PART 1. 
 
 COLLECTION OF THE LATE FREDERIC MAY 
 
 RARE AND VALUABLE 
 
 JAPANESE COLOR PRINTS 
 
 TO BE SOLD BY DIRECTION OF THE EXECUTOR 
 
 AT THE AMERICAN ART GALLERIES 
 
 MADISON SQUARE SOUTH 
 NEW YORK 
 

ON FREE PUBLIC VIEW 
 
 9 A.M. UNTIL 6 P.M. 
 
 AT THE AMERICAN ART GALLERIES 
 
 MADISON SQUARE SOUTH, NEW YORK 
 
 FROM THURSDAY, MAY 2nd, 1918 
 
 UNTIL THE DATE OF SALE, INCLUSIVE 
 
 A VERY IMPORTANT COLLECTION 
 
 OF 
 
 RARE AND VALUABLE 
 
 JAPANESE COLOR PRINTS 
 
 TO BE SOLD AT UNRESTRICTED PUBLIC SALE 
 
 BY DIRECTION OF EXECUTOR 
 
 ON THE EVENINGS OF 
 
 MAY 6th, 7th, 8th, 9th AND 10th 
 
 AT THE AMERICAN ART GALLERIES 
 
 MADISON SQUARE SOUTH 
 BEGINNING EACH EVENING AT 8.15 O’CLOCK 
 
Digitized by the Internet Archive 
 in 2020 with funding from 
 Getty Research Institute 
 
 https://archive.org/details/rarevaluablejapaOOamer 
 
PART I. JAPANESE COLOR PRINTS 
 
 ILLUSTRATED CATALOGUE 
 
 OF 
 
 A VERY IMPORTANT COLLECTION 
 
 OF 
 
 RARE AND VALUABLE 
 
 JAPANESE COLOR PRINTS 
 
 FORMED BY THE WIDELY KNOWN CONNOISSEUR 
 
 THE LATE 
 
 FREDERIC MAY 
 
 OF WASHINGTON, D. C. 
 
 TO BE SOLD AT UNRESTRICTED PUBLIC SALE 
 
 BY DIRECTION OF EUGENE GOFF, Esq., EXECUTOR 
 
 AT THE AMERICAN ART GALLERIES 
 
 ON THE EVENINGS HEREIN STATED 
 
 CATALOGUE BY MR. FREDERICK W. GOOKIN 
 
 l 
 
 A 
 
 <A 
 
 € C l 
 
 THE SALE WILL BE CONDUCTED BY 
 
 MR. THOMAS E. KIRBY 
 
 AND HIS ASSISTANT, MR. O. BERNET, OF THE 
 
 AMERICAN ART ASSOCIATION, MANAGERS 
 
 NEW YORK 
 1918 
 
 WILSVIOT R. EVANS, Jr. 
 
 35 CONGRESS STREET, 
 BOSTON 
 
THE AMERICAN ART ASSOCIATION 
 DESIGNS ITS CATALOGUES AND DIRECTS 
 ALL DETAILS OF ILLUSTRATION 
 TEXT AND TYPOGRAPHY 
 
 *'iwjp /»rTTV nrernuMi 
 
FOREWORD 
 
 Frederic May was a lover of beautiful things; yet only a few of 
 his close friends were aware of the extent and quality of the treasures 
 that he had gathered. These treasures were his constant solace and 
 delight. He lived with them in an intimate daily association and it was 
 his wish that after he had done with them, they should pass into the 
 hands of other collectors who might derive like joy from their pos¬ 
 session. 
 
 Mr. May was particularly fond of his Japanese prints, and 
 he succeeded in getting together a very fine lot of them. Although he 
 entered the field rather late to secure some of the greatest rarities, 
 and in filling sets had sometimes to be content with impressions which 
 he hoped to replace, most of his purchases, especially the later ones, 
 were made with excellent judgment. Taken as a whole, his print 
 collection is distinguished by an average high quality. The collection 
 includes notable prints by all the leading Ukiyoe artists, save Sharaku. 
 The prints by the so-called “primitive”’ artists are not many in num¬ 
 ber, but are very choice. Among them are two fine examples of the 
 work of Kondo Ivivoharu, and a distinguished pillar print by Kiyo- 
 mitsu, “Girl Catching Fireflies.” There is an especially fine group 
 of prints by Harunobu, among which the “Football Player,” a pillar 
 print, “A Breezy Day by the Sea” and “The Marriage Ceremonies” 
 set call for particular mention. Koryusai, Shigemasa, Kivonaga, 
 iShuncho, Shunsho, Shunko, Shunyei, Toyokuni, Toyohiro, Utamaro, 
 Hokusai, Hiroshige, Iveisai Eisen and others are all represented by 
 notable works. It is not possible in this brief foreword to specify all 
 of the finer prints, but attention should be drawn to two important 
 triptychs by Kivonaga which are in the class known to collectors as 
 “prizes”; to Kitao Masanobu’s “Celebrated Women of the Green¬ 
 houses and Poems written by Them”—seven superb double-page prints 
 in a folding album; to an unusual number of triptychs by Hiroshige; 
 to the fine impression of Hiroshige’s “Bow-shaped Moon”; to the choice 
 
lot of “Flower and Bird” subjects bv that master; and to the very 
 beautiful and extremely rare “Chi-e no Ume” series of prints by 
 Hokusai. 
 
 Mr. May gathered also a number of Japanese illustrated books. 
 Among these is a group (Lots 1252-3-4-5) by Utamaro, which can¬ 
 not be passed by without special mention, since these books added 
 greatly to Utamaro’s fame and the prints that the 3 r contain take 
 rank with bis most exquisite works. 
 
 Frederick W. Gookix. 
 
CONDITIONS OF SALE 
 
 1. Any bid which i.s merely a nominal or fractional advance may 
 be rejected by the auctioneer, if, in his judgment, such bid would be 
 likely to affect the sale injuriously. 
 
 2. The highest bidder shall be the buyer, and if any dispute arise 
 between two or more bidders, the auctioneer shall either decide the same 
 or put up for re-sale the lot so in dispute. 
 
 3. Payment shall be made of all or such part of the purchase 
 money as may be required, and the names and addresses of the pur¬ 
 chasers shall be given immediately on the sale of every lot, in default 
 of which the lot so purchased shall be immediately put up again and 
 re-sold. 
 
 Payment of that part of the purchase money not made at the 
 time of sale shall be made within ten days thereafter, in default of 
 which the undersigned may either continue to hold the lots at the 
 risk of the purchaser and take such action as may be necessary for 
 the enforcement of the sale, or may at public or private sale, and 
 without other than this notice, re-sell the lots for the benefit of such 
 purchaser, and the deficiency (if any) arising from such re-sale shall 
 be a charge against such purchaser. 
 
 4. Delivery of any purchase will be made only upon payment 
 of the total amount due for all purchases at the sale. 
 
 Deliveries will be made on sales days between the hours of 9 
 A. M. and 1 P. M., and on other days—except holidays—between the 
 hours of 9 A. M. and 5 P. M. 
 
 Delivery of any purchase will be made only at the American Art 
 Galleries, or other place of sale, as the case may be, and only on pre¬ 
 senting the bill of purchase. 
 
 Delivery may be made, at the discretion of the Association, of 
 any purchase during the session of the sale at which it was sold. 
 
 5. Shipping, boxing or wrapping of purchases is a business in 
 which the Association is in no wise engaged, and will not be performed 
 
bj the Association for purchasers. The Association will, however, 
 afford to purchasers every facility for employing at current and 
 reasonable rates carriers and packers; doing so, however, without any 
 assumption of responsibility on its part for the acts and charges of 
 the parties engaged for such service. 
 
 6. Storage of any purchase shall be at the sole risk of the pur¬ 
 chaser. Title passes upon the fall of the auctioneer’s hammer, and 
 thereafter, while the Association will exercise due caution in caring 
 for and delivering such purchase, it will not hold itself responsible if 
 such purchase be lost, stolen, damaged or destro 3 r ed. 
 
 Storage charges will be made upon all purchases not removed 
 within ten days from the date of the sale thereof. 
 
 7. Guarantee is not made either by the owner or the Association 
 of the correctness of the description, genuineness or authenticity of any 
 lot, and no sale will be set aside on account of any incorrectness, 
 error of cataloguing, or any imperfection not noted. Every lot is 
 on public exhibition one or more days prior to its sale, after which 
 it is sold “as is” and without recourse. 
 
 The Association exercises great care to catalogue every lot cor¬ 
 rectly, and will give consideration to the opinion of any trustworthy 
 expert to the effect that any lot has been incorrectly catalogued, and, 
 in its judgment, may either sell the lot as catalogued or make mention 
 of the opinion of such expert, who thereby would become responsible 
 for such damage as might result were his opinion without proper 
 foundation. 
 
 AMERICAN ART ASSOCIATION, 
 
 American Art Galleries, 
 Madison Square South, 
 
 New York City. 
 
CATALOGUE 
 
FORMATS 
 
 Japanese words for which there are no English equivalents fur¬ 
 nish the most convenient way of designating the size of the prints. 
 
 Hashira-e (pillar print). Vertical format; height, about 27 inches; 
 width, from 4 to 5 inches. 
 
 Wide Hashira-e. Vertical format: Height, about 28 inches; width, 
 about 9 inches. 
 
 Ivakemono-e. Vertical format: Height, 22 to 27 inches; width, about 
 12 inches. 
 
 Makimono-e. Horizontal format: Height, about 12 inches; length, 
 about 27 inches. 
 
 Oban. Vertical format: Height, about 15 inches; width, about 10 
 inches. 
 
 Yoko-e. Horizontal format: Height, about 10 inches; width, about 
 15 inches. 
 
 Chuban. Vertical format: Height, about 11 inches; width, about 
 8 inches. 
 
 Koban. Vertical format: Smaller than Chuban. 
 
 H oso-e. Vertical format: Height, about 12 inches; width, about 
 0 inches. 
 
 SIGNATURES 
 
 Ga. This term, the equivalent of vegaku, signifies “drawn by.” 
 Hitsu. Brush. The alternative pronunciation “fude” is not used for 
 Ukiyo-e works. 
 
THE AMERICAN ART ASSOCIATION 
 
 MANAGERS 
 
 SALE AT THE AMERICAN ART GALLERIES 
 THE LATE FREDERIC MAY COLLECTION 
 
 Afternoons of May 6 to 9 and 
 Evenings of May 6 to 10, 1918 
 
 To save time and to prevent mistakes each Purchaser 
 will oblige the Managers by filling in this slip and hand¬ 
 ing it to the Record Clerk or Sales Attendant on making 
 the first purchase. 
 
 Purchaser's Name _ _ 
 
 Address in Full 
 
 Amount of Deposit 
 
FIRST EVENING SESSION 
 
 MONDAY, MAY 6, 1918 
 
 AT THE AMERICAN ART GALLERIES 
 
 BEGINNING AT 8.1.5 (/CLOCK 
 
 MORONOBU 
 
 (B. 1625, d. 1694) 
 
 1. STREET SCENE IN THE YOSHIWARA 
 
 In the Tenna Period, immediately preceding the Genroku. 
 Guests in the tea-houses are seen dimly through the cur¬ 
 tains of bamboo strips; many people are passing along 
 the street in front. 
 
 Yoko-e. Ink print from a folding album. Not signed. These 
 albums -were signed only at the end. About 1685. 
 
 A good example of Moronobu’s style in compositions of this 
 period. 
 
First Evening 
 
 TORII KIYONOBU I 
 
 (B. 1664, d. 1729) 
 
 2. SCENE FROM THE DRAMA “ONNA KUDO YOSO=OI SOQA” 
 
 Performer at the Nakamura theatre, Edo, first month 
 Hoei 2 (January 25 to February 23, 1705, of our calen¬ 
 dar). The first Nakamura Shichisaburo, one of the most 
 famous actors of the Genroku period, in the role of Soga 
 no Jur5: Matsumoto Tanizb as Oiso no Tora. 
 
 Hosoe. Sumi-e, slightly colored by hand. Xot signed. 1705. 
 
 I * 
 
 3. SCENE FROM A DRAMA 
 
 The first Bando Hikosaburo as the famous archer Tawara 
 Toda, seated near a house by the sea, and turning to look 
 up at a woman impersonated by Tsugawa Ivamon who 
 stands behind him. 
 
 Hosoe. Urushi-e. Signature and publishers mark were prob¬ 
 ably at the foot, but have been trimmed off. About 1725. 
 
 sr° 
 
 V > 
 
 4. SCENE FROM A DRAMA 
 
 The second Ichikawa Danjuro as Soga no Gor5; the 
 second Nakajima Kanzaemon as (?) Fuwa Banzaemon. 
 Hosoe. Urushi-e. Signed: Torii Kiyonobu hitsu. Publisher: 
 Okumura. About 1726. 
 
TORII KIYOMASU 
 
 (B. 1702 (?), d. 1763) 
 
 First Evening 
 
 5. AN ACTOR OF THE ICHIMURA LINE 
 
 As an oharami leading a carabao laden with bundles of 
 firewood. 
 
 Hosoe. Uruslii-e. Signed: Torii Kiyomasu hitsu. 
 
 6. SCENE FROM THE DRAMA “HOBASHIRA TAIHEIKI” 
 
 as performed at the Ichimura theatre, Edo, first month 
 Gembun 1, i. e. February 1736: Ichikawa Ebizo (the sec¬ 
 ond Danjuro) as Shinazuka Goro; the first Otani Hiroji 
 as Nagasaki Kageyuzaemon. 
 
 Hosoe. Urush-e. Signed: Torii Kiyomasu hitsu. Publisher: 
 Tsuru-ya. 1736. 
 
 7. ICHIMURA KAMEZO AS ISE NO SABURO 
 
 The name of the drama has not been learned. 
 
 Hosoe. Bcni-e. Signed: Torii Kiyomasu hitsu. Publisher: 
 Iga-ya. About 1748. 
 
First Evening 
 
 8. SCENE FROM A DRAMA 
 
 Ichimura Kamezo as Hirano-ja Tokubei: Arashi Tomi- 
 nosuke as Tenma-ya Ohatsu. 
 
 Hosoe. Beni-e. Signed: Torii Kiyomasu hitsu. Publisher: 
 Iga-ya. About 1748. 
 
 Fine impression, but colors much faded. 
 
 9 
 
 12 
 
 9. SCENE FROM THE DRAMA 
 
 “HATSU=TORA KURAMA GENJI” 
 
 Ichimura theatre, Edo, first month Kwan-en 2, i. e. Febru¬ 
 ary 1749. Onoe Ivikugoro as Goyd-no-mae, wife of Suzuki; 
 the first Sanogawa Ichimatsu as Ushiwaka. 
 
 Hosoe. Beni-e. Signed: Torii Kiyomasu hitsu. Publisher: 
 Maru-ya. 1749. 
 
 10. SCENE FROM A DRAMA 
 
 Ichikawa Ebizd (the second Danjuro) as Ivajiwara Kage- 
 toki: the second Nakamura Denkuro as Mongaku. 
 
 Hosoe. Beni-e. Signed: Torii Kiyomasu hitsu. Publisher: 
 Maru-ya. A bout 1751 ( ? ) 
 
First Evening 
 
 OKUMURA MASANOBU 
 
 (B. about 1685, d. 1768) 
 
 11. THE FASCINATION OF BEAUTY 
 
 A cooper engaged in repairing a cistern on the roof of 
 a house is so overcome by the charm of a woman washing 
 clothes in the yard of the adjoining house that lie has lost 
 his balance and is falling down and over a wall to land 
 by her side. Picture No. 5 from an orihon (folding al¬ 
 bum). 
 
 Yoko-e. Ink print , colored by hand. About 1705. 
 
 I?i very good condition. 
 
 12. SANJO KANTARO AS OSOME; 
 
 ICHIKAWA KANNOSUKE AS HISAMATSU 
 
 This print is a re-engraving of one by Masanobu repre¬ 
 senting the first Segawa Kikunojo as Osome and Sode- 
 saki Kikutaro as Hisamatsu (Buckingham Collection). The 
 only differences aside from the coloring, which in both 
 was done by hand, is that the faces of the actors have 
 been redrawn and the mon of the later men substituted for 
 those appearing in the earlier print which was probably 
 issued not long after Kikunojo came to Edo in 1730. This 
 print is perhaps a year or two later. Whether Masanobu 
 had anything to do with this one is an interesting ques¬ 
 tion. 
 
 Hosoe. Urushi-e. Xot signed. 
 
 ( Illustrated) 
 
 13. FUQA ONNA SHUTENDOJI 
 
 “A Female Shutendoji.” A parody of the legend of the 
 “Great Drunkard Boy” or demon robber who lived in a 
 fortified dwelling in Oevama and terrorized the surround- 
 ing country until Yorimitsu, otherwise known as Raiko, 
 and his retainers visited him in his stronghold and put 
 him to death. Here they are shown seated in the house 
 of the demon, who is depicted as a woman with women 
 attendants. 
 
 Yoko-e. Hand-colored perspective picture. Signed: Okumura 
 
 Masanobu. Ukiye ne moto. “Originator of the perspective 
 
 picture.” Published by the artist. About 1745. 
 
First Evening 
 
 OKUMURA TOSHINOBU 
 
 (Worked c. 1725-1742) 
 
 14. OSOME AND HISAMATSU 
 
 The love affair of Osome and Hisamatsu, the clerk in 
 her father’s oil shop, is a familiar one in Japan and has 
 often been dramatized. Apparently, though not certainly, 
 this print represents a scene from a drama with Arashi 
 Wakano as Osome, and Takeshima Kozaemon as Hisa¬ 
 matsu. The mon of both actors appear on a fan form¬ 
 ing part of the decoration of the youth’s garments. 
 
 This is not the only puzzle that the print presents. One 
 of the oil merchant’s books of account hung up in the 
 shop is dated “Hdei shield, sho gatsu, kichi hi,”—the sev¬ 
 enth year of Hdei, first month, lucky day, i. e. New Year’s, 
 or according to our calendar, January 30, 1710. If this 
 is a haphazard date it has no significance. But if it is 
 
First Evening 
 
 [No. 14— Continued ] 
 
 the date when the print Avas designed the case is very 
 different. So far as known Toshinobu did not work at 
 that date. He could not then have been more than a young- 
 child if in fact he was the son of Okumura Masanobu, and 
 Masanobu was born in 1685. The coloring of the print 
 is in a style that was in vogue from about 1725 for at 
 least a decade. How much earlier it came into use is not 
 yet known. 
 
 Hosoe. Urushi-e. Signed: Yamato Ga-ko (Japanese artist) 
 Okumura Toshinobu hitsu. Publisher: Emi-ya. 
 
 ( Illustrated ) 
 
 15. SCENE FROM A DRAMA 
 
 The first Ichikawa Danzo as a man seated with arms 
 folded at the foot of a flight of stairs, and turning to 
 look up at a woman impersonated by Fujimura Handavu 
 who stands behind him. The drama has not been identi¬ 
 fied, but the date is between December, 1715, when Danzo 
 placed the character “ichi” across his mon, and the 
 spring of 1727, when the “Kabuki Nandaiki” chronicle 
 of the Edo stage begins. 
 
 Hosoe. Urushi-e. Signed: Okumura Toshinobu liitsu. Pub¬ 
 lisher: Izutsu-ya. 
 
 
 16. SCENE FROM A DRAMA 
 
 The second Ichikawa Danjuro as a man standing under 
 a wistaria arbor and aiming a blow with one of his san¬ 
 dals at Soga no Juro, impersonated by the first Ichikawa 
 Monnosuke, who is seated on the ground before him. 
 Hosoe. Urushi-e. Signed: Yamato Ga-ko Okumura Toshinobu 
 hitsu. Publisher: Soshu-ya. 
 
 G 
 
First Evening 
 
 KOXDO KIYOHARU 
 
 (Worked c. 1715-1735) 
 
 17. THE ACTOR ONOGAWA OR1YE 
 
 IN THE ROLE OF ONNA FUGEN 
 
 ^ Shown seated on a white elephant and playing a samisen. 
 
 * Hosoe. Urushi-e. Signed-. Ga-ko ( artist ) Kondo Kiyoharu 
 
 hitsu. About 1720. 
 
 Kondo Kiyoliaru xcas an early artist whose prints are ex¬ 
 tremely rare. This one could not be in finer condition. 
 
 18. THE FIRST ICHIKAWA MONNOSUKE 
 
 AS A WOMAN FLOWER VENDOR 
 
 Monnosuke was a good but not. a great actor. He died 
 in 1729. 
 
 Hosoe. Urushi-e. Signed: Ga-ko Kondo Kiyoharu hitsu. Pub¬ 
 lisher: Masu-ya. About 1720. 
 
First Evening 
 
 NISHIKAWA SUKENOBU 
 
 (B. 1674, d. 1754) 
 
 19. TWO WOMEN RECLINING ON THE FLOOR 
 
 OF A ROOM AND READING A BOOK 
 
 The room is open toward the garden, showing the engawa 
 (veranda) and the ehozu-bashi or cistern holding water 
 for washing hands. Picture No. 7 from a folding album. 
 
 Yoko-e. Not signed. 
 
 Good impression in fine condition. Single sheet prints by Suke- 
 nobu are extremely rare. 
 
 20. (A) GROUP OF FOUR PEOPLE IN A ROOM, 
 
 one of them a girl carrying a bird cage. 
 
