lady and her attendants under a fir tree, a very delicate and grace- ful composition The Tea party, beautiful drawing and colour Kakemone-y6 — Three figures in black and white, tare. See Ilhstration. KATSUGAWA SHUNTEI. (Pupil of Shunyei). (1800-1820). Triptych — Ladies and the Demons KATSUGAWA SHUNSEN. (Pupil of Shunyei). (1800-1818). Two Prints — (a) A noted Beauty ; (b) A Lady and child Two Prints — (a) Girls in a boat in the snow ; (b) Portrait of a Lady Portraits of three Belles of the Yoshiwara, fine examples of Shunsen's work Eleven Prints, representing dramatic scenes Five Prints, representing scenes of country life Two large and long Prints of Ladies, in sumptuous draperies Two others HOKUSAI. (1760-1849). Six Prints, illustrating the story of the Forty-seven Renins Two Prints of the bridges of Japan Two others Two Views of Fujiyama, printed in blue and white Two Views of Fujiyama, printed in blue and green Two Views of the Peerless Mountain, from the Tokiado, very fine impressions Two Views of Fujiyama View of Kodzuki in the snow, framed, fine impiression Birds and Cherry-blossom, fine and rare imp-ession Birds and Wisteria blooms, fine ctnd rare imp-ession Two Views of Fujiyama One other, fine impression Portrait of a Poetess b4 14 V ylA'^^ Three Views, part of a series of 36, being the last published work by / Hokusai and never finished ; the original drawings by Hokusai, in this collection, were prepared for this series shortly before the master's death Lady with girl and attendant making tea. By Utamaro. 15 ^ GOGAKU. I (Pupil of Hokusai). ^ /f 1^31 Two Prints— (a) Inside a Tea-house ; (b) A Pleasure-boat under a bridge HOKUGA. / (Pupil of Hokusai). O - 132 Triptych, representing the struggle of Tametomo and his retainer with \ a jiython which is fighting a wolf, a tcry rare and remarkable imnt KITAGAWA UTAMARO. I (1754-1806). [lf»(.''l33 Kakemono-ye — Portraits of two Ladies, very delicate colour Two Kakemono-ye — Two figures, a man and woman in each Two Nishiki-ye — (a) Lady in a black Kimono reading a letter; (b) Ladies with a puppet Two others — Portraits of Belles of the Yoshiwara, fine imjn'essions Two others — (a) Lady walking under the Cherry-blossoms; (b) Lady with attendants Diptych — Procession in the Yoshiwara Large Heads. Portrait of a celebrated Beauty Woman and child Woman, child and parrot Portraits of two Ladies Another Portrait of a Lady, printed in blue -^ ^^j 145 A Lady with girl and attendant making tea, in black and ivhiie, very rare. See Illustration. A visitor behind the screen, a very beautiful print, framed Triptych — A noble Lady with attendants, giving succour to a sick woman, a very fine print 148 Triptych — Three Lady Musicians, a masterpiece of harmonious colour- ./ J printing TSUKIMAEO. (Pupil of Utamaro). 149 Diptych — A Bride and her Attendants, a very beautiful composition SHIKIMARO. (Pupil of Utamaro). 150 Three brilliant Prints of Ladies, in gorgeous damask attire 151 Three others 152 Three others 153 Three others 154 Three others 16 155 1(iakm0nns or Hanging |)utnrts. KANAOKA. (850-860). ^' All that remains to represent the genius of Kanaoka are a few Buddhist 'paintings, hut some of these evidence a power of design and colouring sufficient to dispel any snsp)icion that might be aroused hij the hyjjerboles of his contemiwr arias." — Anderson. These kahcmonos have heen preserved with great and secret care for a tlutusaiid years among the archives and treasures of temples and noble fdinilies. Professor Fenellora considers there are about fifteen jMintings by Kanaoka in exisieuce. The present example of Kanaoka's art represents Buddha sitting on a red lotus Hower, supported by a golden vase of elaborate design, which is again supported on a red lotus ; the figure has G arms, 2 are raised, 1 holds a sceptre, another a bow, a fifth , and the sixth . Delicate tracery in gold and fine substantial colour remain to testify to the work of a great master, but the painting, which is on silk, evidences also its great age. The picture has been remounted. 17 TAKUMA. (12 fh ceiduri/). 