 (B) A MAN LYING DOWN, 
 
 pipe in hand, and a woman seated beside him. 
 
 Two small ink prints from books. Unsigned. About 1730. 
 
 NISHIMURA SHIGENAGA 
 
 (B. 1697, d. 1756) 
 
 NANA KOMACHI, “SEVEN IvOMACHI” 
 
 Seven famous incidents in the life of the ninth century poetess, 
 Ono no Ivomachi. Three prints of the set. 
 
 Hosoe. Urushi-e. Not signed. 
 
 21. ARAI KOMACHI 
 
 “Praying for rain.” It is related that in 866 A.D., at 
 the time of the great drought, the magic of her verses 
 brought the rain that prayers had failed to obtain. 
 
 22. YAYOI KOMACHI 
 
 “Visiting.” Her lover Eukakusa no Shosho calling to 
 press his suit for her hand. The conditions she imposed 
 are said to have caused his death. 
 
 23. SEKIDERA KOMACHI 
 
 “Pilgrimage to Seki temple,” undertaken in her old age. 
 
First Evening 
 
 24 . SAIGYO HOSHI CONTEMPLATING FUJI 
 
 Saigyo was a Fujiwara noble of the twelfth century whose 
 opposition to Yoritomo caused him to renounce all his 
 dignities and become a travelling Buddhist priest. 
 
 Hosoe. Hand colored urushi-e. Signed: Nisliimura Shigenaga. 
 Publisher: Maru-ya. About 1725(F). 
 
 25 
 
 26 
 
 25. ARASHI WAKANO AS A WOMAN 
 
 WALKING IN THE SNOW 
 
 She carries an umbrella, and turns to look at a gnarled 
 plum tree in bloom. 
 
 Hosoe. Urushi-e. Signed: Nihon Ga-ko (Japanese artist ) 
 Nishi mura Shigenaga hitsu. Publisher: lga-ya. About 1725. 
 
First Evening 
 
 ISHIKAWA TOYOYOBU 
 
 (B. 1711, d. 1785) 
 
 26. THE LOVERS OSOME AND HISAMATSU 
 
 They are walking together under an umbrella in early 
 spring. A plum tree in full bloom at the left. 
 
 Hosoe. Beni-e. Signed: Ishikawa Toyonobu hitsu. Publisher: 
 Maru-ya. About 1755. 
 
 ( Illustrated ) 
 
 & 
 
 
 TORII KIYOMITSU 
 
 (B. 1735, d. 1785) 
 
 27. THE FOURTH ICHIKAWA DANJURO AS MATSUO=MARU 
 
 in the drama “Sugawara,” Nakamura theatre, eighth ~ 
 
 month Horeki 6, i. e. September, 1756. 
 
 Hosoe. Printed in beni, blue, olive-green and black. Signed: 
 
 Torii Kiyomitsu ga. Publisher: Mikawa-ya. 1756. 
 
 28. ICHIKAWA RAIZO AS 
 
 MINAMOTO NO KURO YOSHITSUNE 
 
 Nakamura theatre, 1761. 
 
 Hosoe. Signed : Torii Kiyomitsu ga. Published by Murata-ya. 
 
 29. THE SECOND BANDO HIKOSABURO 
 
 This actor died in 1768, aged 27. He is shown against 
 a background of fog, above which is a glimpse of the roof 
 of the Nakamura theatre. 
 
 Hosoe. Printed in beni, blue, yellow, and black. Signed: Torii 
 Kiyomitsu ga. Publisher: Urukogata-ya. About 1762. 
 
 30. THE FIRST ICHIKAWA KOMAZO 
 
 AS SOGA NO JURO SUKENARI 
 
 in “Hitoki-dori Harutsuge Soga,” Nakamura theatre, 
 spring of Horeki 14, i. e. 1764. 
 
 Hosoe. Printed in beni, blue, yellow. Signed: Torii Kiyomitsu 
 ga. Publisher: Okumura Masanobu. 
 
 31. THE THIRD MATSUMOTO KOSHIRO 
 
 This actor later became the fifth Ichikawa Danjuro. He 
 is shown as an otokodate standing bv a tub of water and 
 
 O %j 
 
 buckets for use in case of fire. 
 
 Hosoe. Signed: Torii Kiyomitsu ga. About 1766. 
 
 I* 
 
 6 xX*~*s**~&‘ 
 
First Evening 
 
 32 . 
 
 <v 
 
 GIRL CATCHING FIREFLIES 
 
 Hashira-e. Signed: Torii Kiyomitsu. Pub¬ 
 lisher: M a mho. About 1765. 
 
 Superb impression. Very fine condition. 
 
 TORII KIYOHIRO 
 
 / 
 
 (B. —, d. 1776) 
 
 33. THE FIRST NAKAMURA SUKEGORO 
 
 A noted actor of the second quarter 
 of tlie eighteenth century as (?) Omi 
 \ 7 Kotoda in “Kiku wa Mukashi Soga 
 
 Monogatari,” Ichimura theatre, 
 1746. 
 
 H osoe. Beni-e. Signed: Torii Kiyohiro 
 hitsu. Publisher: Urukogata-ya. 
 
 TORII KIYOTSUNE 
 
 (Worked c. 1750-1770) 
 
 34. ONOE KIKUGORO AS SHIGETADA; 
 ICHIMURA KAMEZO AS KEIJO NO JIRO 
 
 Drama, “Chushin Iroha Soga,” Ichi- 
 mura tlieatre, first month Horcki 3, 
 ^ i. e., February, 1753. 
 
 Hosoe. Printed in beni, taisha (Indian 
 red), green, and black. 
 
 Signed: Torii Kiyotsune. Publisher: Su¬ 
 zuki. 1753. 
 
 35. SCENE FROM THE SECOND ACT 77f 
 
 “EDO=MURASAKI NEMOTO SOGA” 
 
 Ichimura theatre, spring of 1761. 
 The second Segawa Ivikunojo as 
 Yaoya Oshichi; Ichimura Ivichigoro 
 as Asahina. The play was a curious 
 medley in which popular characters 
 from other plays were introduced. 
 Danjuro appeared in two roles, Kiku- 
 nojo in four. 
 
 Hosoe. Printed in orange-tan, beni, green, 
 and black—an unusual combination. 
 Signed: Torii Kiyotsune ga. Publisher: 
 Yamashiro-ya. 1761. 
 
 A 
 
 0 
 
First Evening 
 
 36. ICHIKAWA RAIZO AS UMEOMARU 
 
 In “Sugawara Donju Tenarai Kagami,” Nakamura thea¬ 
 tre, fifth month, Horeki 14, i. e., June, 1764. 
 
 Hosoe. Printed in beni, blue, yellow, and black. Signed: Torii 
 Kiyotsune ga. Publisher: Xishimi-ya. 1764. 
 
 Fine impression. In remarkable preservation: colors as when 
 first printed. 
 
 
 SUZUKI HARUNOBU 
 
 (B. about 1730, d. 1770) 
 
 37. KAYOI KOAIACHI 
 
 A young woman, a modern representative of Ono No Ko- 
 machi, standing on the veranda of a house. Ode above 
 and a small picture of the real Ivomachi. Mizu-e or “water 
 print.” 
 
 Hoso-e. Signed: Harunobu ga. About 1764. 
 
 Much faded. 
 
 \T > 
 
First Evening 
 
 38. THE SECOND SEGAWA KIKUNOJO 
 
 IN THE ROLE OF UMEGAE 
 
 Ichimura theatre, Edo, second month Horeki 14 (1764). 
 Printed in beni, blue, yellow and black. 
 
 Hoso-e. Signed: Suzuki Harunobu hitsu. Published by Tsuru- 
 sliin. About 1764. 
 
 39. KASUI NO TSUKI 
 
 Moonlight on the lake. A modern analogue of Murasaki 
 Shikibu writing the Genji Monogatari at Ishiyama dera 
 > \ on Lake Biwa. 
 
 Hoso-e. Signed: Harunobu ga. About 1767. 
 
 Fine impression. In good condition. 
 
 WHITE HERONS AND SNOW=LADEN 
 
 BAMBOO ON A RIVER BANK 
 
 Chuban. Not signed. 
 
 Much faded and in poor condition. 
 
 40. 
 
 0 
 
 , O, 
 
 V 
 
 41. A WOMAN STANDING IN A PARLOR 
 
 One end of her partly tied obi is held between her teeth 
 y while she turns to look at bush clover in bloom in the 
 
 garden. Above is a poem by Minamoto Nobuaki Ason. 
 Chuban. Signed: Harunobu ga. About 1767. 
 
 Not in very good condition. 
 
 42. THREE GENERATIONS 
 
 / 
 
 \ 
 
 A young mother seated before a mirror, combing her hair. 
 Behind her, her infant son is held in the arms of his grand¬ 
 mother. One of a Rok-ka-sen, Six Famous Poets, series. 
 Ode by Otomo no Ivuronushi printed above. From the 
 Blanchard collection. 
 
 Chuban. Signed: Harunobu ga. About 1767. 
 In remarkably fine condition. 
 
 43. SAIGYO HOSHI PRAYING TO A BIJIN FUGEN 
 
 This subject is an Ukiyo-e pleasantry, a Japanese oiran 
 being substituted for the Dhyani Bodhisattva Samanta- 
 bhadra, known in Japan as Fugen. She appears to the 
 priest in a vision, seated on a white elephant. 
 
 Chuban. Signed: Harunobu ga. About 1766. 
 
First Evening 
 
 44 45 
 
 44. GOING TO THE PUBLIC BATH HOUSE 
 
 Two young women walking under a yellow umbrella in a 
 storm of snow and rain. 
 
 Chuban. Signed: Suzuki Harunobu ga. About 1766. 
 
 In very good condition. 
 
 45. HANGING THE KAKEMONO 
 
 A young woman standing in a parlor before the tokonoma, 
 preparing to hang up a kakemono, turns to look at a 
 kitten that lias caught hold of her obi. 
 
 Chuban. Not signed. About 1765. 
 
 Fine impression. In good condition. 
 
 46. CHINESE PAINTING VERSUS UKIYO=E 
 
 A Chinese noble standing in a Chinese boat, holding up a 
 painting of orchids, and a Japanese girl in a Japanese 
 boat holding up a pillar print by Harunobu, mounted as 
 a kakemono. Comic ode on a conventional cloud above. 
 
 Chuban. Signed: Harunobu ga. About 1766. 
 
 Good impression. In excellent condition. 
 
47. AN INTERRUPTED PICNIC 
 
 A 
 
 
 V 
 
 A young man and a girl at a picnic under a cherry tree 
 caught by a sudden shower. The girl hastily throws her 
 long sleeve over her head while her companion opens an 
 umbrella. 
 
 Chuban. Signed: Harunobu ga. About 1767. 
 
 Fine impression. In very good condition. 
 
 48. 
 
 
 THE KAMURO’S TOILET 
 
 An oiran standing in a room engaged in 
 and looking down at her kamuro who is 
 haircomb with the aid of a mirror. 
 
 tying her obi 
 adjusting her 
 
 Cliuban. Signed: Harunobu ga. About 1767. 
 
 49. 
 
 C 
 
 
 SA=WARABI 
 
 A young samurai standing under a cherry tree and ad¬ 
 miring the blossoms. He holds his horse by the bridle 
 while his groom respectfully crouches down by his side. 
 This is a modern version of the Sa-warabi incident related 
 in the Genji Monogatari. 
 
 Chuban. Signed: Suzuki Harunobu ga. About 1766. 
 
 Very fine impression. In perfect condition. 
 
 50. WHISPERED CONFIDENCE 
 
 Two girls seated on the engawa of a house. One of them 
 is whispering in the ear of her companion. 
 
 Chuban. Signed: Harunobu ga. About 1768. 
 
 Fine impression. In good condition. 
 
First Evening 
 
 51. THE PENSIVE MAID 
 
 Young woman seated in a pensive attitude on the veranda 
 of Kiyomizu temple, in Kyoto. 
 
 Chub an. Not signed. About 1765. 
 
 Fine impression. In perfect condition. 
 
 52. KOYA NO TAMAGAWA 
 
 A girl seated on the floor of a room with a picture before 
 her of the so-called Poisoned Tama river in the province 
 of Kii, which is reflected in a diminishing and reversing 
 mirror, turns from it to listen to a youth dressed almost 
 like a woman, who stands by her side. One of a Mu Tama- 
 gawa series. Title and poem printed above. 
 
 Chub an. Signed: Suzuki Harunobu ga. About 1768. 
 
 Late impression. Not in very good condition. 
 
 53. TSUBAKI. CAMELLIA 
 
 A young woman seated on the edge of a veranda is placing 
 a red petal of a camellia blossom on the forehead of a 
 young boy who stands by her side. Within the house at 
 the left the child’s mother is combing her hair before a 
 mirror. 
 
 Chuban. Signed: Harunobu ga. About 1767. 
 
First Evening 
 
 
 0 
 
 54. THE TREASURE CHILD 
 
 A young mother dressed in summer garments of gauze 
 through which the outlines of her figure appear, holding up 
 her infant son and showing him to a girl standing before 
 her. 
 
 Chuban. Signed: Suzuki Harunobu ga. About 1768. 
 
 Fine impression. In fair condition. 
 
 55. NAKA CHO NO YUTERU 
 
 The Evening Glow in Naka Street. An oiran standing 
 on a veranda and giving instructions to her kamuro. Series: 
 Furyu Ukiyo Hakkei. Eight stylish Ukiyo-e Views. 
 Cliuban. Signed: Harunobu ga. About 1767. 
 
 0 
 
 o 
 
 56. THE INQUISITIVE KAMURO 
 
 A kamuro seated by a hibachi reading a love letter ad¬ 
 dressed to her mistress is detected by the latter, and also by 
 the writer of the letter who is just entering the room 
 through the portiere. 
 
 -'F Chuban. Signed : Harunobu ga. About 1767. 
 
 Late impression. In good condition. 
 
 
First Evening 
 
 KIT AO SHIGEMASA 
 
 (B. 1739, d. 1819) 
 
 57. THE WATER WHEEL AT YODO CASTLE 
 
 A boat with several passengers sailing on the Yodo river 
 by a walled bank where the current of the stream is turn¬ 
 ing a great undershot water-wheel. Mizu-e or “water- 
 print” in beni, buff, blue, and pearl gray. 
 
 Hosoe. Signed: Kitao Shigemasa ga. About 1764. 
 
 58. ONO NO TOFU AND THE FROG 
 
 The noble stands under an umbrella in a shower, on the 
 bank of a narrow stream, watching a frog that tried a 
 hundred times before it at last succeeded in catching a 
 worm on a willow branch that hung over the water. Mizu-e 
 in beni, blue, and pearl gray. 
 
 Hosoe. Signed: Kitao Shigemasa ga. About 1764. 
 
 59. A WAITRESS OF THE HAYASHLYA TEA=HOUSE 
 
 Hoso-e. Signed: Kitao Shigemasa ga. About 1769. 
 
 60. WOMEN BOILING COCOONS AND DRYING FLOSS SILK 
 
 One of the Silk Culture series, “Kaiko Yashinai Gusa,” bv 
 Shigemasa and Shunsho. 
 
 Chuban. Signed: Kitao Shigemasa ga. 
 
 61. THE SEVEN FORTUNE GODS 
 
 SAILING IN THE TREASURE SHIP 
 
 Yoh o-e. Signed: Kitao Shigemasa ga. 
 
 
 
 * 
 
 62. ISHIYAMA AKI NO TSUKI 
 
 Autumn Moon at Ishiyama. Young boys playing by moon¬ 
 light. One of the series, Yatsushi Hakkei, Eight Trans¬ 
 formed Views. 
 
 Chuban. Signed: Kitao Shigemasa ga. 
 
 63. KATADA RAKUGAN 
 
 Geese flying down at Katada. Young boys at play in a 
 room, the geese represented by the bridges for the strings 
 of a koto which a bov standing on a kotatsu is throwing 
 down. 
 
 Same series as the preceding. Not signed. 
 
 -1 
 
 b 
 
 D 
 
 
First Evening 
 
 TOR 11 Iv I YON AG A 
 
 (B. 1712, d. 1813) 
 
 64. NAKAMURA RIKO AS A WOMAN 
 
 STANDING IN A GARDEN 
 
 Hosoe. Signed: Kiyonaga ga. 
 
 Late impression. Several large moth holes neatly patched. 
 
 65. (A) SHINAGAWA NO KIBAN 
 
 “Returning Sails at Shinagawa,” and 
 
 (B) MASAKI NO YUSHO 
 
 “The Evening Glow at Masaki.” Two women at a win¬ 
 dow overlooking Edo Bay; and a woman standing on 
 a landing pier. Two narrow panels mounted together. 
 Series: Furyu Edo Hakkei, “Eight Stylish Edo Views.” 
 Signed: Kiyonaga ga. About 1778. 
 
 Register not quite perfect. Otherwise in good condition. 
 
 66. ASUKA SUIBI 
 
 “An Intoxicated Beauty on Asuka Hill.” Two girls with 
 wind-blown garments on the summit of the hill, one of 
 them waving her fan to some person below. 
 
 Narrow panel. Signed: Kiyonaga ga. Publisher: Eijudd. 
 About 1778. 
 
 Slightly toned but not faded. 
 
 67. WASHING HER HANDS 
 
 A girl dipping water from a chozu-bashi, while a young 
 man stands by her side. 
 
 Narrow panel. Signed: Kiyonaga ga. Publisher: Eijudd. 
 Yoshiwara Views.” Not signed. About 1778. 
 
First Evening 
 
 SANNO O-SAIREI 
 
 “The Great Sanno Festival.” Three prints of a series depicting 
 children carrying ornamental lanterns in the great procession of 
 the Sanno Sairei which was a notable annual event in Edo. The 
 merchants from all parts of the city contributed to make it a success 
 and vied with each other in inventing lanterns, floats, and other enter¬ 
 taining features. 
 
 Chuban. Signed: Kiyonaga go. Publisher: Eijudd. About 
 
 1720. 
 
 Sttch choice early impressions as these are rarely seen. The 
 printing is so deep as to produce the effect of gauffrage. The 
 color has not faded, yet is beautifully soft and harmonious. 
 Condition immaculate. 
 
 68. LANTERN FURNISHED BY THE MERCHANTS 
 
 OF HIRAKAWA STREET AND YAMAMOTO STREET 
 
 It has on its top a large artificial cherry tree and two 
 dolls representing the Emperor and the Empress. 
 
 69. LANTERN FURNISHED BY THE MERCHANTS 
 
 OF MOTO=ZAIMOKU STREET, SHINBASHI DISTRICT 
 
 On the top of this lantern are a miniature drum bridge, a 
 Shintd temple torii, and artificial pine trees with spread¬ 
 ing branches and cranes flying about them. 
 
0'S 
 
 First Evening 
 
 70. LANTERN CONTRIBUTED BY THE 
 
 MERCHANTS OF KOJIMACHI 
 
 . A woman holds a small boy on her shoulder and in the 
 
 / J 
 
 'y foreground of the group a boy is dressed to represent a 
 
 shdjo, or mythical red-haired dweller by the sea. The 
 lantern is decorated with a model of the Takara-bune or 
 treasure ship laden with the shippo or sacred emblems 
 of Buddhism and incidentally of good luck. 
 
 
 r 
 
 u ? 
 
 71. A MAID SERVANT HOLDING A LANTERN 
 
 She turns her head toward two young women standing 
 on a veranda behind her. 
 
 Chuban. Series: Hai Furyu Taro. Signed: Kiyonaga ga. 
 About 1781. 
 
 Fine impression in beautiful condition. 
 
 y 
 
 rv 
 
 'y 
 
 72. DOMESTIC SCENE 
 
 A young woman greeting a girl who is coming to her to 
 be given a lesson in playing the koto. 
 
 Same series as the preceding lot. Also in good condition but 
 somewhat faded. 
 
 SAKURAI BUNKYO 
 
 (Probably a pupil of Kiyonaga) 
 
 \ 
 
 
 73. AN ENTERTAINMENT AT SHINAGAWA 
 
 Three women in a house overlooking Edo bay, one of 
 them bringing a tray with bowls of food: all are looking 
 toward the left. 
 
 Chuban. One sheet of a triptych. Signed: Bunkyo ga. 
 
 KATSUKAWA SHUNCHO 
 
 (Worked c. 1770—1796) 
 
 Three prints of the Imoseyama Go-mai Tsuzuki series of five, 
 and one duplicate. The meaning of the title is not clear. 
 
 Chuban. Signed: Shunchd ga. About 1783. 
 
 74. A YOUNG GIRL DANCING 
 
 A woman beats a water bucket as a musical accompani¬ 
 ment and another woman stands on a veranda and looks on. 
 
 Not in perfect condition. 
 
First Evening 
 
 75. GROUP OF THREE WOMEN 
 
 Two are standing, the third is seated on the ground by the 
 veranda of a mansion. 
 
 76. A DETENTION 
 
 A woman seated on a bench in a garden, catches hold 
 of a young samurai’s haori and modestly turns her head 
 away, while two girls standing behind her view the pro¬ 
 ceeding expectantly. 
 
 Fine impression in excellent condition, 
 
 77. A DETENTION 
 
 Another impression. Large moth hole across the man’s 
 obi and hand, patched so as not to be very conspicuous. 
 