156 Buddha standing on a lotus flower, painted on silk *** The figure has 8 hands, in 6 of which are borne the symbolic ball arrow and wheel of life, and 2 hands are folded in attitude of prayer' ihe draperies are exquisitely and elaborately worked in gold diapers on colour An extremely interesting example of the religious art of Japan 700 years ago. GETTEN. {I5th cenfwy). 157 Buddha standing on a pedestal, painted on paper, one of a temple set of five ; the colour of the draperies and the gold diapers have been well preserved; the right hand is raised, and left bears a globe containing the figure of a rabbit. SESSHU. (1421-1507). " An miginal and powerful artist His materials ivere few. He usually painted upon Chinese paper tvith a moderately large brush, and his drawings were either in monochrome or strongly outlined in ink, ivith a few light tcashes of local colour. His touch teas ivonderfully firm, expressive and facile." — Anderson. 158 Hotel and a boy in a boat, in sepia OGURI SOTAN. (15//t century). 159 Peony and bird, painted on paper, sealed SHUSEI. {Ibth century). 160 Fudo, the God of War. with his two rt-tainers, signed KANO MASANOBU. {Founder of the Kano School). (1424-1520). 161 Eagle on a rock, in monochrome, painted on paper, a very vigorous drawing, sealed KANO MOTONOBU. (1477-1559). " His paintings icere dashed in uith extraordinary facility and with a calligraphic force which has never been surpassed."— Anderson. 162 Squirrel on the branches of an oak tree, in sepia, sealed 18 YAMADA DOAN. (16//^ century). 163 Shoki, sealed IWASA MATAHEI. (The founder of the Ukiyoye Sclwol). {Early 1 7//i century). Professor Anderson says in his Catalogue of Japanese and Chinese paintings in the British Museum " Matahei's mamttr of drawing and colouring resembled that of the Tom Line, hut other existing uwks (ittrihuled to his brush, one of irhich is in the Ernest Hart Collection, tend to suppiort the statement made by native icriters, that the Ukiyo revival of the latter part of the seventeenth century was in direct imitation of the examjyle of Matahei." 164 The Portrait of Ono No Koniachi, the most famous poetess of Japan, exquisitely painted with the finest execution in colours and gold TOSA MITSUOKI. (\7th century). '' Mitsuoli iciis distinguished by the elaborate delicacy of his drawing and colouring." — Anderson. 165 (^)uails on silk, signed and sealed MIYAGAWA CHOSHUN. (nth century). 166 Figure of a Lady richly robed, signed and sealed *^* An exact replica of this kakemono in colour is given in Audsley's " Arts of Japan," and is thus described : " The painting is executed on paper of a cold huff tint, almost entirely in body colours, very evenly applied. The colour generally is rich and refined, combining force and harmonious repose ivith singular sUll. The figure is thoivughly tvell drawn from a Japanese art stand-point, and is expressive of meditation tchich accords well with an attitude so fall of elegance and tranii-(>p''."—'E(\. F. Strange. 333 Kakemono-ye — Lady and companions YEIRL (Pupil of Yeishi.) 334 Two Kakemono-y^ — A Lady and her lover ; Two Ladies on a balcony, published about 1800 KIKUGAWA YEIZAN. (Pupil of Yeishi). {Prints imhlished bettueen 1800-1820). " His composition is alimys good, its lines jlmving mth boldness, grace, and sometimes originality." — Ed. F. Strange. 335 Triptych — Girls playing the hand game 336 Three Diptychs — A bridal procession ; Girls at play ; Two Ladies with attendants in a garden 337 Two Kakemono-ye — Two heads in each 338 Triptych — Girls by the seashore 339 Three Prints — Portraits of Ladies, mounted on cards in Japan 340 Two Prints, mounted on cards in Japan — A group of three girls, and A Lady in green 341 Three Prints— Meditating a letter; Mother and child, and Admiring herself 342 Three Prints — Portraits of Ladies 343 Three Prints — Portraits of famous Beauties 344 Three others 345 Three others 346 Three Prints — A Yoshiwara Belle ; The Sisters, and Mother and child 347 Three Prints — Portraits of Ladies 348 Three others — A fair musician and her admirer ; A Lady with a letter ; The Geisha 349 One Print, framed — Ladies painting, a l)ril]iant impression 37 UTAGAWA TOYOKUNI. (1772-1828.) " His later prints are more highly pitched in tone than the earlier specimens, hut are exceedingly effective and harmonious. He is said to have intro- duced the use of purple into colour printing." — Anderson. 