 78. THE INARI FESTIVAL 
 
 Two women, one carrying a girl on her back, on their 
 way to the shrine at Oji accompanied by a boy bearing 
 a gift. Banners of the buildings on the further bank of 
 the river are dated Temmei Roku, second month Ox Year, 
 i. e., 1786. 
 
First Evening 
 
 
 79. MIKOSHI ARAI 
 
 Three girls at a bench tea-booth at Shinagawa. In the 
 shallow water of Edo bay at the right the ceremony is 
 being performed of washing the mikoshi or portable 
 shrine in which the sacred Shint5 emblems were carried in 
 the procession of the Gozu Tenno festival, seventh day 
 of the sixth month. 
 
 Chuban, Signed: Shunchd ga. 
 
 >> 
 
 V 
 
 80. GEISHA GOING HOME 
 
 Three geisha accompanied by a man carrying a samisen 
 box over his shoulder are leaving for home after a night’s 
 engagement. Through an open door above a maid is 
 seen doing the morning sweeping. 
 
 Oban. Signed: Shunchd ga. About 1788. 
 
 / 
 
 7 
 
 1/ 
 
 81. WOMEN AT A BANQUET 
 
 Left hand sheet of a triptych. 
 
 Oban. Signed: Shunchd ga. About 1790. 
 
 n/ 
 
 82. A LADY WALKING ON THE RIVER BANK 
 
 She is attended by two maids and a young man carrying 
 their luggage. 
 
 Oban. Signed: Shunchd ga. About 1790. 
 
 ^ s > 
 
 83. ON ATAGO HILL 
 
 Three voung women at a tea-house on the summit 
 
 Series: Edo no Go San, The Five Hills of Edo. 
 
 Chuban. Signed: Shunchd ga. About 1790. 
 
 s> 
 
 V 
 
 84. A MODERN KOMACHI 
 
 A girl bends over a shallow tub while her hair is being 
 washed by another girl, and two others look on, one of 
 them holding a pot of hot water. Comic ode in cartouche 
 
 V ’ 
 
 above. 
 
 Chuban. Signed: Shunchd ga. About 1790. 
 
 
 85. KAKITSUBATA. SIBERIAN IRIS 
 
 Three girls in a garden where iris are in bloom. Printed 
 in grays, yellow, and black. 
 
 Chuban, Signed: Shunchd ga. About 1791. 
 
First Evening 
 
 86. TWO GEISHA AT THE MASAKI SHRINE 
 
 One of the series Edo no Ju sha. Ten Edo Shrines. 
 Koban. Signed: Shuncho ga. About 1791. 
 
 1 
 
 0 
 
 
 UTAGAWA TOYOKUNI 
 
 (B. 1769, d. 1825) 
 
 87. STREET SCENE AT THE END OF RYOGOKU BRIDGE 
 
 Groups of people in the foreground and many crossing 
 the bridge. 
 
 Oban triptych. Signed: Toyokuni ga. Publisher: Eijudo. 
 About 1789. 
 
 Fine impression. Good condition; colors softly faded. 
 
 88. THE DREAM OF THE FOX’S WEDDING 
 
 A young woman in the parlor of a great house has fallen 
 asleep seated before a hibachi and is dreaming, while her 
 maids are playing Uta-garuta, or Poem-cards, a game 
 like that of “Authors.” 
 
 Oban triptych. Signed: Toyokuni ga. Publisher: Eijudd. 
 About 1790. 
 
 Fine impression. Good condition; colors somewhat faded. 
 
 89. THE DREAM OF THE FOX’S WEDDING 
 
 Oban. Bight-hand sheet of the triptych. 
 Late impression. 
 
 90. ARASHI MURAJIRO AS HANA MURASAKI 
 
 Hosoe. Signed: Toyokuni ga. About 1788. 
 
 91. A WOMAN WEAVING 
 
 Another woman is bringing her a cup of tea, and a boy in 
 the foreground is playing with three puppies. 
 
 Oban. Signed: Toyokuni ga. Publisher: Wakasa-ya. About 
 1790. 
 
 h 
 
First Evening 
 
 
 O 
 
 92. CHOFU NO TAMAQAWA 
 
 Two young women and a small boy on the banks of the 
 Chofu Tama river. One woman is standing, and the 
 other is seated beside a large wooden tub used for pound¬ 
 ing clothes as a part of the washing process. Series: 
 Mu Tamagawa. 
 
 Cliubcin. Signed : Toyokuni ga. Publisher: Takasu. 
 
 Fine impression. In very nice condition. 
 
 93. WOMEN IN THE GARDEN OF THE KACHO TEA HOUSE 
 
 Middle sheet of a triptych. 
 
 Oban. Signed: Toyokuni ga. Publisher: Eijudo. About 1790. 
 
 94. FURYU ROK=KASEN 
 
 Stylish six famous poets: six young persons masquerading 
 as the most celebrated ode composers of ancient times. 
 Oban triptych. Framed. Signed: Toyokuni ga. Publisher: 
 Eijudo. About 1793. 
 
 95. FURYU ROK=KASEN 
 
 
 0 
 
 Left-hand sheet of the triptych. A woman standing repre¬ 
 sents Ono no Komachi; a woman seated and dressed as 
 a man, represents Ariwara no Narihira; and a young girl 
 holds the nobleman’s hat. 
 
 Oban. Signed: Toyokuni ga. Publisher: Eijudo. 
 
 KATSUSHIKA HOKUSAI 
 (B. 1760, d. 1849) 
 SHIMPAN UKI-E 
 
 New block perspective views. Three prints of a rare, very early 
 series. 
 
 Yoko-e. Signed: Katsu Shunrd ga. 
 
 "V 
 
 0 
 
 96. RYOGOKU BASHI YU=RYO HANABI KENBUTSU NO ZU 
 
 Crowd of people cooling off in the evening at Ryogoku 
 bridge and viewing fireworks. This must have been a 
 popular print and a good seller, for it is called Saihan, 
 i. e., second edition. 
 
 Publisher: Eijudo. In good condition. 
 
First Evening 
 
 97. DAIMYO PROCESSION PASSING 
 
 ALONG THE BEACH AT SHINAGAWA 
 
 Signature probably on the margin, •which has been trimmed off. 
 Publisher: Iwatoya. 
 
 98. OJI INARI ASUKAYAMA NO ZU 
 
 View of the Inari shrine at Oji and Asukayama. Many 
 pink-flowered cherry trees in bloom. 
 
 Fine impression. Slightly toned. Publisher: Ise-ya Rihei. 
 
 99. YAYOI. THE THIRD MONTH 
 
 Boys celebrating the Hina Matsuri or Doll Festival. 
 Series: Furyu Kodomo Asobi Gosekku. Elegant Boys’ 
 Sports on the Five Festival Days. 
 
 Oban. Signed: Gunbatei zu, the rarest of Hokusai's signa¬ 
 tures and one of the earliest. Publisher: Omi-ya. 
 
 100. BOYS CELEBRATING THE BOYS’ FESTIVAL 
 
 Fifth day of the fifth month. 
 
 Same series as the preceding lot; but this sheet not signed. 
 
 101. SCENE FROM A DRAMA 
 
 Ichikawa Monnosuke as Taro, the spy. Arashi Tatsuzo 
 as Yuri no Hachiro. 
 
 Hosoe. Signed: Shunrd ga. 
 
 102. THE SEVEN FORTUNE GODS 
 
 STORING THE RICE CROP 
 
 Oban. Ink proof from the key-block of one sheet of a trip¬ 
 tych. Not signed, but presumably by Hokusai in his Shunrd 
 period. Publisher: Eijudd. 
 
 103. SURUGADAI SUIDO NO KEI 
 
 View of the aqueduct at Surugadai, Edo. 
 
 Yoko-e. Signed: Hokusai ga. Publisher: Eijudo. 
 
 Rare early work. In good condition. 
 
 104. BUSH CLOVER, AND A HARE IN THE MOON 
 
 Long surimono issued by the Okuramai Renju (society) 
 to accompany an invitation to a recital by the woman 
 teacher, Sumida Ben, and the musicians of the Nakamura, 
 Ichimura, and Morita Theatres. The names of fifty-eight 
 of these musicians are given. 
 
 Signed: Sori ga. Hare Year, 1795. 
 
First Evening 
 
 105. GROUP OF PEOPLE GATHERED 
 
 TO SEE A COCK FIGHT 
 
 Long surimono. Signed : Shinsai. 
 
 106. AN APPARITION IN A SNOW STORM 
 
 Two laborers running away from a woman who carries 
 on her head a large wooden tub with a red cloth wrapped 
 about it. 
 
 Koban. Signed : Shinsai. 
 
 107. GOLD=FISH CULTURE 
 
 \ 
 
 Two large fish tanks in a garden; a woman bending over 
 one of them and holding a net, turns to speak to another 
 woman seated on a wide bench, while a boy brings a pan 
 of water. 
 
 Long surimono. Signed: Gakyo-jin Hokusai ga. 
 
First Evening 
 
 ToIvAIDo GO-JU-SAN TSUGI 
 
 Twelve prints of the T5kaid5 set in vertical format, size 91/g x 
 6 7 /g inches. Originally issued in a packet. Only the last sheet of 
 the series was signed. 
 
 108. (A) HODOGAYA; (B) TOTSUKA; (C) FUJISAWA 
 
 109. (A) HIRATSUKA; (B) ISHIYAKUSHI; (C) SHONO 
 
 110. (A) KAMHYAMA;(B) SEKI; (C) KUSATSU 
 
 111. (A) OTSU; (B) KYOTO; (C) IMPERIAL PALACE, KYOTO 
 
 HYAKUNIN ISSHU URAGAWA ETORI 
 
 The Hundred Poems Explained by the Nurse. A complete set 
 of the twenty-seven prints of this series, being all that were published, 
 though Hokusai drew designs for the others. 
 
 Yoko-e. Signed: Zen Hokusai Manji. 
 
 The meaning of many of these ancient poems, which are written 
 in the old Yamato language and contain allusions to things not now 
 recognizable, is obscure, and numerous commentaries upon them have 
 been written. For two of the metrical versions here given the com¬ 
 piler of this catalogue is indebted to Mr. Will H. Edmunds; the others 
 are by Mr. F. V. Dickens. 
 
 112. ODE BY TENCHI TENNO 
 
 Scene, a rice field in autumn; farmers harvesting the 
 crop. 
 
 My lowly hut is thatched with straw 
 
 From fields where rice-sheaves frequent stand, 
 
 Now autumn’s harvest’s well-nigh o’er, 
 
 Collected by my toiling hand : 
 
 Through tattered roof the sky I view 
 My clothes are wet with falling dew. 
 
First Evening 
 
 113. ODE BY JITO TENNO 
 
 People fording a stream, two of them bowing low to each 
 other: women carrying freshly washed cloth to drying 
 racks in the distance. 
 
 0 T he pleasant spring hath passed away 
 
 *]/ Now summer follows close, I ween, 
 
 And Ama’s sacred summit may 
 In all its grandeur now be seen; 
 
 Of yore the drying ground 
 Whitened with angels’ robes spread far around. 
 
 114. ODE BY KAKI = NO=MOTO NO HITOMARU 
 
 Men dragging nets up a mountain stream like a “pheasant’s 
 tail,” in the early morning. 
 
 ✓ 
 
 The hill-side fowl his long-drooped tail 
 Sweeps o’er the ground-—so drags the night. 
 
 My lonely plight 
 
 I mourn—my sleepless wretchedness bewail. 
 
 ✓Q 
 
 V 
 
 115. ODE BY YAMABE NO AKAHITO 
 
 Travellers toiling up a hill on the shore of Tago bay; 
 Fuji in the distance. 
 
 From where my home,— 
 
 My lonely home,—on Tago’s shore 
 Doth stand, the wandering eye may roam 
 O’er Fujiyama’s summit hoar 
 Whose lofty brow 
 Is whitened by new-fallen snow. 
 
 V 
 
 116. ODE BY SARUMARU TAYU 
 
 Women passing through the mountains in autumn pause 
 to listen to the cry of a stag. 
 
 Now ’mid the hills the momiji 
 
 Is trampled down ’neath hoof of deer, 
 
 Whose plaintive cries continually 
 Are heard both far and near: 
 
 My shivering frame 
 
 Now autumn’s piercing chill doth blame. 
 
First Evening 
 
 117. ODE BY CHUNAGON YAKAMOCHI 
 
 ]\len on a junk watch the flight of magpies at nightfall. 
 
 If the “Magpie Bridge”— j 0 
 
 Bridge by flight of magpies spanned— 
 
 White with frost I see:— 
 
 With a deep laid frost, made white:— 
 
 Late, I know, has grown the night. 
 
 118. ODE BY ABE NO NAKAMARO 
 
 The poet in China being starved by Imperial command 
 wrote the poem in blood on his sleeve. 
 
 I search high heaven 
 And now above Mikasa 
 In the land of Kasuga 
 I know the moon is shining, 
 
 Yon moon I see now rising. 
 
 119. ODE BY ONO NO KOMACHI 
 
 Peasants outside a farm house engaged in the ordinary 
 
 drudgery of life. ^ A ^ 
 
 "V 
 
 Thy love hath passed away from me 
 Left desolate, forlorn— 
 
 In winter rains how wearily 
 The summer past I mourn! 
 
 120. ODE BY SANJI TAKAMURA 
 
 A boat putting out to sea passes the rocks at Ise where 
 women are diving for awabi shells. 
 
 Ye fishermen, who range the sea 
 In many a barque, I pray ye tell 
 My fellow-villagers of me— 
 
 How that far o’er vast ocean’s swell, 
 
 In vessel frail 
 Towards Yasoshima I sail. 
 
 Fine impression. Good condition. 
 
 o 
 
 O' 
 
First Evening 
 
 121. ODE BY SOJO HENJO 
 
 Two noble ladies in a sacred dance in a Shinto ceremony 
 at Court. 
 
 X) In fitful path across the sky, 
 
 By various winds of heaven forced, 
 
 Cloud-borne Otome glideth by— 
 
 N ow hath the breeze its vigour lost 
 An instant, and her form so bright 
 For a fleeting moment greets my sight. 
 
 122. ODE BY ARIWARA NO NARIHIRA 
 
 Peasants crossing a bridge over the Tatsuta river in au¬ 
 tumn when red autumn leaves tint the stream. 
 
 / 
 
 0 Tatsta! when th’ autumnal flow 
 
 -v 
 
 I watch of thy deep ruddy wave— 
 
 E’en when the stern gods long ago 
 Did rule, was ne’er beheld so brave, 
 
 So fair a stream as thine I trow. 
 
 123. ODE BY FUJIWARA NO TOSHIYUKI 
 
 Scene, a great junk sailing on Suminoe bay. 
 
 / 
 
 Tho’ softly as the waves do break 
 On Suminoe’s shore I seek 
 To meet thee, love e’en in a dream, 
 
 To dead men’s curious eyes I seem. 
 
 124. ODE BY ISE 
 
 In a house where tilers are at work upon the roof, a woman 
 and her daughter sit by an open window, the daughter 
 watching the departure of a loved one. 
 
 Scant are the joints of Ashi reed 
 That grow Nanihagata nigh, 
 
 While time o’er e’en as brief space speed 
 Fail’st thou to greet my longing eye. 
 
 I fain would die! 
 
First Evening 
 
 125. ODE BY MOTOYOSHI SH1NNO 
 
 Two women gazing across Osaka bay. Behind them in 
 the foreground a man is leading a laden carabao. 
 
 Distracted by my misery 
 How utterly forlorn am I; 
 
 Oh! that I might thee once more see, 
 
 Tho’ it should cost my life to me! 
 
 126. ODE BY KAN=KE (MICHIZANE) 
 
 His ox cart and servants waiting for him while he visits 
 a temple on Mount Tamuke. 
 
 This time, I ween, no need there be 
 A nusa I should take with me: 
 
 The nishki of the maple tree 
 Tamuke-yama thou dost show. 
 
 ’Twill serve the gods full well I trow. 
 
 127. ODE BY TEISHIN KO 
 
 The monks at Ogurayama welcoming Prince Kane who 
 visits the temple in autumn. 
 
 How pleasant ’tis the tints to see 
 Of reddening leaves of momiji 
 That on Ogura’s summit grow! 
 
 Ah! did they but their beauty know 
 They’d linger till there pass’d again 
 Our Emperor’s miyuki train. 
 
 128. ODE BY MINAMOTO NO MUNEYUKI 
 
 Woodsmen in winter warming their hands by a blazing 
 fire. 
 
 The hamlet bosom’d ’mid the hills 
 Aye lonely is; in winter time 
 Its solitude with mis’ry fills 
 
 My mind, for now the rig’rous clime 
 Hath banished every herb and tree 
 And every human face from me. 
 
 Fine impression. Good condition. 
 
First Evening 
 
 129. ODE BY HARUMICHI NO TSURAKI 
 
 ^7 
 
 O 
 
 Sawyers at work upon a great log by a stream where a 
 man is raking out maple leaves, and a woman is leading 
 a boy across on a log bridge. 
 
 The winds of autumn have amassed 
 Dried withered leaves in ruddy heaps, 
 
 Have them in th’ mountain torrent cast, 
 
 Whose stream in stony channel sweeps; 
 
 Amid the rocks that bar the way 
 The Mom-ji’s reddened leaves delay. 
 
 130. ODE BY KIYOWARA NO FUKAYABA 
 
 Evening scene. Pleasure boats on a broad river. 
 
 / 
 
 ’Twas a summer’s night, I scarcely thought 
 The evening hours had passed away 
 When dawn broke; long the moon I’d sought, 
 Nor knew where ’mid the clouds she lay. 
 
 131. ODE BY BUNYA NO ASAYASU 
 
 Women in a boat, gathering lotus leaves. 
 
 
 
 Now dew-drops sparkling o’er the moor are seen, 
 The autumn gust sweeps howling by, 
 
 Scarce lurks an instant ’mid the reeds I ween, 
 
 In timid show’r the dew drops fly, 
 
 And, scattered o’er the grass, there lie. 
 
 132. ODE BY SANGI HITOSHI 
 
 A nobleman attended by two servants walking along a path 
 through fields enveloped in long clouds of fog. 
 
 Like humble Asaju amid 
 The reeds of Ono’s moor hid 
 
 I would my passion were concealed 
 But by its flower the Asajii: 
 
 By my too ardent love for you 
 My secret passion stands revealed. 
 
First Evening 
 
 133. ODE BY ONAKATOMI YOSHINOBU 
 
 The poet sits on a hill overlooking a misty plain, while 
 outside the Imperial gateway just below, warders are 
 grouped about a fire. 
 
 Th’ Mikaki-mori through the night 
 (And men the warder Yeji name) 
 
 The watch-fire’s blaze keeps full and bright; 
 
 When morning breaks, then dies the flame; 
 
 So, too, at dawn 
 My happiness is past and gone. 
 
 134. ODE BY FUJIWARA NO YOSHITAKA 
 
 A great bath house by a lake where water birds are diving. 
 Clouds of steam rise from the hot baths, and bathers are 
 resting on the balcony. 
 
 Ere I, O maid! had worshipped thee, 
 
 A drear, uncared-for life was mine:— 
 
 O may long years be granted me 
 
 Now that my heart, O maid, is thine! 
 
 135. ODE BY FUJIWARA NO MICHINOBU 
 
 Travellers being carried in kago down a hill in the fore¬ 
 ground and along a road winding over a gray plain stretch¬ 
 ing away to the horizon where trees are silhouetted against 
 the early morning light. 
 
 Though I know full well 
 
 That the night will come again, 
 
 E’en when the day has dawned:— 
 
 Yet in truth I hate the sight 
 Of the morning’s coming light. 
 
 136. ODE BY SANJO NO IN 
 
 Shint5 ceremony in the Imperial palace in honor of the 
 autumn full moon. 
 
 Fain would I in this world so hard 
 No longer live, but still must stay:— 
 
 How wistfully my eves regard 
 
 The midnight moonbeams’ tranquil sway! 
 
First Everting 
 
 / 
 
 137. ODE BY DAINAGON TSUNENOBU 
 
 An uphill road overlooking rice fields. Farmers are carry¬ 
 ing baskets on a pole, and women filling water buckets in 
 a brook by the roadside. 
 
 Now twilight darkens, and the breeze 
 Rustles the homeside rice-fields ’mong, 
 
 And murmuring sounds my ear please, 
 
 As past my hut with thatch o’erhung 
 Of Ashi grass, 
 
 The sweeping gusts of autumn pass. 
 
 138. ODE BY GONCHUNAGON SADAIYE 
 
 Salt makers at work on a sea beach; a great column of 
 smoke streaming upward from the fire under the boiling 
 pans in a straw hut; at the left men stacking bundles of 
 faggots. 
 
 On Mats’ho’s shore, our meeting place, 
 
 At dusky hour of night, I wait 
 My longed-for mistress to embrace: 
 
 Ah, why then linger’st thou so late! 
 
 My ardent passion, than the fire 
 That heats the salt-pans, rages higher. 
 
 ANDO HIROSHIGE 
 
 (B. 1797, d. 1858) 
 
 HONCHO MEISHO 
 
 “Famous Sights of the Main Island.” Three prints of this series, 
 which apparently was begun before 1830 and continued at intervals 
 for some years thereafter. 
 
 Yoko-e. Published by Fuji-hiko. 
 
 139. SUNSHU 
 
 Fujikawa Watashi-bune no Zu. 
 
 The ferry across the Fujikawa, province of Sunshu: Fuji 
 san in the distance. 
 
 140. SHINSHU 
 
 Sarashina Tagoto no Tsuki. 
 
 The moon reflected in a rice field at Sarashina, province of 
 <-j ^ ^ Shinshu. 
 
 \4 
 
First Evening 
 
 141. SESSHU 
 
 Nunobiki no Taki. - ' 
 
 The Nunobiki waterfall at Kobe, province of Sesshu. 
 
 NANIWA MEISHO ZU KAI 
 
 Famous sights in Naniwa, a poetic name for Osaka. Two prints 
 of the series. 
 
 Yoko-e. Signed: Hiroshige ga. Published by Kawaguchi 
 Shozo. 
 
 \ 
 
 142. HACHI KENYA CHAKU SEN NO ZU 
 
 A boat arriving at the Hachi Kenya wharf. 
 
 143. IMAMIYA TOKA EBISU 
 
 The Ebisu festival at the village of Imamiya. 
 
 \ 0 O 
 
 
 
 KYOTO MEISHO 
 
 Famous Sights of Kydto. Complete set of ten prints. 
 
 Yoko-e. Signed: Hiroshige ga. Published by Kawaguchi. 
 
 144. GION YASHIRO SETCHU 
 
 Gion Shrine in Snow. 
 
 In good condition. The darker gray printed a little too 
 strong. 
 
 
 145. YODOGAWA 
 
 A great boat on the Yodo river, under the light of the 
 full moon. Two straining boatmen are poling the craft, 
 while the passengers seated under a straw canopy are 
 taking refreshments, some of which are being served from 
 a smaller boat tied alongside. 
 
 146. SHIMABARA DEGUCHI NO YANAGI 
 
 Willow tree at the exit from the Shimabara. 
 
 First edition. Fine impression. In good condition but not 
 quite perfect. 
 
 147. KIYOMIZU 
 
 The temple nestling in a grove of blossoming cherry trees. 
 First edition. Good impression. Trimmed slightly all around. 
 
 0 
 
First Evening 
 
 \ 
 
 >9 
 
 148. KINKAKUJI 
 
 The famous shrine with its surrounding pond and grove; 
 and a rounded hill in the distance. 
 
 
 149. SHIJO MACHI YUSUZUMI 
 
 “Evening cooling” on a dry sand-bar in the river opposite 
 Shi jo street. 
 
 Good impression, in excellent condition. 
 
 3 
 
 6 
 
 / 
 
 *7 
 
 
 150. TADASU KAWARA NO YUDACHI 
 
 The dry river-bed at Tadasu filled by a sudden shower. 
 Ordinary impression. Margins trimmed. Moth holes patched. 
 
 151. YATSUSE NO SATO 
 
 The village of Yatsuse in the environs of Kyoto. Faggot 
 gatherers returning to the city along a path through the 
 fields. 
 
 Impression with unusually deep color. 
 
 152. TSUTEN KYO NO KOFU 
 
 Red maples at Tsuten bridge. 
 
 3 0 Very good impression. In fine condition. 
 
 153. ARASHIYAMA 
 
 Cherry trees in bloom on the mountain side at the foot 
 of Yoshino rapids. On the river in the foreground two 
 3 men poling a raft. 
 
 Fine impression. Slightly soiled along a vertical fold, 
 
 TOKAIDO GO-JU-SAN TSUGI NO UCHI 
 
 The Fifty-three Post-Stations of the Tbkaido, known as the 
 First Tokaido series. 
 
 Yoko-e. Signed: Hiroshige ga. Publisher: Takeuchi. 
 Complete set of fifty-five prints and several duplicates. As this 
 series is so well known detailed descriptions are not here given. 
 
 154. NIHON BASHI 
 
 The second design. 
 
 Fine impression. Perfect condition. 
 
First Evening 
 
 155. SHINAGAWA 
 
 Daybreak. The earlier design. 
 
 156. KAWASAKI 
 
 Ferry over the Rokugo river. The earlier design with 
 the man on the raft. 
 
 to 
 
 \ & 
 
 157. KANAGAWA 
 
 Sunset. The earlier design without the posts in the fore¬ 
 ground. 
 
 158. HODOGAYA 
 
 Shinkame Bridge. 
 
 Printed very dark, but a good impression, 
 
 159. TOTSUKA 
 
 The earlier design. 
 
 160. FUJISAWA 
 
 161. HIRATSUKA 
 
 162. OISO 
 
 Tiger Rain. 
 
 I b 
 
 1 6 
 
 7 4 ? 
 
 163. ODAWARA 
 
 Fording the Sako River. The re-engraved design with five _ 
 
 figures on the bank in the foreground. 
 
 164. HAKONE LAKE 
 
 Late, but very good impression. In fine condition. 
 
 165. MISHIMA 
 
 Morning Mist. 
 Late impression. 
 
 166. NUMAZU Jf 
 
 167. HARA y 0 
 
 Fine impression. Good condition. J —* 
 
 168. YOSHIWARA 
 
First Evening 
 
 ^ 169. KAMBARA 
 
 Snowy Evening-. 
 
 170. YUI 
 
 y 171. OKITSU 
 
 x 172. EJIRI 
 
 Late impression. 
 
 y 173. FUCHU 
 
 174. MARIKO 
 
 S 
 
 Impression with rose-pink sky—not faded. 
 
 $2 175. OKABE 
 
 Fine impression. In good condition. 
 
 y 176. FUJIEDA 
 
 177. SHIMADA 
 
 Late impression. 
 
 178. KANAYA 
 
 ^ 179. NISSAKA 
 
 I q 180. KAKEGAWA 
 
 Fine impression. Good condition. 
 
 181. FUKUROI 
 
 Z> 
 
 Good impression. 
 
 / 
 
 b 
 
 182. FUKUROI 
 
 Another impression. 
 
 Later edition. 
 
 
 
 183. 
 
 MITSUKI 
 
 Late, hut fairly good impression. 
 
 
 I 
 
 I y 184. 
 
 185. 
 
 !> 
 
 ^ 186. 
 
 b 
 
 HAMAMATSU 
 
 MAIZAKA 
 
 ARAI 
 
First Evening 
 
 187. SHIRASUKA I 
 
 188. FUTAGAWA s' 
 
 189. YOSHIDA £ 
 
 190. GOYU 
 
 191. AKASAKA 
 
 Late impression. 
 
 192. FUJIKAWA 
 
 Fine impression. Good condition. ^ 
 
 193. OKAZAKA ^ 
 
 194. CHI RYU 
 
 Impression without the hill at the horizon. Sj 
 
 195. NARAMI ^ 
 
 y 
 
 196. MIYA ^ 
 
 197. KUWANA 
 
 198. YOKKAICHI 2 
 
 Fine impression. Good condition, i y 
 
 199. ISHIYAKUSHI £ 
 
 200. SHONO 
 
 Late impression. ' ^ 
 
 201. KAMEYAMA ^0 
 
 202. SEKI 
 
 y 
 
 203. SAK A=NO=SH IT A 
 
 204. TSUCHIYAMA 
 
 205. MIZUKUCHI 
 
 206. ISHIBE 
 
 
 Good impression. 
 
First Evening 
 
 / 
 
 207. KUSATSU 
 
 208. OTSU 
 
 b 
 
 b 
 
 209. OTSU 
 
 Another impression. 
 
 210. KYOTO \ 0 
 
 ToIvAIDo GO-JU-SAN TSUGI 
 
 Nineteen prints of the half-block set published by Sano-ki. 
 impressions of the prints of this set are rare. 
 
 s 211. FUJISAWA 
 
 View of the village; Yuyoji Torii at the left. 
 
 212. HIRATSUKA 
 
 Ferry over the Banyu River. 
 
 213. OISO 
 
 View of the village and the bay. 
 
 \b 
 
 ( 
 
 / 
 
 214. MISHIMA 
 
 The village in winter after a heavy snowfall. 
 
 215. NUMAZU 
 
 The highroad. Fuji seen at the left across rice fields. 
 
 216. HARA 
 
 View of Fujisan on a clear afternoon. 
 
 217. YOSHIWARA 
 
 The road across the marsh. Fuji in the distance. 
 
 
 218. FUCHU 
 
 Second street in the Kuruwa quarter. 
 
 CjO, 219. SHIMADA 
 
 ) A daimvo cortege fording the Oigawa. 
 
 Good 
 
First Evening 
 
 220. KANAYA 
 
 Porters preparing to carry a daimyo cortege across the 
 ford. 
 
 221. KAKEGAWA cD 
 
 .. 
 
 The bridge and Akihasan Torn. 
 
 222. MITSUKI 
 
 The ferry across the Tenryugawa. 
 
 223. MAIZAKA 
 
 Ferry boats crossing to Imakiri. 
 
 224. FUTAGAWA 
 
 Travelers seeking shelter from a shower at a wayside tea¬ 
 house. 
 
 225. YOSHIDA 
 
 View of the castle and the bridge over the Toyo river. ~j 
 
 226. FUJIKAWA 
 
 A traveller on horseback approaching the village in a snow 
 storm. 
 
 227. SHONO 
 
 A traveller in a kago carried at a rapid pace along the 
 road through the rice fields. 
 
 228. TSUCHIYAMA 
 
 Travellers passing Suzukayama in a shower. ^ 
 
 229. KYOTO 
 
 The Sanju big bridge. 
 
 OMI HAKKEI 
 
 Eight scenes of Omi. Complete set of eight. 
 
 Yoko-e. Signed : Hiroshige ga. Published by Kawaguchi arid 
 Takeuchi. 
 
 230. YABASE KIBAN 
 
 Returning sails at Yabase. 
 
 First edition. Publisher : Kawaguchi. Hi 
 
 Fine impression. Slightly soiled along vertical fold. 
 
First Evening 
 
 23 1. SETA YUSHO 
 
 The evening glow at Seta. 
 
 First edition. Publisher: Takeuchi. 
 Good impression. Stained. 
 
 232. KATADA RAKUGAN 
 
 Geese flying down at Ivatada. 
 
 Not first edition. Publisher: Kawaguchi. 
 Poor impression. Trimmed oil all sides. 
 
 233. AWAZU SEIRAN 
 
 Clear weather after a storm at Awazu. 
 Not first edition. Publisher: Takeuchi. 
 Poor impression. Margins trimmed. 
 
 234. ISHIYAMA AKI TSUKI 
 
 The autumn moon at Ishiyama. 
 
 \l 
 
 o 
 
 First edition. Publisher: Takeuchi. 
 Ordinary impression. Slightly soiled. 
 
 235. MIIDERA BANSHO 
 
 The vesper bell at Mii temple. 
 Second edition. Publisher: Takeuchi. 
 Fine impression. In good condition. 
 
 236. MIIDERA BANSHO 
 
 Second Edition. Another impression, not in very good condi- 
 \ ^ tion. 
 
 231. HIRAYAMA BOSETSU 
 
 Evening snow on Mount Hira. 
 
 First edition. Publisher: Kawaguchi. 
 Good impression. In excellent condition. 
 
First Evening 
 
 238. KARASAKI YORU AME 
 
 Night rain at Karasaki. The famous old pine-tree in a 
 heavy downpour. 
 
 First edition. Publisher: Kawaguchi. 
 
 Fine impression in flawless condition. Impressions of this print 
 vary greatly. In the very finest the tree is shaded darkest at 
 the bottom, but so much depends upon the quality of the im¬ 
 pression that it is difficult to set up a rigid standard. This 
 impression is a particularly good one. 
 
 EDO KINKO HAKIvEI 
 
 “Night Views in the Environs of Edo.” Three prints of the series. 
 Yoko-e. Signed: Hiroshige ga. Published by Kikakudo. 
 
 239. IKEGAMI BANSHO 
 
 The vesper bell at Ikegami temple. 
 Late impression. 
 
 240. ASUKAYAMA BOSETSU 
 
 Evening snow on Asuka hill. 
 
 Late impression; the white flakes of the falling snow put on by 
 hand quite recently. 
 
 241. SHIBAURA SEIRAN 
 
 Clear weather after 
 
 a storm at Shibaura. 
 
 
First Evening 
 
 KANAZAWA HAKKEI 
 
 “Eight Scenes of Kanazawa.” Four prints of this series. 
 
 Yoko-e. Signed : Hiroshige ga. 
 
 Published by Koshimura Heisuke. 
 
 242. NOJIMA YUSHO 
 
 The evening glow at Nojima. 
 hate impression. 
 
 243. SUSAKI SEIRAN 
 
 Clear weather after a storm at Susaki. 
 
 244. SHOMYO BANSHO 
 
 The vesper bell at Shomyo. A woman in a boat that is 
 passing by listens with head bent down to the sound of the 
 bell from a little shrine on the hillside above a fishing 
 village on the shore. 
 
 245. UCHIKAWA BOSETSU 
 
 Evening snow on the Uchi river. 
 
 246. 
 
 0 / 
 
 -G 
 
 YUMOTO HOT SPRING 
 
 Yoko-e. Series Hakone Chichi To Zue. 
 Springs of the Hakone district.” 
 Published by Sano-ki. 1852. 
 
 First edition. Fine impression. 
 
 “The Seven Hot 
 
 SADATORA 
 
 (Nineteenth century) 
 
 Three prints from an unnamed series of Edo views. 
 
 Yoko-e. Two signed: Sadat or a ga; one not signed. 
 
 -0 247. FUKAGAWA SUSAKI SHIOHI NO ZU 
 
 1 V View of Susaki at low tide. 
 
 <2^ 248. KAMEIDO TEMMANGU KYONAI NO ZU 
 
 j Inside the grounds of the Tenjin shrine at Kameido. 
 
 / 249. ROKUGO NO WATASHI 
 
 View of Rokugo Ferry. 
 
 Not signed. 
 
First Evening 
 
 KUNINAGA 
 
 (D. about 1830) 
 
 250. SEGAWA SHICHIJO AS A WOMAN 
 
 HOLDING A DRAWN SWORD 
 
 Hosoe. Signed: Kuninaga ga. 
 
 Publisher: Y ama-nag a. About 1799. (?) 
 
 251. A PARTY IN A HOUSE BY THE RIVER 
 
 Oban. One sheet of a triptych. 
 
 Signed: Kuninaga ga. Publisher: Izumi ya. About 1830. 
 
 252. FURYU HASSENNIN 
 
 Eight stylish fairies. A woman as Oshikio Sennin, riding 
 upon a white crane; another woman as Tekkai Sennin 
 exhaling her spiritual essence as a little white horse. 
 
 Oban. Left-hand sheet of a triptych. Signed: Kuninaga ga. 
 Dated, Tiger Year, intercalary month, i. e. 1830. 
 
 KUNINOBU 
 
 (Probably a pupil of Harunobu) 
 
 253. YOUNG BOYS AT PLAY 
 
 Hosoe. Signed: Kunmobu ga. About 1770. 
 
 KUNIHIRO 
 
 (Worked in middle nineteenth century) 
 
 254. ACTOR IN THE ROLE OF BENKEI 
 
 He stands in a boat and holds a kageando (dark lantern) 
 in his outstretched hand. 
 
 Large surimono. Signed: Kunihiro utsusu. 
 
 255. ARASHI RIKAN AS A BASKET PEDDLER 
 
 Large surimono. Signed Kunihiro. 
 
 GOUNTEI SADAHIDE 
 
 (Worked in middle of nineteenth century) 
 
 256. THE CHINESE INVASION REPELLED BY THE JAPANESE 
 
 ARMY UNDER HOJO TOKIMUNE IN 1278 A.D. 
 
 Oban triptych. Signed: Gountei Sadahide zu. Published by 
 Marutohu. Dated Tiger Year, 1866. 
 
First Evening 
 
 257. HAKONE NO FUJI 
 
 View of Fuji san from Hakone lake. Printed in tones of 
 blue. 
 
 Uchiwa mount. Signed, Sadahide ga. 
 
 BUNSHIN AND SETSU-O 
 
 (Worked in middle of nineteenth century) 
 
 258. TWO PICTURES OF WATERFALLS 
 
 (a) A half-block vertical panel, signed and sealed, Bunshin, 
 I 0 date about 1842. (b) A Small vertical print from a sheet 
 
 of harimaze, signed, Setsu-6 zu. 
 
 0 
 
 £ 
 
 KEISAI EISEN 
 
 (B. 1790, d. 1848) 
 
 259. EDO SUMIDAGAWA YUKI NO ENKEI 
 
 Distant view of the Sumida river in snow, 
 crossing. 
 
 \ / Yoko-e. Signed: Eisen ga. 
 
 Poor impression. Binder's holes near left edge. 
 
 
 Ferry boat 
 
 n 
 
 / 
 
 b 
 
 260. SHINOBU GA OKA NO BOSETSU 
 
 Evening snow at Shinobazu pond. 
 
 Yoko-e. Signed: Eisen ga. 
 
 Four prints from an unnamed series of Edo views. 
 
 Yoko-e. Signed: Eisen, 
 
 261. NIHON BASHI YORI FUJI 0=MIRU NO ZU 
 
 View of Fuji from Nihon bridge. 
 
 262. SHINOBAZU BENTEN YORI TOEZAN 0=MIRU NO ZU 
 
 View of Toezan from Shinobazu pond. 
 
 
 s> 
 
 -a 
 
 263. KINRYUSAN ASAKUSA DERA KANZEON KYONAI NO ZU 
 
 
 
 In the grounds of Kinryusan temple, Asakusa. 
 
 264. RYOGOKU BASHI YORI TATEKAWA 0=MIRU NO ZU 
 
 View of Tatekawa from. Ryogoku bridge. 
 
First Evening 
 
 NIKKOSAN MEISHO NO UCHI 
 Famous sights in the Nikko mountains. Set of five views of water¬ 
 falls. 
 
 Oban. Signed : Keisai Eisen sha. Unusually good impressions. 
 Soft color. 
 
 265. URAME NO TAKI 
 
 A straight fall with a road passing behind it on the moun¬ 
 tain side. 
 
 266. KEGON NO TAKI 
 
 A fall plunging into a rocky gorge; three men viewing it 
 from a cliff at the right. 
 
 267. SOMEN NO TAKI 
 
 The Noodle fall, so called because the water is thought to 
 assume the form of noodles. 
 
 268. JIYAKUKO NUNOBIKI NO TAKI 
 
 A fall of many cascades coming down the mountain side. 
 A Shinto shrine in the foreground. 
 
 269. KIRIFURI NO TAKI 
 
 The famous Kirifuri fall where the water is broken into 
 many small streams. 
 
 270. CAMELLIA AND MEJIRO (THE JAPAN WHITE=EYE) 
 
 Deep blue ground. 
 
 Half-block vertical panel. Signed: Keisai. 
 
 
 271. TIGER AND FULL MOON 
 
 Hosoe. Signed: Keisai. 
 
 1 
 
 s 
 
 9 
 
 272. NARIHIRA ON HIS EASTERN JOURNEY 
 
 PAUSING TO LOOK AT MOUNT FUJI 
 
 One of the series Meisho Koseki Gyotei no Ki. Famous 
 Historical Places Named in Travellers’ Tales. 
 
 Koban. Signed : Ippitsusai Eizan ga. 
 
First Evening 
 
 A 
 
 273. A FALCON ON A TSUBAKI TREE 
 
 Printed in blues with a touch of yellow. 
 Oban. Signed: Exsen ga. Publisher: So yo. 
 
 274. A YOUTH PLAYING A FLUTE 
 
 Kakemono-e. Framed. Signed: Keisai Eisen. 
 
 275. CARP ASCENDING A WATERFALL 
 
 Kakemono-e. Framed. Signed: Keisai hitsu. Seal: Eisen. 
 
 V' Publisher: Kansendo. 
 
 •of Fine impression. 
 
 'V 
 
 <> 
 
 
 0 
 
 V 
 
 SUZUKIHARUNOBU 
 
 (B. about 1730, d. 1770) 
 
 276. TWO POPULAR KYOTO BEAUTIES 
 
 Waitresses at a branch of the Niken Tea-house at Gion, 
 in Kyoto- One stands upon the engawa; the other is 
 pausing as she walks aw r ay carrying a tea-kettle. 
 
 Chuban. Signed: Suzuki Harunobu ga. About 1769. 
 
 Fine impression. In good condition. 
 
First Evening 
 
 277. A BEVY OF BEAUTIES 
 
 An oiran attended by her kamuro and two shinzo. ^ 
 
 Chuban. Signed: Suzuki Harunobu ga. About 1766. 
 
 Faded and slightly soiled. 
 
 278. RYOGOKU BASHI YUSHO 
 
 The Evening Glow at Ryogoku Bridge. An oiran and 
 her kamuro on the veranda of a tea-house by the river; 
 Ryogoku bridge and Fuji san in the distance. One of the 
 series Furyu Edo Hakkei. 
 
 Chuban. Signed: Suzuki Harunobu ga. About 1769. 
 
 Late impression. Fair condition. 
 
 279. OSEN OF THE KAGIYA TEA=HOUSE AT KASAMORI 
 
 She stands by the kamado and is dipping hot water to fill 
 a tea bowl. 
 
 Chuban. Signed: Harunobu ga. 1769. 
 