350 Two Prints — Portraits of Actors 351 Two Prints, early work, mounted in Japan — Actors with attendants 352 Three early prints — Processional subjects 353 Two Prints — Group of Girls ; Group of Actors, very harmonious colouring, and charming composition 354 Two Prints, each containing two portraits of Actors 355 One Print — Four Ladies lighting candles for a festival, a beautiful example of the master's work 356 Triptych — Girls fishing in the Tama river, a very beautiful and rare print KUNISADA OR TOYOKUNI II. (Pupil of Toyokuni, he adopted the name and signature of his Master after 1849). (1787-1865). 357 Two Kakemouo-ye, large size — Portraits of Ladies 358 Two Triptychs, representing festivals at night under the cherry blossoms 359 Two Diptychs, each representing three female figures 360 Three Diptychs — Scenes of Japanese life 361 Three Diptychs — Scenes of Japanese Life 362 Six Prints — Portraits of celebrated Beauties 363 Six others 364 Six others 365 Six others 366 Six others 367 Six others 368 Six others 369 Six others 370 Six Prints — Scenes of Japanese Life 371 Six others 372 Kakemono-ye — Figure of a woman in long draperies, ^ne impression 373 Two Prints — Lady with a tea i)ot; Lady with a cup, ^we impressions, date 1840 374 Triptych — A Bridal Procession, beautiful and harmonious colouring, in the artist's best style 375 Two Triptychs, representing famous, actors in gardens by the river 376 Three Triptychs — Scenes in the Yoshiwara 377 Three Triptychs — Each containing three figures of noted Geishas 38 KUNIYOSHI. (1800-1861.) (Pupil of Toyokuni). 378 Two Triptyclis — Games in the garden at night ; A visitor 379 Five small long Prints — Female subjects, fine examples of later colour printing SADAKAGE. (1840-1860.) 380 Three Prints — Portraits of Ladies, fine impressions UTAMARO 11. (Also called Shuncho. He married Utamaro's Avidow and continued to issue new prints with the dead artist's signature.) 381 Triptych — The Procession of a Bridegroom, signed Utamaro 382 Triptych — The Dra^jer's Shop, signed Utamaro SHIGENOBU. (Pupil of Hiroshige.) 383 Two Prints— Portraits of Ladies SHIGENOBU. (Pupil of Hokusai.) 384 Two Prints — Portraits of two famous dancers KEISAI YEISEN. (Prints imhlished between 1825-1845.) (Chief pupil of Yeizan). 385 Three Kakemono-y^', large size — Portraits of Ladies 386 Six Prints — Portraits of famous beauties 387 Six others 388 Six others 389 Six others 390 Six others 391 One Print — Large head, y?'ne and rare jjrint 392 Two Prints — Of birds, in blue and white, rare HmOSHIGE AND TOYOKUNI II. 393 Triptych— Garden in the snow, with figures KENYA YOSHIKIRA. 394 Twelve Prints of flowers, early and impressionist work SUGAKU. 395 Twelve Prints— Flowers and birds, published 1804 396 Twelve others 39 Mook^ on Mapantst ^rt. 397 The Pictorial Arts of Japan, by William Anderson, F.R.C.S., 4 vols., folio, artist's proof, signed. Only 100 proof copies were published of this sumptuous work of which this is No. 43. 398 The Ornamental Arts of Japan, by George Ashdown Audsley, F.R.I.B.A., 4 vols., folio 399 Notes on Shippo, by James I. Bowes ; The Masters of Ukioye, by Ernest Francisco Fenollosa ; L'Art Chinois, by M. Paleologue 400 Collection des Goncourt; Japanese Wood Engraving, by Wm. Ander- son, F.R.C.S. ; Lectures on Japanese Art Work, by Ernest Hart ^4 Lobster by Zeshin. DRYDEN PRESS : J. DAVY AND SONS, I37, LONG ACRE, LONDON. 7 Q^5^V^ / /^ i^A JjU'^' // 'y <. r K / :MVW)\ / /A' ^/> / r77 <-^ y^77Tes' ra7/ > '. '^^JCjtu>^^'- ( ^u '^■'^Jl..^-^ ^ ^-^ l^'^r^^'J' / '7 /^. ^trrre^ i/j^ i\e^\,^u>^ 'fry /(^^ — -^W HfM^C-d^ / ^^ '^ '-\5ASCe--p (>t^' M-'^v^ d-'/ ^Z- /^' .^ ^i*»< :^^^ey^^^r' e^ii^-c^-t^ ,^ t^G^ y%,zZ y^7^ , ^^^ / c?' •C*'!^-' 0. % 9o.rs... ^ rU /4V/,.^, Ca!:t^c:^ Ol,<-^<^ >