 Fine impression, but not in perfect condition. 
 
 280. THE BOY DOLL 
 
 Two young women seated by a hibachi, one of them holding 
 a boy doll. 
 
 Chuban. Signed: Harunobu ga. About 1768. 
 
 Good impression. In very nice condition. 
 
SECOND EVENING SESSION 
 
 TUESDAY, MAY 7, 1918 
 
 AT THE AMERICAN ART GALLERIES 
 
 BEGINNING AT 8.15 O'CLOCK 
 
 SUZUKI HARUNOBU 
 
 (B. about 1730, d. 1770) 
 
 EHON HARU NO NISHIKI 
 
 Brocade of Spring Picture Book. Published by Yamazaki Kimbei 
 about 1771. Sixteen double page and two single page pictures by 
 Harunobu. Not signed except at the end of the book. Engraved by 
 Endo Matsugoro. 
 
 281. GIRLS ADMIRING A BLOSSOMING PLUM TREE 
 
 -v 
 
 282. GIRL SEATED BY A WRITING TABLE 
 
 283. GIRL STANDING IN A DOORWAY AND LOOKING OUT 2. 
 
 284. OIRAN AND KAMURO ROLLING A LARGE SNOWBALL n 
 
 285. GIRLS AT A SHINTO SHRINE ^ 
 
 Looking at a cuckoo flying by. 
 
 286. GIRL ABOUT TO ENTER A HOUSE BY THE SEA 
 
 Turning to look at a flock of plovers flying over the water. 
 
 287. YOSHIWARA WOMEN ADMIRING CHERRY BLOSSOMS7 
 
 288. WHITE=ROBED WOMAN LEAVING A HOUSE AND CLOS= 
 
 ING THE SHOJI BEHIND HER. 
 
Second 'Evening 
 
 <1 y 289. WOMAN STANDING ON A VERANDA BESIDE A POTTED 
 DWARF PINE TREE 
 
 jrO 
 
 290. WOMEN SEATED ON A VERANDA AS A HEAVY SHOWER 
 IS BEGINNING 
 
 291. A GROUP OF GEISHA GOING TO KEEP A PROFESSIONAL 
 b ENGAGEMENT 
 
 1 
 
 292. TWO SINGLE PAGE PRINTS IN ONE MOUNT 
 
 (a) A Stag and Doe under Maple Trees in Autumn. 
 
 (b) A Woman Seated in a Parlor. 
 
 293. GIRL STANDING WITH HER ARM ABOUT THE CORNER 
 POST OF A HOUSE 
 
 Looking at faggot gatherers coming along a road be¬ 
 tween hills in autumn. 
 
 294. TWO GIRLS READING BOOKS 
 
 Brilliant impression. 
 
 S 295. A LADY AND A GIRL HOLDING A WRITING BOX 
 
 b 
 
 Standing on the veranda of a house by a mountain stream. 
 
 ^ 296. AN OIRAN AND A KAMURO IN A GARDEN 
 
 Looking at a crow on the branch of a tree. 
 
 297. AFTER THE BATH 
 
 A young woman in a bath robe walking out to a veranda 
 where a red rug is spread and a round fan is lying. 
 
 1 
 
 298. AFTER THE BATH 
 
 Another impression. 
 
 Different color. 
 
 Slightly toned. 
 
 HARUMITSU 
 
 299. TALL WOMAN WALKING UNDER AN UMBRELLA ON 
 .yy THE SEASHORE 
 
 I V 
 
 Hashira-e. Signed: Harumitsu ga. About 1782. 
 
Second Evening 
 
 TANAKA MASUNOBU 
 
 (Worked c. 1740-1770) 
 
 300. THE LETTER=READING INCIDENT FROM CHUSHINQURA 
 
 Hashira-e. Signed: Masunobu. About 1770. 
 
 YAMAMOTO YOSHINOBU 
 
 (Worked c. 1760-1770) 
 
 301. TWO GIRLS IN A PARLOR 
 
 One is seated by a hibachi; the other is holding a letter. 
 Chuban. Signed. Yoshinobu ga. Publisher: Maruko. About 
 1768. 
 
 KORYUSAI 
 
 (Worked c. 1767-1786) 
 
 302. NEW YEAR’S DAY SCENE 
 
 A girl brings a small stand laden with New Year’s symbols 
 to a youth who is attired in the formal kamishimo and is 
 seated in a parlor before the tokonoma (picture alcove). 
 
 Chuban. Signed: Koryu ga. About 1769. 
 
Second Evening 
 
 303. GI. PROBITY 
 
 M 
 
 A girl seated on a window ledge conversing with a youth 
 seated on the floor before her, with an open book in his 
 hand. One of the series of The Five Cardinal Virtues. 
 Clinban. Signed: Koryusai ga. About 1769. 
 
 304. RETURNING SAILS AT FUKAGAWA 
 
 A young samurai with his face masked helping two young 
 ^ women aboard a pleasure boat. One of the series, Edo 
 
 Mitate Mu Tamagawa. Edo Resemblances to the Six 
 Tama rivers. 
 
 Chuban. Signed: Koryusai ga. About 1769. 
 
 305. SAN GATSU, THE THIRD MONTH 
 
 A woman restraining a man who reaches out toward the 
 v> edibles set out for the Hina Matsuri (Doll Festival). 
 
 One of the series, Furyu Ju-ni Settsu. 
 
 Chuban. Signed: Koryusai ga. About 1769. 
 
 306. ROKU GATSU, THE SIXTH MONTH 
 
 \ Is 
 
 A girl walking with her lover, attended by a servant bearing 
 a lantern. Same series as the preceding. 
 
 307. PRINCE GENJI AND THE LADY AOI 
 Illustration of the Kiri-tsubo tale in the Genji Mono- 
 gatari. One of the series, Yatsushi Genji, Transformed 
 Genji. 
 
 Chuban. Signed : Koryusai ga. About 1770. 
 
 308. GENJI AND MURASAKI GATHERING MAPLE 
 
 BRANCHES 
 
 ^ O 
 
 Illustration of the Momiji-ga incident from the Genji 
 Monogatari. One of the series, Furyu Ryaku Genji. 
 Koban. Signed: Koryusai ga. About 1770. 
 
 309. SOTOBA KOMACHI 
 
 A girl seated on a bench in a garden gives a light from 
 her pipe to a youth standing beside her. One of the series, 
 Furyu Nana Komachi. 
 
 Chuban. Signed: Koryu ga. About 1770. 
 
Second Evening 
 
 310. AKI. AUTUMN 
 
 Two girls seated on the veranda of a country house looking 
 at gay-colored maple leaves floating down a small stream. 
 Chuban. Signed: Koryii ga. About 1769. 
 
 7.0 
 
 311. AKI. AUTUMN 
 
 A youth talking to two women seated on a veranda, one . £) 
 
 of whom turns away from him to look at a kitten. Series: 
 
 Furyu Sato no Shiki. Stylish pictures of the four sea¬ 
 sons in a village. 
 
 Koban. Signed: Koryii ga. About 1770. 
 
 312. A MOCK WRESTLING MATCH BY GEISHA 
 
 Series: Seiro Geika Niwaka Kyogen Zukushi. 
 
 Chuban. Signed: Koryii ga. About 1775. 
 
 313. BOY PLAYING A FLUTE 
 
 Chuban. Signed: Koryusai ga. About 1775. 
 
 w 
 
 S" 
 
 314. SHIKIDO TORIKUMI 
 
 A Mock Marriage Ceremony in the Yoshiwara. 
 Yoko-e. Signed: Koryusai ga. About 1775. 
 
 315. ATTRACTING HIS ATTENTION 
 
 A young man holding a letter and turning to look up at 
 a girl seated on a balcony above, who has thrown a ball at 
 him. 
 
 Hashira-e. Signed: Koryii ga. About 1772. 
 
 KATSUIvAWA SHUNSHO 
 
 (B. 1726, d. 1798) 
 
 316. THE THIRD MATSUMOTO KOSHIRO AS A 
 
 SHICHO (NOBLEMAN’S ATTENDANT) 
 
 Hosoe. Not signed. About 1769. 
 
 Slightly trimmed at the left. 
 
 0 
 
 317. THE SECOND NAKAMURA SUKEGORO AS A WRESTLER 
 
 He is shown lifting a bale of rice. 
 
 Hosoe. Signed: Shunshd ga. About 1769. 
 
 
Second Evening 
 
 332. THE SECOND YAMASHITA KINSAKU AS AN OIRAN 
 
 standing by a screen and holding a sake cup. 
 
 Hosoe. Signed: Shunsho ga. About 1773. 
 
 Somewhat faded and stained. 
 
 333. 
 
 THE SECOND YAMASHITA KINSAKU AS A WOMAN 
 
 holding a biwa (lute) and standing on a river bank at 
 night. 
 
 Hosoe. Signed : Shunsho ga. About 1778. 
 
 Fine impression. In good condition. 
 
 334. THE FIRST NAKAMURA NAKAZO 
 
 IN THE ROLE OF SADAKURO 
 
 Drama “Chushingura,” Nakamura theatre, Edo, summer of 
 1771. 
 
 Hosoe. Signed : Shunsho ga. 1771. 
 
Second Evening 
 
 335. THE THIRD OTANI HIROJI AS AN OTOKODATE 
 
 looking down at an enormous cicada crawling over his feet. 
 Hosoe. Signed: Shunsho ga. About 1780. 
 
 336. THE FOURTH MATSUMOTO KOSHIRO 
 
 AS A MAN HOLDING A MIRROR 
 
 Hosoe. Signed: Shunsho go. About 1776. 
 
 337. NAKAMURA TOMIJURO AS A TEA=HOUSE WAITRESS 
 
 Hosoe. Signed: Katsu Shunsho ga. About 1775. 
 
 Very fine impression. Perfect condition. 
 
 338. SCENE FROM THE THIRD ACT OF CHUSHINGURA 
 
 Kanpei threatening to kill Sagisaka Bannei; Okaru looking 
 on. 
 
 Cliuban. Signed: Shunsho ga. About 1778. 
 
 Late impression. 
 
 339. THE FIFTH ICHIKAWA DANJURO AS A SAMURAI 
 
 disguised as a Buddhist pilgrim. 
 
 Hosoe. Signed ': Katsu Shunsho ga. 1787 (F). 
 
Second Evening 
 
 340. THE FIFTH ICHIKAWA DANJURO 
 
 AS SHIBUYA NO KONNO MASATOSHI 
 
 In this Shibaraku role, Ichimura theatre, 1791, he scored 
 a “great hit.” 
 
 Hosoe. Signed: Shunsho ga. 
 
 341. 
 
 / 
 
 THE THIRD SEGAWA KIKUNOJU 
 
 AS RYU=0 THE DRAGON PRINCESS 
 
 She stands on a rock amid curling waves above which 
 rises the Ryu-gu or dragon shrine supposed to rest upon the 
 bottom of the sea. In the transfiguration scene Kikundju 
 was very successful. Ichimura theatre, 1778. 
 
 Oban. Signed: Shunsho ga. 
 
 342. OMI HAKKEI 
 
 Eight views of Omi. Complete set of eight prints, the 
 well-known subjects in circular compositions. 
 
 ^ Koban with black field. Not signed. 
 
Second Evening 
 
 TORII KIYONAGA 
 
 (B. 1742, d. 1813) 
 
 “Ten Views of Tea-houses.” Two prints of this series. 
 
 Chuban. Signed: Kiyonaga ga. Publisher: Eijudo. About 
 1781. Both are remarkable early impressions in the finest 
 possible condition. 
 
 343. THE HATSUTAKA TEA=HOUSE AT YAGENBORI 
 
 A corner of the building 1 is shown, with a waitress standing 
 in front of it and turning toward a young woman who is 
 passing by followed by a man servant bearing a bundle 
 on his back and a blue umbrella. 
 
 344. THE TAKANAWA TEA=HOUSE 
 
 This is shown in the distance. In the foreground a mother 
 and her daughter are walking hand-in-hand over the sands 
 at low tide, and a young girl trots along by their side. 
 
 345. THE SECOND ICHIKAWA MONNOSUKE 
 
 IN PRIVATE LIFE 
 
 He is seated, talking to a kamuro, his hand resting on her 
 shoulder, while her mistress stands and looks down at them. 
 
 Oban. Signed: Kiyonaga ga. About 1782. 
 Sharp, early impression. In perfect condition. 
 
 > 
 
 
Second Evening 
 
 346. SCENE FROM THE DRAMA “YUKI=MOTSU=TAKE 
 
 FURISODE GENJI” 
 
 This play was performer at the Nakamura theatre, Edo, 
 iy Kaomise, the opening of the winter season, eleventh 
 
 month Temmei 5, i. e. December, 1785. Nakamura 
 Nakazo at this performance changed his stage name (for 
 one year only) to the sixth Nakayama Kojuro, and 
 appeared as Hatchdtsubute no Kiheiji, the lamplighter of 
 Gion temple. 
 
 The third Otani Hiropi, dressed in kamishimo and with 
 his face and body painted red, played the role of Nanba 
 no Jiro Tsunetd; and the third Ichikawa Yaozo appeared 
 as Agugenda. The scene of their fight in the dark, while 
 lightning flashed and thunder rolled, was a great success. 
 
 Oban. Signed: Kiyonaga ga. December, 1785. 
 
 In good condition save for a few moth holes. 
 
 347 . MURASAKI SHIKIBU AT ISHIYAMA=DERA 
 
 She is seated on the engawa of Ishiyama temple on the 
 shore of Lake Biwa. Her elbow rests on a table upon 
 which paper and a suzuribako (writing-box containing 
 brushes, ink and an ink-stone) are set out, and she is 
 preparing to write the famous classical romance “Genji 
 Monogatari.” 
 
 Oban. Signed: Kiyonaga ga. 
 
 A rare print. In fine condition. 
 
 348. AN ACTOR’S BOATING PARTY ON THE SUMIDA RIVER 
 
 Middle sheet of a triptych, representing a party of actors 
 and geisha in a great canopied pleasure boat. The actor, 
 who wears a haori (coat) of black gauze, and green 
 hakama (trousers) is the third Sawamura Sojuro. By 
 his side sits Iwai Kumesaburo, a famous impersonator of 
 women’s roles who later became the fifth Iwai Hanshiro. 
 In front of them the fourth Matsumoto Koshiro leans for¬ 
 ward to listen to a geisha and a man dressed in pale blue. 
 A smaller boat with a woman seated in it is coming up 
 alongside the large craft. 
 
 Oban. Signed : Kiyonaga ga. Probably 1788. 
 
Second Evening 
 
 349. VIEWING THE CHERRY FLOWERS ON ASUKA HILL 
 
 Two women, one of them leading a young girl, are walking 
 along the grass-covered summit of the hill admiring the 
 pale pink blossoms. Many small figures in the distance. 
 Left-hand sheet of a triptych. The triptych is reproduced 
 in color as one of the illustrations to “Japanese Color 
 Prints and Their Designers” by Frederick W. Gookin: 
 The Japan Society of New York, 1913. 
 
 Oban. Signed: Kiyonaga ga. 
 
 Fine impression in perfect condition. The beni is especially 
 beautiful. 
 
 350. JORURNHIME AND HER MAIDS 
 
 ON THE VERANDA OF HER DWELLING 
 
 One sheet of a small triptych representing Yoshitsune 
 serenading the lady Joruri. The story of their love af¬ 
 fair is known to every Japanese. 
 
 Chuban. Signed: Kiyonaga ga. Publisher: Eijudo. About 
 1788. 
 
Second Evening 
 
 351. A LADY CROSSING NIPPON BRIDGE 
 
 She is attended by two maids and a boy. In the back¬ 
 ground a vista of the canal with a row of fireproof ware¬ 
 houses on the right bank; another bridge in the middle 
 distance and beyond it low hills. 
 
 Oban. Signed: Kiyonaga ga. Publisher: Eijudo. About 1788. 
 Fine impression of a very rare print. In perfect condition. 
 
 KITAO MASANOBU 
 
 (B. 1761, d. 1816) 
 
 352. IKEBANA NO SEIRAN 
 
 Flower Arrangement in Clearing Weather. Three women 
 grouped on the engawa of a house; peonies in a flower bas¬ 
 ket beside them. Series: Shinsen Zashiki Hakkei. New 
 selection of eight parlor views. 
 
 Chub an. Not signed. 
 
 Fine impression. Perfect condition. 
 
Second Evening 
 
 353. FURIN NO BANSHO 
 
 The Wind-bell Vesper. A woman showing her infant son 
 to another woman seated on a veranda. A wind bell hangs 
 overhead. 
 
 Same series as the preceding number. 
 
 354. NISHIKLE AKI NO TSUKI 
 
 Brocade of the Autumn Moon. A woman seated before 
 a writing table on a balcony in imitation of Murasaki 
 Shikibu at Ishiyama-dera. Series: Tokiwazu Hakkei. 
 Chuban. Not signed: The attribution to Kitao Masanobu is 
 tentative. If by him it must be one of his earliest works. 
 
 355. SEIRO MEIKUN JIHITSU SHU 
 
 Celebrated women of the green-houses and poems written 
 by them. Seven double-page prints, size 15 x 20 inches, in 
 a folding album. A highly esteemed work. 
 
 Signed: Kitao Iiissai Masanobu. Preface dated 1784. 
 
 Very fine impressions. In perfect condition. 
 
 356. UTAGAWA AND NANASATO OF YOTSUMI-YA 
 
 The former seated at the left, reading, the latter standing 
 behind her holding a poem slip and a writing brush while 
 her kamuro holds her suzuri-bako. Above, Utagawa’s 
 poem on Cherry Blossoms and Nanasato’s on Plum Blos¬ 
 soms. 
 
 Double page print, 15 x 20, from the album “ Seiro Meikun 
 Jihitsu Shu.” 1784. 
 
 Very fine impression. 
 
 KITAO MASAYOSHI 
 
 (B. 1761, d. 1824) 
 
 357. TWO GROUSE ON A GREEN BANK 
 
 BY A SMALL CASCADE 
 
 One of a series of Birds of China. 
 
 Yoko-e. Signed: Keisai utsusu. 
 
Second Evening 
 
 KUBO SHUNMAN 
 
 (B. 1757, d. 1820) 
 
 358. MERRYMAKERS 
 
 Young people at a Tea-house on the bank of the Sumida- 
 gawa, playing games and taking refreshments. 
 
 Oban diptych. Signed: Shunman ga. Publisher: Shoeidd. 
 About 1788. 
 
 Good impression. In very nice condition, colors softly faded. 
 
 359. TEMPLE VISITORS 
 
 Two women accompanied by a young man who gives one 
 of them a light from his pipe. 
 
 Oban. Middle sheet of a triptych. Signed: Shunman ga. 
 Publisher: Eijudo. About 1790. 
 
 360. GOING TO THE SHRINE 
 
 A woman, crossing two logs placed across a stream and 
 serving as a bridge on a path leading to a shrine, turns 
 to look back at a farmer who, with his mother and his 
 wife carrying a baby on her back, is following her. 
 
 Yoho-e. Signed: Shosado Kubo Shunman ga. 
 
 In fine condition. 
 
 SHUNZAN 
 
 (Worked about 1780-1800) 
 
 361. MUSASHI, CHOFU NO TAMAGAWA 
 
 Women washing cloth in the Tama river in Musashi. 
 Chuban. Signed: Shunzan ga. 
 
 362. MUTSU, CHIDORI NO TAMAGAWA 
 
 A fisherman and a boy looking at a flock of plovers flying 
 over the Tama river in Mutsu. 
 
 Chuban. Signed: Shunzan ga. 
 
 363. A FIREFLY COLLECTING PARTY 
 
 Women and girls in the garden of a great house on the 
 shore of a lake. 
 
 Oban diptych; two sheets of a triptych, together with a modern 
 reprint of the three sheets. Signed: Shunzan ga. Publisher: 
 Eijudd. About 1790. 
 
No. 368—YOKYA: INDOOR ARCHERY 
 
Second Evening 
 
 364. SEIRO NIWAKA JENSEI ASOBI 
 
 A niwaka performance by Yoshiwara geisha. 
 Chuban. Signed: Shunzan ga. Publisher: Eijudo. 
 
 
 365. THREE WOMEN ON A VERANDA 
 
 One of them holds an arrow with a letter tied to it. 
 
 Oban. Ink-print from key-block. Signed: Shunzan ga. Pub¬ 
 lisher: Ei judo. About 1788. 
 
 0 
 
 366. FAIR PILGRIMS AT THE ISE SHRINES 
 
 Oban. Right-hand sheet of a triptych which is Shunzan's best 
 L j Q known work. Signed: Shunzan ga. Publisher: Eijudo. About 
 
 1788. 
 
 367. CHIGO ASOBI KOTO GO SHOGA 
 
 Youngsters at play. In the foreground a boy is separating 
 tw y o boys who are fighting over a game of chess. Back 
 of them a girl is removing the cloth cover from a koto. 
 Oban. Signed: Katsukawa Shunzan. Publisher: Mikawa-ya. 
 
 HOSODA EISHI 
 
 (Worked c. 1788-1800) 
 
 368. YOKYA 
 
 Indoor Archery. Women practicing archery in the parlor 
 of a great house which is open on one side giving a view 
 of an extensive garden. 
 
 Oban diptych—part of a triptych. Signed: Eishi ga. Pub¬ 
 lisher: Takasu. About 1791. 
 
 Fine impression. Very good condition. 
 
 ( Illustrated ) 
 
 369. FOUR WOMEN AND A MAN EMBARKING 
 
 ON A PLEASURE BOAT 
 
 Oban diptych—part of a triptych. Signed: Eishi ga. Pub¬ 
 lisher: Eijudd. About 1790. 
 
 Fine impression. Good condition. 
 
 (Illustrated ) 
 
 370. INK PROOFS 
 
 From the key blocks of two sheets of the six forming a 
 Mu Tamagawa composition. These show two women sym¬ 
 bolizing the Koya Tamagawa and two others, the Chidori 
 Tamagawa. 
 
 Oban diptych. Signed : Eishi zu. Publisher: Eijudo. About 1795. 
 
No. 369—FOUR WOMEN AND A MAN EMBARKING ON A PLEASURE BOAT 
 
Second Evening 
 
 3 71. A PARTY OF MERRYMAKERS AT SHINAGAWA 
 
 The gathering is in a great house overlooking Edo Bay. 
 
 Oban triptych. Signed: Eishi ga. Publisher: Eijudo. About 
 v 0 1791. 
 
 Good impression. In fine condition. 
 
 ( Illustrated ) 
 
 372. WAKANA OF CHOJI YA AND HER KAMURO 
 
 / Oban. Signed: Eishi zu. Publisher: Eijudo. About 1796. 
 
 Y ^ Fine impression. In good condition. 
 
 373. NEW YEAR’S VISITING IN THE YOSHIWARA 
 
 Women of the quarter calling upon each other. Right, 
 Kisagawa of Matsuba-ya; middle, Takagawa of Ogi-va; 
 I left, Tokiwazu of Choji-ya. They are passing a house 
 
 where a young man is seated and being served with tea. 
 At the left a vista down a side street. 
 
 Oban triptych. Signed: Eishi ga. Publisher: Eijudo. About 
 1792. 
 
 374. ASAGAO: MORNING GLORY 
 
 Prince Genji preparing to paint a picture of a convolvulus; 
 women standing about him. One of the Furyu Yatsushi 
 f) Genji series. 
 
 Oban triptych. Framed. Signed: Eishi ga. Publisher: Izumi 
 ya. About 1790. 
 
 Faded and slightly stained. 
 
 375. A WOMAN TRYING TO SNATCH A LOVE LETTER 
 
 FROM ANOTHER WOMAN 
 
 Hashira-e. Signed: Eishi ga. Published by Eijudo. Toned. 
 
 KITAGAWA UTAMARO 
 
 (B. 1753, d. 1806) 
 
 376. NEW YEAR’S DAY IN EDO 
 
 A man and his wife receiving callers to whom a maid is 
 carrying refreshments. Outside the house children are 
 listening to two manzai performers. 
 
 Yoko-e. Not signed. One of the illustrations in Ehon Waka 
 Ebisu , published by Tsutaya Juzaburo in 1786. 
 

Second Evening 
 
 \ 
 
 ■v 
 
 377. A CEREMONIAL VISIT 
 
 A noble arriving 1 on horseback at the entrance to a palace 
 where a great lord is seated in a spacious room with two 
 ladies kneeling before him. 
 
 Yoko-e. From the same hook as the 'preceding. 
 
 378. A FLOWER ARRANGEMENT 
 
 A willow stump and peonies in a green bronze dish. 
 
 Oban. Signed: Utamaro hitsu. 
 
 Three prints from the picture book entitled FLTKEN-ZO, pub¬ 
 lished by Tsuta-ya Juzaburo, about 1787. 
 
 Yoko-e, not signed, hut in the hook Utamaro is named as the 
 artist. 
 
 379. A CHERRY VIEWING PARTY 
 
 Scene in an open wood of scattered pines and blossoming 
 X cherry trees. A number of women, two girls, and a 
 
 ^ V man are coming forward from the left and five men 
 
 grouped upon rugs spread under a pine tree are waiting 
 to receive them. 
 
 380. GOING TO A PICNIC 
 
 A road leading across a small stream and over low sandy 
 hills sparsely covered with pines and blossoming cherry 
 trees. Two gaily clad women and two men, one of whom 
 is bald and blind, walk toward the right followed by a 
 servant bearing the picnic boxes and a bottle of sake. 
 
 381. RETURNING FROM A PICNIC 
 
 Scene on a road by the side of a river. A girl who has 
 taken too much sake is being helped along by two com¬ 
 panions. A young samurai follows, dancing merrily, and 
 further back two porters are lugging a heavy wooden 
 tub of sake. 
 
 382. A GIRL WASHING HER HANDS 
 
 She is squatting down by a chozubashi, a young man 
 pours water upon her hands from a dipper, and another 
 girl holds a lighted candle. 
 
 Oban. Sigjied: Utamaro ga. About 1787. 
 
Second Evening 
 
 383. A MONKEY SHOWMAN 
 
 Exhibiting a monkey in a house in the Yoshiwara. Double¬ 
 page picture from the book entitled: Ehon Waka Ebisu, 
 published in Edo in 1786. 
 
 Yoko-e. Not signed. 
 
 An exquisitely printed and much admired print. 
 
 In fine condition save for some moth holes. 
 
 1 
 
 ±0 
 
 384. AN UKIYO=E TRAVESTY OF A FETE 
 
 IN A NOBLEMAN’S MANSION 
 
 Commoners are depicted instead of nobles. Middle sheet 
 of a triptych which is one of the most important of Uta¬ 
 maro’s earlier works as he was breaking away from the 
 Kiyonaga manner. One of the figures he introduced in 
 the left-hand sheet is that of the artist Ivitao Masanobu. 
 This sheet shows a group of people in the foreground 
 and back in the room a geisha dancing the Flower-hat 
 odori. 
 
 Oban. Signed: Utamaro ga. About 1790. 
 
 Fine impression. In very good condition. 
 
 385. A YOSHIWARA BEAUTY 
 
 Masquerading as Benten, one of the group of Seven For¬ 
 tune Beings. She is seated before a shimadai, or stand 
 bearing a decorative assemblage of good luck symbols, the 
 long-lived pine, the invisible hat, Daikoku’s mallet, etc., 
 and is playing a biwa (a kind of lute). Behind her a 
 kamuro holds another stand laden with crystal gems: a 
 man is seated in the foreground and an oiran stands at 
 the left. 
 
 Oban. Signed: Utamaro liitsu. Publisher: Tsuta-ya. About 
 1791. 
 
 An interesting print by Utamaro in the Kiyonaga manner. In 
 fair condition. 
 
 3 0 
 
 386. TONASE AND KONAMI BEGINNING THE JOURNEY TO 
 YAMASHINA 
 
 The incident forming the eighth act of the Chushingura 
 drama, presented realistically. Two young women typify¬ 
 ing Tonase and her daughter are shown leaving Edo, walk- 
 
Second Evening 
 
 387 388 
 
 387. SEIRO SAN BIJIN: “THREE GREEN = HOUSE BEAUTIES.” 
 
 An oiran and two attendants who are dressed as actors, 
 in a nikawa or burlesque procession. Both have their heads 
 covered with square “caps” of olive-colored gauze with a 
 pink border across their foreheads and pink ribbons pass¬ 
 ing about their cheeks and under their chins. One is 
 beating a dried gourd with a stick; the other is in the 
 role of a peddler of chasen, i.e. tea-whisks used in pre¬ 
 paring tea for the cha-no-yu ceremony. Kirara (mica) 
 ground. 
 
 Oban. Signed: Utamaro hit.su. Publisher: Tsuru-ya. About 
 1794. 
 
 Exceptionally fine impression of a much admired print. Rarely 
 found with the blue unfaded. In beautiful condition. Prints 
 of this type hare fetched very large prices in Japan during 
 the last year. 
 
 [No. 386— Continued ] 
 
 ing across the sands on the shore of the bay, with Eno- 
 shima and Mount Fuji in the background. One of the 
 series of eleven: Komei Bijin Mitate Chushingura. 
 
 Oban. Signed: Utamaro hitsu. Publisher: Omi-ya. About 
 1793. 
 
Second Eveiling 
 
 388. HANAMURASAKI OF TAMA=YA 
 
 Large head and bust portrait of the beauty who is point¬ 
 ing a brush in her mouth preparatory to writing a letter 
 on a roll of paper held in her left hand. Yellow ground. 
 Series: Seiro Nana Komaehi, “Seven Green-house Ko- 
 machi” or modern representatives of the ninth century 
 poetess Ono no Komaehi. 
 
 Oban. Signed: Shomei (true brush ) Utamaro liitsu. Pub¬ 
 lisher: Izumi-ya. About 1798. 
 
 An excellent example of Utamaro’s celebrated “big head por¬ 
 traits.” 
 
 ( Illustrated ) 
 
 FUJINOBU 
 
 389. WOMAN IN A WINDOW 
 
 Looking at a passing Fan-mount Vendor. 
 
 Hashira-e. Signed: Fujinobu ga. 
 
 Good impression but has many moth holes badly patched. 
 
 KATSUSHIKA HOKUSAI 
 
 (B. 1760, d. 1849) 
 
 FUGAKU SAN-JU-ROKIvEI 
 
 Thirty-six Views of Fuji. Complete set of forty-six prints and 
 two duplicates. 
 
 Yofio-e. Signed: Zen Hokusai litsu. 
 
 As this series is so well known detailed descriptions are not here 
 given. 
 
 390. VIEW OF FUJI FROM NIHON BASHI, EDO 
 
 391. VIEW FROM THE MITSUI SHOPS 
 
 IN SURUGA STREET, EDO 
 
 c0 
 
 392. VIEW FROM RYOGOKU BRIDGE, EDO > 
 
 393. VIEW FROM HONGUWANJI TEMPLE, ASAKUSA, EDO S 
 
 394. VIEW FROM TSUKUDA ISLAND, EDO BAY $0 
 
 Late edition. Unusual coloring. 
 
 i v 
 
Second Evening 
 
 ^ 395. VIEW FROM SURUGA=DAI, EDO 
 
 396. VIEW FROM SHIMO MEGURO, EDO 
 
 397. VIEW FROM KOISHIKAWA, EDO 
 
 On a clear morning after snow. 
 
 398. VIEW FROM THE SAZAIDO OF THE SHRINE 
 
 ? 0 OF THE FIVE=HUNDRED RAKAN, EDO 
 
 *5 399. FUJI SEEN BENEATH MANNEN BRIDGE, 
 
 FUKAGAWA, EDO 
 
 400. VIEW FROM GOTENYAMA 
 
 Good impression. 
 
 / 401. FUJI SEEN ACROSS THE YOSHIWARA, EDO 
 
 Good impression. 
 
 
 402. VIEW FROM THE VILLAGE OF SEKIYA 
 
 403. VIEW FROM SENJU 
 
 Men fishing at a weir. 
 
 Fine impression. Good condition. 
 
 
 404. VIEW FROM THE FUJNVIEW TEA=HOUSE 
 
 AT YOSHIDA 
 
 405. HONJO TATSUKAWA 
 
 View from a lumber yard on the Tatsu river, Honjo dis¬ 
 trict, Edo. 
 
 
 406. VIEW FROM ENOSHIMA 
 
 Fine impression. Good, condition. 
 
 / 407. VIEW FROM HAKONE LAKE 
 
 V 
 
 - 408. VIEW FROM MISHIMA PASS 
 
 409. VIEW FROM THE TOTOMI MOUNTAINS 
 
 410. VIEW FROM KANAYA ON THE TOKAIDO 
 
 V 1 
 
Second Evening 
 
 411. VIEW FROM THE SEA OFF NARUMI, 
 
 PROVINCE OF KAZUSA 
 
 412. VIEW FROM USHIBORI, PROVINCE OF HITACHI 3, 2. — 
 
 Late impression. Unusual coloring. 
 
 413. VIEW FROM TODA NO URA I ^ 
 
 414. VIEW FROM TODA NO URA j v -- 
 
 Another impression. Late edition. Unusual coloring. 
 
 5~° 
 
 415. VIEW FROM THE ROUND PINE AT AOYAMA 
 
 Good impression. 
 
 416. VIEW FROM HODOGAYA ON THE TOKAIDO 
 
 Brilliant impression. In good condition. 
 
 417. VIEW FROM NAKABARA 
 
 Good impression. The footbridge on path printed in a deep- 
 toned red-brown. 
 
 418. FUJI REFLECTED IN LAKE MISAKA 
 
 419. VIEW OF FUJI FROM THE SEA AT TAGO NO URA / l• 
 
 yo 
 
 420. VIEW FROM EJIRI ON A WINDY DAY V ^ 
 
 Late impression. 
 
 421. VIEW FROM THE TAMA RIVER, 
 
 PROVINCE OF MUSASHI 
 
 ifO 
 
 422. VIEW FROM THE TEA=FIELDS OF KATAKURA j 7 — 
 
 £0 
 
 423. VIEW FROM SEVEN=RI BEACH j — 
 
 424. VIEW FROM UMESAWA IN SAGAMI / Q 
 
 425. VIEW FROM THE INUME PASS - 
 
 5-O 
 
 426 . VIEW FROM LAKE SUWA j 7 — 
 
 Late impression. Strong coloring. 
 
 427. VIEW FROM THE WATER WHEEL AT ONDEN 
 
Second Evening 
 
 428. VIEW FROM FUJIMI = HARA IN OWARI 
 
 Good impression. 
 
 
 0 
 
 jo 
 
 / 
 
 o 
 
 
 429. VIEW FROM ONO SHINDEN 
 
 430. PILGRIMS ASCENDING FUJI 
 
 Late impression. Unusual coloring. 
 
 431. VIEW FROM KAJIKASAWA 
 
 432. BACK VIEW OF FUJI FROM THE MINOBU RIVER 
 
 ■■' ' r AA ^ ) 
 
 433. VIEW FROM ISAWA AT DAWN 
 
 ^ 434. KANAGAWA 
 
 Fuji seen beneath a wave of the sea. 
 
 Late impression. 
 
 435. KANAGAWA 
 
 I \ 0 Another impression. Still later. 
 
 436. SEN PU KAI SEN 
 
 'V I & 
 
 N 
 
 The mountain in fair weather with gentle breeze. 
 
 Late edition. The mountain not in red as usual, but in green 
 and white with dark blue outline. Blue sky with only a few 
 clouds at the top. 
 
 437. THE CONE OF FUJI; THUNDERSTORM BELOW 
 
 y 
 
 SHUNSEN 
 
 (Worked in first Half of nineteenth century) 
 
 438. FAGGOT GATHERERS RESTING BY THE SEA 
 
 They are seated on bundles of faggots; one is looking at 
 / their carabao oxen lying near them; the other is talking 
 
 to a woman with a baby in her arms. 
 
 Yoko-e. Signed: Kashosai Shunsen ga. Publisher: Izumi ya. 
 About 1800. 
 
 439. SHIOKUMI DIPPING SEA=WATER FOR MAKING SALT 
 
 Yoko-e. Signed: Kashosai Shunsen ga. Publisher: Sano-ki. 
 
Second Evenina 
 
 t- 
 
 440. AWABI SHELL DIVERS AT ISE 
 
 They are upon a crag jutting over the sea, and one of 
 them holds out a shell to two women visitors. 
 
 Yoko-e. Not signed. About 1800. 
 
 441. SAIQYO HOSHI VIEWING FUJI 
 
 Yoko-e. Signed : Shuns en changed to Shunko. Publisher: 
 Sano-ki. 
 
 442. FISHING FOR TAI 
 
 Three women in a fishing boat on Edo bay. One of them 
 has caught a large tai (red snapper) in a net and is 
 hauling it in. 
 
 Yoko-e. Signed: Shunko ga. 
 
 443 . USHIWAKA SERENADING JORUR1HIME r\ 
 
 Imitated by women. 
 
 Yoko-e. Signed: Kashosai Shunsen ga. Publisher: Sano-ki. 
 
 ITOGETSU 
 
 444. THE MONKEY BRIDGE *7 _1 
 
 Small vertical print. Signed : Hogetsu (? Kagetsu). 
 
 BUNSEI 
 
 445. KANAN HASSHO 
 
 Two prints of the series, (a) View of the prosperous 
 fishing village of Tamaki; and (b) Fishing at Kawazuko. 
 
 Lateral koban. Signed: Bunsei. 
 
 ANDO HIROSHIGE 
 
 (B. 1797, d. 1858) 
 
 446. SURIMONO CALENDAR FOR 1837 
 
 A man and a boy dancing the Tori-oi (chasing birds) 
 odori, around a kadomatsu or pine tree set up as a New 
 Year’s emblem. The numerals for the dai and sho, the 
 long and short months of the Cock Year, 1837, are printed 
 in bronze upon the garments of the dancers. Adapted from 
 a design by Hanabusa Itcho. 
 
 Square surimono. Signed: Oju (by request ) Hiroshige ga. 
 Slightly toned. 
 
Second Evening 
 
 i" ^ 
 
 \ v , 
 
 n 
 
 447. BAMBOO IN MOONLIGHT 
 
 Lateral format 6%<rl8%. Signed, in gauffrage, Hiroshige 
 ga. Issued by a paper manufacturer in a book of specimens 
 of the paper called hoshi. 
 
 448. RYOGOKU NATSU NO TSUKI 
 
 Autumn noon at Ryogoku bridge. Series: Edo Meisho 
 Uta no Nagame. Poem Views of Famous Sights in Edo. 
 Yoko-e. Signed : Hiroshige ga. Publisher: Mary-ya Jinpachi. 
 About 1840. 
 
 Good impression. 
 
 449. YOROI NO WATASHI: YOROI FERRY 
 
 Series: Edo Sho-kei. Best Views of Edo. 
 
 Yoko-e. Signed: Hiroshige ga. Published by Kawaguchi 
 Shozo. 
 
 Good impression, but damaged, a piece being torn from each 
 of the upper corners. 
 
 450. MOONLIGHT AT TSUKUDA 
 
 A sheet of a triptych of the Furyu Genji Series. 
 
 Oban. Signed: Hiroshige hitsu. Engraver, Taki. Hated, 
 eleventh month Ox Year, 1853. 
 
 451. THE EIGHT SCENES OF OMI COMBINED IN ONE 
 
 Long surimono printed in blues and pale sahnon pink. Signed: 
 Hiroshige ga. 
 
 \ 
 
 V* V 
 
 V’\i\ 
 
 XL 
 
Second Evening 
 
 452. LANDSCAPE 
 
 / 
 
 A flat, sparsely wooded plain, with a broad river in the 
 foreground and blue mountains in the distance. 
 
 Long surimono. Signed: Hiroshige. 
 
 453. THE TWELVE MONTHS OF THE YEAR 
 
 A complete set of twelve designs emblematic of the months, 
 which in old Japan were numbered, not named. 
 
 1. Ducks and pine branch. 
 
 2. A street vendor of tea-whisks for the Cha-no-yu cere¬ 
 
 mony. 
 
 3. A large carp. 
 
 4. Asazuma standing in a boat. 
 
 5. Woman walking under an umbrella. 
 
 6. Siberian iris and cuckoo. 
 
 7. Bon dancing. 
 
 8. Fishing with flares. 
 
 9. Woman standing by a street lantern. 
 
 10. A stag and tall Suzuki grass. 
 
 11. A large white radish (daikon) and fugu fish. 
 
 12. A monkey showman fording a stream. 
 
 Narrow 'panels 15 x 3, mounted upon two sheets. Signed: Hiro¬ 
 shige ga. Publisher: Matsumara Yahei. 
 
 Good impressions. A few moth holes, but quite immaculate. 
 Extremely rare. 
 
 454. TWO TOKAIDO VIEWS 
 
 (a) Fording the Abekawa at Fuchu. Lateral print from / 0 
 a quarter block set. (b) Rain Storm at Ejiri. One of 
 the half block set published by Tsuta-ya Kichizo. 
 
 455. KAZUSA, SHIRASATO KAIHIN 
 
 View of the sea from Shirasato beach. Series: Shokoku y ___ 
 Meisho Harimaze. 
 
 Lateral print, 5y 2 x 9. Not signed. Rare. 
 
 456. KANAZAWA HAKKEI 
 
 Eight scenes of Kanazawa. Complete set of eight quarter 
 block lateral prints. 
 
 Signed: Hiroshige ga. 
 
 Fine impressions. Moth holes in each sheet. 
 
Second Evening 
 
 457. OMI HAKKEI 
 
 Ei^ht scenes of Omi. Complete set of quarter-block fan- 
 shaped designs on two yoko-e sheets unsevered. 
 
 Signed: Hiroshige ga. 
 
 Beautiful impression. In fine condition. 
 
 TRIPTYCHS 
 
 Three of the rare Toto Meisho series of oban triptychs published 
 by Tsuta-ya Kichizo about 1841. 
 
 Signed: Oju (by request) Ichiryusai Hiroshige hitsu. 
 
 458. ASUKAYAMA JENZU 
 
 Complete picture of the view from Asuka hill. 
 
 In good condition. Framed. 
 
 > 
 
 459. KAMEIDO UMEYASHIKI JENZU 
 
 Bird’s-eye view of the Plum Garden at Ivameido. 
 In fine condition. Framed. 
 
 460. 
 
 SUMIDAGAWA JENZU SETCHU 
 
 Bird’s-eye view of the Sumida river in snow. 
 Fine impression. In good condition. Framed. 
 
 MEISHO EDO HYAKKEI 
 
 “Famous Sights of Edo, One Hundred Views.” Thirty subjects 
 out of 118 in the set. 
 
 Oban. Each print signed: Hiroshige ga, and bearing a seal date 
 either 1856, 1857, or 1858. Published by Eikichi, whose shop 
 was named Uo-ya. 
 
 461. NIHON BASHI YUKI HARE 
 
 Nippon bridge in clear weather after a snowfall. 
 
 1 
 
 5 
 
 462. NIHON BASHI TORI ICHOME RYAKU ZU 
 
 Rough sketch of a scene in the “First Ward” Nippon 
 Bridge district. Street scene with a number of geisha in 
 the foreground walking under a huge umbrella. 
 
 Good impression, but not in perfect condition, and margins 
 trimmed off. 
 
Second Evening 
 
 463. KONAGNGAWA QO=HON MATSU 
 
 View of the Konagi river, and the Go-lion pine tree, its 
 limbs propped up with long poles. 
 
 Good impression. 
 
 464. SURUGA CHO 
 
 View down the street showing the Mitsui dry-goods shops S 
 on either hand, and in the background the white cone of 
 Fuji lifting above a stratum of clouds. 
 
 465. AYASE=GAWA KANEGA=FUCHI 
 
 The Ayase river, a name given to the Sumida in that S 
 part of its course traversing the Ivanega-fuchi district. 
 
 A few drops of rain are falling and a cuckoo flies over¬ 
 head. 
 
 466. MASAKI HEN YORI SUIJIN MORI UCHIKAWA 
 
 SEKIYA NO SATO WO MIRU ZU 
 
 A glimpse of Suijin temple grove and the village of Sekiya i 
 in the Uchikawa district from the window of a house near 
 Masaki. 
 
 Fine impression. 
 
 467. MEGURO JIJI GA CHAYA - 
 
 View across the fields from the old man’s tea-house by 
 the roadside at Meguro. 
 
 468. SAKAI NO WATASHI 
 
 The Watashi ferry. Early impressions do not have the 
 dark blue streak across the water which appears to have 
 been introduced in an attempt to give greater strength 
 to the composition. 
 
 469. KYOBASHI TAKEGASHI 
 
 Kyo bridge and bamboo lumber stacks. 
 
 Late impression in unusual coloring. Margins trimmed off. 
 
 I* 
 
 470. SHIBAURA NO FUKEI 
 
 View of Shibaura on the shore of Edo bay. 
 Margins trimmed off. 
 
 0 
 
Second Evening 
 
 
 
 471. SH1BAURA NO FUKEI 
 
 V 
 
 
 Ink impression from the key block. 
 
 472. NIJIKU WATASHI 
 
 View of Nijiku ferry. 
 Margins trimmed off. 
 
 , -o 473. HORIYE NEKOZANE 
 
 r 'J / View of the village with Fuji san in the distance. 
 
 Margins trimmed off. 
 
 
 474. MITSUMATA WAKARE NO ZU 
 
 The meeting place of three forks of the river. 
 
 Good impression save that the purple stratum of cloud is too 
 dark. Later impressions are usually spoiled by printing a dark 
 blue streak across the water. 
 
 475. HORIKIRI NO HANA SHOBU 
 
 ^ The iris garden at Horikiri. 
 
 Very good impression. Margins trimmed. 
 
 476. AYASE=GAWA KANE=GA=FUCHI 
 
 
 
 The Pool of the Bell, Ayase river. A man poling a raft; 
 and projecting overhead a great branch of an ocho (mi¬ 
 mosa) tree with pink blossoms. 
 
 Good impression , margins trimmed. 
 
 477. YOSHIWARA NIHON TSUTSUMI 
 
 
 The road to the Yoshiwara along the Nihon embankment 
 of the Sumida river. 
 
 Impression with the embankment printed in black instead of 
 the usual gray. 
 
 478. KAMEIDO TENJIN KEIDAI 
 
 
 -0 
 
 V 
 
 In the grounds of the Tenjin shrine at Kameido. The 
 famous print showing the drum bridge and great racemes 
 of purple wistaria blossoms hanging in the foreground. 
 
 Good impression. Margins trimmed. 
 
Second Evening 
 
 479. RYOGOKU HANABI 
 
 Fireworks at Rvogoku bridge. Dated 1858. S 
 
 Unusually fine impression. Margins trimmed. 
 
 480. MAMA NO MOM1JI TEKONA NO YOSHIRO, 
 
 TSUGI = H ASHI ^0 
 
 Maples at Mama, the Tekona shrine, and Tsugi bridge. '| 
 
 A view over the Edo plain, with the mama no irie (inlet 
 of the sea) and the little Tekona shrine in the foreground, 
 seen from a ravine spanned by a branch of a maple tree 
 in full autumnal foliage. Dated 1857. 
 
 481. TORA=NO=MON SOTO AOEZAKA 
 
 The Aoi ascent outside the Tiger gate. Night scene. 
 Sellers of singing mushi (cicadas) carrying their stalls 
 of little cages along the road ; and in the foreground two 
 almost nude men carrying lanterns. Dated 1857. 
 
 Fine impression. 
 
Second Evening 
 
 V 
 
 V 
 
 O' 
 
 'U 
 
 482. BIKUNNBASHI SETCHU 
 
 The Nun’s bridge seen through falling snow. 
 
 483. BIKUNNBASHI SETCHU 
 
 Another impression with dark sky. 
 
 Dated 1858. 
 
 484. ATAGO=SHITA YABU=KOJI 
 
 View of Yabu-koji, a street at the foot of Atago hill, 
 bordering a canal lined on its further side by bamboos, the 
 heavily snow-laden branches of which project across the 
 sky. A large building stands at the left and swallows 
 are flitting about. Dated 1857. 
 
 485. O HASHI ATAKE NO YUDACHI 
 
 The great bridge in a summer rain-storm. Through the 
 pelting drops the further bank of the Sumida is dimly 
 seen. On the stream a man is poling a raft: wayfarers 
 are scurrying across the bridge. 
 
 Very fine impression of one of the greatest designs of this 
 series. The red labels have been toned dozen with chemicals 
 and the margins are trimmed close. 
 
Second Evening 
 
 486. ONMAYA GASHI 
 
 ^ iew of the river bank and the honorable stables where 
 the Shogun’s horses were kept. Ferry boat crossing. 
 Fine impression of a much-admired print. 
 
 487. UKICHI AKIBA NO KEIDAI 
 
 Yasu pond inside the ground of the Akiba shrine. A 
 scene gay with maple trees in full autumnal foliage. The 
 reflections in the water are a feature unusual in Japanese 
 art. 
 
 488. FUKAGAWA KIBA 
 
 Lumber yard at Fukagawa. 
 
 Late impression. The shy printed a deep blue-black. The 
 red labels toned down with chemicals. 
 
 489. YUSHIMA TENJIN ZAKA UE CHOBO 
 
 View from the summit of the ascent to the Yushima Tenjin 
 shrine overlooking Inokashira pond, Shinobazu. Snow 
 scene. Dated 1856. 
 
 Late impression. The glow in the sky at the horizon olive- 
 green instead of red as in the earlier editions. Slightly trimmed 
 on all four sides. 
 
 490. MEGURO, TAIKO BASHI YLMil NO OKA 
 
 Taiko bridge and the Yu-hi mound at Meguro, seen 
 through falling snow. Dated 1857. 
 
 Fine impression of a much-admired print. 
 
 491. FUKAGAWA SUSAKI JU=MAN TSUBO 
 
 Bird’s-eye view over the great Susaki plain, Fukagawa 
 district, covered with a mantle of snow. A famous design 
 with a great eagle poised in the air and looking down at 
 a tub floating in the water of Edo bay. Dated 1857. 
 First edition. Fine impression, with lacquer applied by hand 
 to the beak and talons of the eagle. 
 
 492. OJI SHOZOKU ENOKI OMISOKA NO KITSUNE BI 
 
 Fox-fl res under the Enoki trees (Celtis Wildenowiana, the 
 Chinese tree lotus) at Oji on New Year’s Eve. The legend 
 is that the foxes assemble under the trees on the last night 
 of the year each carrying a flare in its mouth. Dated 1857. 
 
Second Evening 
 
 493. ASAKUSA KIRI BATAKE UCHU YU KEI 
 
 The Kiri (Paulownia imperialis) grove at Asakusa in 
 rain at dusk. Signed “Second generation Hiroshige” and 
 dated 1859. It is supposed that it was designed to take 
 the place of the “Asakusa Kiri Batake” print by Hiro¬ 
 shige I that forms a part of the series as at first issued. 
 
 This impression has been “faked" in an attempt to make it 
 pass for a great rarity. It is an example of a novel sort of 
 revamping that has been rather extensively carried on in Japan 
 during two or three years past. Full details of all the processes 
 employed are not available, but in general it is known that 
 chemicals are used to clean the prints and to bleach the paper 
 if it has been toned by exposure to light. This usually but 
 not always changes the texture of the paper and hardens it. 
 Incidentally, some of the colors, more especially the beni red 
 and the yellow, are removed either partially or entirely. Then 
 newly engraved color blocks are used to restore the color. As 
 in most instances only one impression of any particular print 
 is available for treatment, the process is somewhat expensive. 
 Sometimes only a single color is freshened up; or a ground of 
 yellow pigment, or of kirara {mica) is added. The results 
 vary widely in deceptive quality. When soiled spots may be 
 seen through the newly printed color, the fraud is not difficult 
 to detect. But in other cases the work has been very skilfully 
 done; and print buyers need to be on their guard. 
 
 In this print the deep blue of slightly greenish hue is a 
 recent addition. A bit of the original blue may be seen in 
 the lower right-hand corner. Apparently the red of the labels 
 is what remains of the original very bright color after the 
 application of the chemical bath. The purple used for some 
 of the foliage of the trees in the foreground so nearly disap¬ 
 peared in the process that it shows only as grayish drab in 
 the light streak belozc the dark blue. 
 
Second Evening 
 
 HIROSHIGE AND EISEN 
 
 KISOKAIDO ROKU-JU-KU TSUGI 
 
 The sixty-nine post stations of the Kisokaido, the inland highway 
 between Edo and Kyoto. Thirty-three prints of the set of seventy 
 and several duplicates 
 
 Yoko-e. The publication was begun by T akeuchi, whose seal 
 was placed upon some of the prints of the early editions and 
 was continued by Iseri who appears to have taken over the 
 blocks and issued all of the prints of the later editions. 
 
 494. ITABASHI NO EKI 
 
 Itabashi station. View of the road through the village. 
 By Eisen. 
 
 Late edition. Without signature or publishers. 
 
 Margins trimmed close. 
 
 495. WARABI NO EKI, TADOGAWA WATASHI 
 
 Ferry over the Tado river at Warabi. By Eisen. 
 
 Early edition. Not signed. Publisher: Takeuchi. Seal “ Ho-ei .” 
 
 496. URAWA SHUKU ASAMAYAMA EMBO 
 
 Distant view of Mount Asama from Urawa Station. By 
 Eisen. 
 
 Early edition but not the first. The signature of Eisen removed. 
 Good impression but not in perfect condition. 
 
 497. OMIYA FUJI NO ENKEI 
 
 Distant view of Fuji from Omiya. By Eisen. 
 
 Not first edition. Without the signature “ Keisai ” which ap¬ 
 pears in the earliest impressions. 
 
 498. HONJO EKI. SHINRYUGAWA WATASHI BA 
 
 The crossing of the Shinryu river at Honjo station. By 
 Eisen. 
 
 Early edition. Not signed. 
 
 Fin e imp res s io n. 
 
 499. HONJO EKI 
 
 Later impression, not so carefully printed. 
 
 500. SHINMACHI 
 
 The road on the bank of a curving river; blue mountains 
 in the distance, against a golden sky. 
 
 First edition. Signed: Hiroshige ga. 
 
 Good impression. Not in perfect condition. 
 
Second Evening 
 
 .0 
 
 V 
 
 v 
 
 V 
 
 501. ITAHANA 
 
 Snow scene. Wayfarers passing along the road lined by 
 pine trees. A bridge across a stream and houses of the 
 village at the left. By Eisen. 
 
 Presumably second edition. Not signed. 
 
 Fine impression. 
 
 
 
 502. ITAHANA 
 
 Later impression. Without the gray sky arid the green shadow 
 on the snow in the foreground. 
 
 503. ANNAKA 
 
 A daimyo cortege just coming into view on the road 
 climbing upward between two hills. 
 
 Late edition. Coloring different from that of the first edition. 
 Signed: Hiroshige ga. 
 
 504. SAKAMOTO 
 
 The village street with a narrow stream running through 
 the center. A great round-topped hill in the background, 
 b Op inions differ as to whether this print is by Hiroshige 
 
 or by Eisen. It resembles the work of the latter, but the 
 inscription appears to be in Hiroshige’s writing. 
 
 Not first edition. 
 
 505. KARUIZAWA 
 
 Night scene with great fires of burning brush, at one of 
 which a man bends over to light his pipe. Another man 
 gives a light from his pipe to a traveller on horseback 
 who carries, attached to his saddle, an Odawara lantern, 
 the rays from which illuminate the upper part of his body. 
 
 First edition. Signed: Hiroshige ga. Seal: Tokaido. Pub¬ 
 lished by Takeuchi but the lantern bears the name Iseri. 
 Superb impression. In perfect condition save margins trimmed 
 close. 
 
 506. KUTSUKAKE 
 
 A man leads two heavily laden carabao in a driving rain¬ 
 storm. Other wayfarers bend over to breast the wind. 
 By Eisen. 
 
 Second edition, without the artist's signature, which appears 
 in the earlier impressions. 
 
Second Evening 
 
 507. OIWAKE JIKU ASAMAYAMA CHOBO 
 
 Distant view of the shaft of Asamayama from Oiwake. 
 By E isen. 
 
 Late edition. Earlier impressions show the travellers in a 
 torrent of rain. 
 
 Poor impression. Register imperfect. 
 
 
 508. SHIONADA 
 
 The rest house by a great tree on the bank of the Chikuma 
 river. A group of nearly nude porters resting under the 
 shelter and three others who have had a dip in the stream, 
 are approaching. A golden sunset glow suffuses the sky. 
 First edition. Signed: Hiroshige ga. Publisher: I seri. 
 
 Good impression. In fine condition. 
 
 
 509. YAWATA 
 
 A winding stream spanned by a footbridge across which 
 farmers are crossing; a rest house on the high bank on | Q 
 the further side; beyond it a bamboo grove and distant 
 mountains. 
 
 First edition. Signed: Hiroshige ga. Publisher: I seri. 
 
 Very fine impression. Margins trimmed close and a small piece 
 torn from one corner at the foot. 
 
 lo - 
 
 510. MOCH1ZUKI 
 
 Moonlight view. Porters toiling uphill along the road 
 bordered with great cryptomerias. 
 
 * 
 
 First edition. Signed: Hiroshige ga. Publisher: I seri. O/a 
 
 Fine impression. 
 
 511. NAGAKUBO 
 
 A station at the foot of Yatsu-ga-taku. Shadowy forms 
 of people crossing a bridge over a wide river on a moon¬ 
 light evening. 
 
 First edition. Signed: Hiroshige ga. Publisher: Iseri. 
 
 Good impression. Margins trimmed close. 
 
 3 \ 
 
 ✓ 
 
 512. WADA 
 
 The highest mountain pass on the Kisokaido, which here 
 winds between two snow-clad peaks. 
 
 First edition. Signed : Hiroshige ga. Publisher: Iseri. 
 
 Good impression. Xot in very good condition; margins and 
 something more trimmed off. 
 
 \ 
 
Second Evening 
 
 513. SHIMA NO SUWA 
 
 A station by Lake Suwa, celebrated for its hot baths. 
 View of the inn with a party of travellers having a meal, 
 and at the left a bath house with a man bathing in a 
 large tub. 
 
 Edition uncertain. Signed: Hiroshige ga. Publisher: Iseri. 
 
 514. SHIOJIRI TOGE SUWA NO KOSUI HIBO 
 
 The frozen Lake Suwa from the Shiojiri pass. By Eisen. 
 Second edition. Without the signature of Eisen which appears 
 on the first impression, but with the red Hoeido seal of Takeuchi. 
 
 515. SEMBA 
 
 A man poling a boat laden with faggots, and another 
 man poling a raft along a river with grassy banks and 
 overhanging willows with branches waving in a breeze. 
 The full moon shines through a film of blue-gray cloud 
 that covers most of the sky. 
 
 First edition. Signed : Hiroshige ga. Publisher: Iseri. 
 
 This impression, which fetched $210 at the Metzgar sale in 
 November, 1916, is another example of the revamped prints 
 mentioned in the description of Lot 493. The soft blue in 
 the clouds, sky, and water, which makes it supremely beautiful, 
 is apparently a modern addition. The paper has not been 
 hardened but remains quite soft and delightful to the touch. 
 
Second Evening 
 
 516. MOTOYAMA 
 
 Travellers resting by a fire on the roadside where a 
 great pine tree that has been blown over by a gale is 
 propped up with a trestle. 
 
 Edition uncertain. Signed: Hiroshige ga. Publisher: Iseri. 
 
 517. ATSUKAWA 
 
 Travellers resting at a large inn on the mountain side; 
 a snow-clad peak in the distance. 
 
 First edition. Signed: Eisen ga. Publisher: Takeuchi. 
 
 Seals: Takeuchi and Hoeido. 
 
 Superb impression. In 'flawless condition. 
 
 518. MIYANOKOSHI 
 
 Famous moonlight scene with figures crossing a narrow 
 bridge in the foreground and ghostly forms of trees and 
 houses on the bank of the Kiso river, showing in silhouette 
 through a fog hanging over the water. 
 
 First edition. Signed: Hiroshige ga. Publisher: Iseri. 
 
 Good impression. In fine condition. 
 
 519. FUKUSHIMA 
 
 The barrier gate and guard house at the entrance to the 
 town. 
 
 First edition. Signed: Hiroshige ga. Publisher: Iseri. 
 
 Superb impression. In flazeless condition. 
 
Second Evening 
 
 520. FUKUSHIMA 
 
 First edition. Another fine impression hut damaged , a small 
 section in the center at the top having been torn and replaced 
 hy an inserted piece of paper painted to resemble the missing 
 part of the design. 
 
 521. AGEMATSU 
 
 6 ^ 
 
 The Ono waterfall faced by a projectng ledge of rock 
 called the Nezame no Toko, or “Awakening from bed” plat¬ 
 form; and on a bridge over the rapids of the Iviso river two 
 travellers viewing the scene. 
 
 Edition uncertain. Signed: Hiroshige ga. Publisher: Iseri. 
 
 G> 
 
 l/ 
 
 522. SUWARA 
 
 A much-admired rain scene. Porters rushing for shelter 
 at the rest house where several travellers are congre¬ 
 gated; and in the middle distance two travellers, one of 
 them on horseback, plodding along through the down¬ 
 pour. 
 
 First edition. Signed: Hiroshige ga. Publisher: Iseri. 
 
 Fine impression. Perfect condition except margins trimmed 
 close. 
 
 523. NOJIRI INAGAWA BASHI ENKEI 
 
 View of the cascades of the Ina river in a rocky gorge 
 spanned by a bridge over which the highway leads. By 
 V Eisen. 
 
 Second edition, without Eisen' 1 s signature. Publisher: Takeuchi. 
 Poor impression. 
 
 
 0 
 
 524. SANTONO 
 
 A field of waving Suzuki grass in the foreground: at the 
 right the path to a Shinto shrine leads up a low hill 
 crowned with two torii and blossoming plum trees. 
 
 First edition. Signed: Hiroshige ga. Publisher: Iseri. 
 
 525. OCHIAI 
 
 A daimyo cortege coming down the slope from the village 
 and crossing a narrow stream in the foreground. A blue 
 mountain range in the background. 
 
 First edition. Signed: Hiroshige ga. Publisher: Iseri. 
 
 Good impression. Somewhat trimmed all around. 
 
Second Evening 
 
 526. 01 
 
 Two travellers on horseback being led by betto on foot, 
 across the Ju-san toge or thirteen passes in a snow¬ 
 storm. They are shown at the summit of the Shichi-hon- 
 matzu zaka, the Seven-pines hill. 
 
 First edition. Signed: Hiroshige get. Publisher-. Iseri. 
 
 Good impression. Slightly soiled. 
 
 527. HOSOKUTE 
 
 View of the village seen through two tall pine trees that 
 lean toward each other across the road on a hillside. 
 
 Late edition. Signed: Hiroshige ga. 
 
 Poor impression. 
 
 528. MIEJI 
 
 In the foreground at the right two camellia trees in full 
 bloom, and a clump of tall bamboos; and, on the hillside, 
 a farmer and his wife stopped on the way home from 
 work to show a wandering Buddhist monk the road to 
 the village, the roofs of which are seen on the horizon. 
 Probably second edition. Signed: Hiroshige ga. 
 
 529. MIEJI 
 
 Another impression, later printing, the low ground vn dark 
 grays, and a deep red glow in the sky. 
 
 530. MUSA 
 
 People crossing a bridge formed by two boats placed end 
 to end and fastened bv stakes. 
 
 First edition. Signed: Hiroshige ga. Publisher: Iseiri. 
 
 Fine impression. Good condition. 
 
 531. MUSA 
 
 Another impression. Second or third edition. 
 
 532. MUSA 
 
 Still another impression. Same edition as the preceding lot. 
 
Second Evening 
 
 KOBAYASHI KIYOCHIKA 
 
 In Japan, the prints by this artist, who died in 1881, have many 
 admirers, and when offered for sale they fetch good prices. All the 
 prints here listed are signed Ivobayashi Kiyochika. 
 
 533. DISTANT VIEW OF FUJI 
 
 FROM THE HAKONE MOUNTAINS 
 
 " Dated 1877. 
 
 534. A FIRE IN HISAMATSU STREET 
 
 One of Kiyochika’s best known works. Dated 1877. 
 
 535. STREET SCENES 
 
 (a) Hiki-fune street, Koume, in snow, dated 1879; (b) 
 
 z? s ^ _ 
 
 Night Scene, Suruga street, Tokyo; (c) Night Scene, 
 
 Ginza district, Tokyo. 
 
 536. FIREFLIES FLITTING OVER THE TEA=WATER CANAL 
 
 Boat lighted by lanterns in tbe foreground. 
 
 b 
 
 b 
 
 \ 
 
 
 537. MOONLIGHT AT KOUME 
 
 538. KAKIGARA STREET ON THE RIVER BANK: TWILIGHT 
 
 539. DISTANT VIEW OF RYOGOKU BRIDGE 
 
 FROM YANAGI BRIDGE 
 
 540. GATHERING NORI AT SHINAGAWA 
 
 541. FARM BUILDINGS: MOONLIGHT 
 
 542. KUDANZAKA, EVENING 
 
 Dated 1880. 
 
 543. TWO TOKYO VIEWS 
 
 (a) Evening View, Asakusa. (b) Shinobazu Pond in 
 Winter. Both dated 1880. 
 
 544. TWO TOKYO VIEWS 
 
 r (a) The Gohon Pine Tree; threatening weather. (b) 
 
 Honcho Street, a snowy evening. Dated 1880. 
 
Second Evening 
 
 b v 
 
 545. RYOGOKU BRIDGE 
 
 Dated 1880. 
 
 546. NIGHT RAIN AT YANAGIWARA 
 
 Dated 1881. 
 
 547. KURUMA AT ASAKUSA, EVENING 7 Sj 
 
 Dated 1881. 
 
 548. SHOPPING IN THE EVENING AT ASAKUSA 7 ^ 
 
 Dated 1881. 
 
 y© 
 
 549. NIGHT RAIN AT ASAKUSA BRIDGE ) 7 ;_ 
 
 550. AN INTERRUPTED FEAST 
 
 An eagle on the branch of a great tree, disturbed bv a 
 hunter carrying a gun, lets go its hold upon a captured 
 fox, and it drops into the river below. Diptych. 
 
THIRD EVENING SESSION 
 
 WEDNESDAY, MAY 8 , 1918 
 
 AT THE AMERICAN ART GALLERIES 
 
 BEGINNING AT 8.15 O'CLOCK 
 
 PRINT BLOCKS 
 
 551. BLOCK FOR TWO HOSOE PRINTS 
 
 In black only, for hand-coloring 1 (urushi-e); “Oiran and 
 Kamuro” by Okumura Masanobu, and “A Wakashu” by 
 Nishimura Shigenaga. 
 
 Publisher : Okumura Masanobu. Size, 121/2 x 16% inches. In 
 very good condition. 
 
 552. BLOCK FOR A^OSOE PRINT 
 
 In black only. Engraved with a figure of the actor Tsu 
 gawa Kamon in a female role. No artist named. 
 
 Size, 10 % x 0 I 4 inches. 
 
 553. KEY BLOCK FOR A PRINT BY HOKUSAI 
 
 Scene from the second act of Chushingura. 
 Size, 91/4 101/4 inches. 
 
 554. KEY BLOCK FOR A PRINT BY HIROSHIGE 
 
 “Fireworks at Ryogoku Bridge, Series Edo Meisho.” On 
 the other side the key design of another print, “A la¬ 
 borer bv an unnamed artist has been engraved, but has 
 been partially planed off. 
 
 Size, 9 x 13% inches. 
 
Third Evening 
 
 555. KEY BLOCK FOR A PRINT BY KUNIYASU 
 
 And on the other side the key pattern of a design of two 
 figures, the block mortised and plugged with a small piece 
 of wood upon which the signature of Utamaro is en¬ 
 graved. Shows how blocks were revamped. The figures 
 are not bv Utamaro. 
 
 556. KEY BLOCK FOR TWO PRINTS OF THE HALF=BLOCK 
 
 TOKAIDO SET BY HIROSHIGE, PUBLISHED BY EZAKI 
 
 And, on the other side, engraved with the key pattern 
 of a figure print by Kunisada, signed Toyokuni, and two 
 censors’ seals, which indicate a date somewhere between 
 1842 and 1853. 
 
 Size, 15/rlO inches. 
 
 Accompanied by an impression of “View of Kinryusan temple 
 by Hiroshige, which was printed from this block. 
 
 557. MODERN RE=ENGRAVING OF A PRINT BY HARUNOBU 
 
 Women at the Sea Shore. Also one of the blocks from 
 which it was printed; the key design engraved on one 
 side, and the pattern for one of the color impressions on 
 the other. 
 
 Size of block, 11%/r 9 inches. 
 
 558. BLOCK FOR A MODERN RE=ENGRAVING 
 
 OF A PRINT BY KIYONAGA 
 
 The key design engraved on one side, and the pattern 
 for one of the color impressions on the other. 
 
 Size, 13% x 9% inches. 
 
 559 BLOCK FOR A MODERN RE=ENGRAVING 
 
 OF A PRINT BY EISHI 
 
 Key design only. 
 
 Size, 14 9% inches. 
 
 SUZUKIHARUNOBU 
 
 (B. about 1730, d. 1710) 
 
 560. AN UNEXPECTED VISITOR 
 
 A young samurai with his face covered by a mask calls 
 to see a girl and finds with her another samurai who, to 
 hide his identity, crawls under the kotatsu (covered fire 
 
 box). 
 
 Lateral chuban. Not signed. About 176/. 
 
Third Evening 
 
 561. THE SPYING MOTHER 
 
 Young lovers caught bv an angry mother who peers into 
 the room where they are seated with arms about each 
 other. 
 
 Lateral chuban. Not signed. About 1767. 
 
 562. FUMIZUK1, THE SEVENTH MONTH 
 
 A girl standing on a veranda. Above her head, pro- _ ^ 
 
 jected against a bank of fog, is a bamboo branch decorated 
 with poem slips for the Tanabata festival, seventh day of 
 seventh month. 
 
 Narrow vertical panel. Signed-. Harunobu ga. About 1765. 
 
 563. FOOTBALL PLAYERS 
 
 A young man and a girl playing football in a court built 
 of bamboo poles. / 2- 
 
 Chuban. Not signed. About 1766. 
 
 Late impression. In poor condition. 
 
 564. BOYS FIGHTING OVER A GAME OF SUGOROKU 
 
 Chuban. Signed-. Suzuki Harunobu ga. About 1767. 
 Fine impression. Colors as when first printed. 
 
 565. SETTSU: SNOW 
 
 An oiran in a snowstorm attended by a man servant hold¬ 
 ing a yellow umbrella over her, and by her two kamuro 
 walking under another umbrella. Series: Furyu Settsu- 
 gek-ka. Stylish Snow, Moon, Flower. 
 
 Chuban. Signed: Suzuki Harunobu ga. About 1769. 
 
 Good impression. In fair condition. 
 
 566. TSUKI: MOON 
 
 A young woman seated in a room looking out at the moon 
 through the open shoji. A girl holding a samisen stands 
 by her side. Same series as the preceding lot. 
 
 Chuban. Signed: Harunobu ga. About 1769. 
 
Third Evening 
 
 567. A BREEZY DAY BY THE SEA 
 
 Two young women on the sands on a breezy day, watch¬ 
 ing the curling waves. Above is an ode reciting the power 
 of the waves to wear away the rocks. 
 
 Chuban. Signed: Suzuki Harunobu ga. About 1769. 
 
 Superb impression. In fine condition. 
 
 568. THE MOON GAZER 
 
 A young woman standing in a room open toward the 
 garden, is gazing at the full moon shining above a cloud 
 that spans the sky. 
 
 Cliuban. Signed: Harunobu ga. About 1769. 
 
 569. NOBLE LOVERS 
 
 A young nobleman and a court lady seated in a close 
 embrace. 
 
 Lateral chuban. Xot signed. About 1766. 
 
 Fine impression. In perfect condition. 
 
Third Evening 
 
 570. AN EXCHANGE 
 
 A mother taking her infant son from another woman, and 
 at the same time handing her a letter. 
 
 Chuban. Signed: Suzuki Harunobu ga. 1767. 
 
 Late impression. Fair condition. 
 
 571. THE MOONLIT WAVES 
 
 A woman standing in a house by the sea and turning to 
 look through the open shoji while another woman, seated 
 bv her side, fans the fire in a hibachi to boil water in a 
 tea-kettle. Ode above: 
 
 When we count the moonlit waves 
 We may see that this is the middle of autumn. 
 Cliuban. Signed: Harunobu ga. About 1768. 
 
 FURYU ENSHOKU MANUEMON 
 
 “Stylish Love Adventures of Manuemon.” Four prints from the 
 series. 
 
 Lateral chuban. Not signed. 1768. 
 
 572. THE APPARITION OF TWO NOTED BEAUTIES 
 
 Figures of Osen of the tea-house at Ivasamori temple and 
 Ofuji of the tooth-brush shop at Kinryusan temple, ap¬ 
 pearing on a white cloud to a man seated in a cryptomeria 
 grove near a torii. The text indicates that the figure of 
 the man is a self-portrait of the artist. 
 
 573. REFRESHMENT AT SHINAGAWA 
 
 Manuemon seated in a house by the sea, where a geisha 
 is playing a samisen and a maid is offering him a cup of 
 sake. 
 
 574. VISITING HIS LADY LOVE 
 
 Manuemon calling upon a young woman is received by 
 her in a room open upon one side giving a view of the 
 garden and a wing of the house. 
 
 Fine impression. In perfect condition. 
 
 575. A BOATING PARTY ON THE RIVER 
 
Third Evening 
 
 ISODA KORYUSAI 
 
 (Worked c. 1767-1786) 
 
 576. VERY TALL YOUNG WOMAN IN KOMUSO ATTIRE 
 
 Hashira-e. Signed: Koryusai ga. About 1769. 
 
 Fine impression. Fair condition. 
 
 ( Illustrated ) 
 
 n 
 
 577. YOUNG WOMAN STANDING ON A VERANDA 
 
 Hashira-e. Signed: Koryu ga. About 1770. 
 
 578. GIRL ASLEEP 
 
 Dreaming of a Walk with her Lover in a Snowstorm. 
 "2. 0 Hasliira-e. Signed : Koryusai ga. About 1770. 
 
 579. THE LETTER=READING INCIDENT 
 
 FROM CHUSHINGURA 
 
 I F ^ Hashira-e. Signed: Koryusai ga. About 1770. 
 
 580. A YOUNG FALCONER AND ATTENDANT 
 
 g'O In a field near Mount Fuji. 
 
 J Hashira-e. Signed: Koryusai zu. About 1770. 
 
 Vo 
 
 581. TWO TALL GIRLS 
 
 Under a willow tree in a gale in spring. 
 Hashira-e. Signed: Koryusai ga. About 1771. 
 
 ( Illustrated ) 
 
 582. IDENTIFYING HIM 
 
 |V 
 
 A woman holding a mirror -so as to disclose the features of 
 her lover, who is disguised as a komuso. 
 
 Hashira-e. Signed: Koryu ga. About 1772. 
 
 583. AN OIRAN WALKING IN SNOW 
 
 A man servant holds an umbrella over her. 
 Hashira-e. Signed: Koryusai zu. About 1773. 
 
 584. THREE WOMEN OF CHOJUYA READING A LETTER 
 
 Hashira. Signed: Koryu ga. About 1776. 
 
Mswpfta5 
 
 581 
 
 575 
 
Third Evening 
 
 )1 
 
 585. A TALL WAITRESS AT AN ARCHERY GALLERY 
 
 Carrying a cup of tea to a customer 
 
 Hashira-e. Signed: Koryusai za. About 1788. 
 
 
 586. CHOZEN OF CHOJLYA 
 
 Standing with her arm about her kamuro. 
 
 Hashira-e. Signed: Koryusai ga. About 1788. 
 
 TORII KIYONAGA 
 
 
 (B. 1742, d. 1818) 
 
 587. OHAN AND CHOEMON 
 
 Eloping to commit suicide in the Katsura river. 
 Hashira-e. Signed: Kiyonaga ga. Publisher: Eijudo. About 
 1781. 
 
 
 588. TWO TALL WOMEN 
 
 Hashira-e. Signed: Kiyonaga ga. Publisher: Eijudo. About 
 1782. 
 
 L / 
 
 589. TWO GEISHA AT A PARTY 
 
 One is standing, the other seated holding a cup of sake. 
 Hasliira-e. Signed: Kiyonaga ga. About 1782. 
 
 590. THE PROW OF A PLEASURE BOAT 
 
 Long surimono with many odes inscribed. 
 
 Signed: Kiyonaga ga. Dated 1785, summer. 
 
 
 591. DOMESTIC OCCUPATIONS 
 
 Women in the courtyard of a house by the Sumida river, 
 engaged in washing and drying cloth. 
 
 Oban triptych. Signed: Kiyonaga ga. Publisher: Tsuta-ya 
 Zuzaburo. About 1792. 
 
 Very fine impression. Immaculate condition. 
 
 ( Illustrated ) 
 
 L) 0 0 
 
 592. BOATING PARTY UNDER RYOGOKU BRIDGE 
 
 Oban triptych. Signed: Kiyonaga ga. About 1785. 
 
 Fine impression. Slightly but very evenly faded, and not quite 
 immaculate, but generally in good condition. 
 
 ( Illustrated ) 
 
No. 591—DOMESTIC OCCUPATIONS 
 
No. 592—BOATING PARTY UNDER RYOGOKU BRIDGE 
 
Third Evening 
 
 SHUNCHO 
 
 (Worked c. 1770-1796) 
 
 593. A VISIT TO THE ROKU AMIDA SHRINE 
 
 Two women and a young man on their way to the shrine 
 across the fields. The man carries a bottle of sake, a 
 bunch of persimmons, and a bag of other edibles. 
 
 Chuban. Signed: Sliuncho ga. Publisher: Yama-mori. About 
 
 1791. 
 
 
 jrO 
 
 594. GROUP OF WOMEN AT A PARTY 
 
 Right-hand sheet of a triptych. 
 
 Oban. Signed: Sliunclid ga. Publisher: Iseji. About 1791. 
 
 ^5 
 
 595. GROUP OF FOUR WOMEN 
 
 One of them holds a young boy. Left-hand sheet of 
 a triptych, perhaps the one of which the preceding lot 
 forms a part. 
 
 Oban. Signed: Sliuncho ga. Publisher: Iseji. About 1791. 
 
 2 . 0 
 
 596. NATSU OMO: SUMMER, I THINK 
 
 A man seated under a kaya (mosquito net canopy), a 
 woman standing outside and a maid waiting in a door- j —* 
 
 way behind her. 
 
 Chuban. Signed: Sliuncho ga. About 1791. 
 
 597. NOGIYO MANSAKU DEKI IKI NO ZU 
 
 Harvesting a good crop. In the foreground a holiday 
 group; in the background farmers harvesting and threshing 
 rice. One sheet of a triptych. 
 
 Oban. Signed: Sliuncho ga. About 1790. 
 
 Not in good condition. 
 
 598. MIYA MAIRI NO ZU 
 
 Taking a girl child to a Shinto shrine for the naming 
 ceremony. — ^ 
 
 Oban. Signed: Sliuncho ga. 
 
 About 1791. 
 
Third Evening 
 
 599. TAKASHIMA=YA OHISA 
 
 Large head and bust portrait of the popular tea-house 
 waitress shown reflected in a mirror. Mica ground. 
 
 Oban. Signed: Shuncho ga. Publisher: Tsum ya. About 
 1793. 
 
 Superb impression. In fine condition. 
 
 600. STANDING FIGURES OF A MAN AND WOMAN 
 
 Hashira-e. Signed: Shuncho ga. Publisher: Ixvatoya. 
 
 601. WOMEN VIEWING GAKU (FRAMED PICTURES) 
 
 AT A SHINTO SHRINE 
 
 Hashira-e. Framed. Signed: Shuncho ga. Publisher: Izumi 
 ya. Aboiit 1788. 
 
 
 602. PROCESSION OF YOSHIWARA WOMEN 
 
 Representing the five festival days. 
 
 Oban. Three sheets of a set of five, framed as a triptych. 
 Signed: Shuncho ga. Publisher: Izumi-ya. About 1792. 
 
 603. NEW YEAR’S DAY SCENE 
 
 Girls playing Hanetsuki, i. e., Battledore and shuttlecock. 
 Oban diptych. Signed: Shuncho ga. About 1786. 
 
 Fine impression. Perfect condition. 
 
 ( Illustrated ) 
 
No. 603—NEW YEAR’S DAY SCENE 
 
Third Evening 
 
 604. TALL YOUNG WOMAN 
 
 Standing on the river bank at Mimeguri. 
 Hashira-e. Signed: Shunclio ga. Publisher: Mori. 
 1787. In excellent condition. 
 
 About 
 
 SHUNYE I 
 
 i 
 
 (Worked c. 1775-1790) 
 
 605. NAKAMURA RIKO AS A TALL WOMAN 
 
 She stands by a bucket of clams, with a litter of clams 
 on the floor at her feet. 
 
 Hosoe. Signed: Shunko ga. About 1778. 
 
 ) > 
 
 
 A 
 
 
 606. THE THIRD ICHIKAWA VAOZO AS AN OTOKODATE 
 
 Hosoe. Signed: Shunko ga. About 1780. 
 
 607. THE THIRD SEGAWA KIKUNOJO AS AN OIRAN 
 
 Hosoe. Signed: Shunko ga. About 1781. 
 
 2 - 
 
 608. THE FOURTH IWAI HANSHIRO AS SOGA NO GORO 
 
 D rama “Ivoi no \ osu ga Kanagaki Soga.” Iehimura 
 theatre, 1789. 
 
 Hosoe. Signed: Shunko ga. 
 
 609. OTANI TOKUJI AS GIHEI GUARDING THE CHEST 
 
 Drama, Chushingura. 
 
 Hosoe. Signed: Katsukawa Shunko ga. 
 
 610. NEW YEAR’S CELEBRATION BY ACTORS 
 
 ^ The second Ichikawa Monnosuke and three other actors 
 
 > ^ attired as women, stand beside a kadomatsu. 
 
 Oban. Part of a diptych or triptych. Signed: Shunko ga. 
 About 1788. 
 
 611. SCENE FROM A DRAMA 
 
 The fourth Iwai Hanshiro as a woman holding an infant; 
 Sakata Hangoro as a man holding an umbrella; the third 
 Ichikawa Yaozd as a man seated on the ground. 
 
 Oban. Signed: Shunko ga. About 1789. 
 
Third Evening 
 
 SHUNYEI 
 
 (B. 1768, d. 1819) 
 
 612. THE FIFTH ICHIKAWA DANJURO 
 
 AS KUDOZAEMON SUKETSUNE 
 
 Drama “Keisei Natori Soga.” Kiri Theatre, 1788. 
 Hosoe. Signed: Shunyei ga. 
 
 613. THE FOURTH IWAI HANSHIRO 
 
 AS KEHAIZAKA NO SHOSHO 
 
 Kiri theatre, 1788. 
 
 Hosoe. A sheet from the same triptych as the preceding lot. 
 
 614. THE FOURTH IWAI HANSHIRO IN THE SHOSA 
 
 OF THE SEVEN CHANGES 
 
 Kiri theatre, Edo, 1787. 
 
 Oban. Signed: Shunyei ga. Contemporary inscription in red 
 “Shield henge {seven changes) Iwai Hanshiro.” 
 
 '1 
 
 
 615. THE FIFTH ICHIKAWA DANJURO AS TOJU SAMA YO 
 
 An otokodate standing by a river at night. ' 
 
 Hosoe. Signed: Shunyei ga. Publisher: Yama-jo. Inscribed 
 by hand “Topi sama .” 
 
 616. SCENE FROM A DRAMA 
 
 The second Ichikawa Monnosuke as a man in dishevelled 
 raiment talking to a woman, impersonated by Kosagawa 
 Tsuneyo. 
 
 Hosoe diptych. Signed: Shunyei ga. Publisher: Tsuruya. 
 About 1790. 
 
 617. THE ACTOR ARASHI TOMOEMON 
 
 Standing figure. 
 
 Oban. Signed: Shunyei ga. Publisher: Iicato-ya. 
 
 1794. 
 
 About 
 
 618. PREPARING FOR A CHA=NO=YU CEREMONY 
 
 Long surimono. Signed: Shunyei ga. 
 
 {Illustrated) 
 
 ^0 
 
Third Evening 
 
 UTAGAWA KUNIMASA 
 
 (Died 1810) 
 
 619. UNIDENTIFIED ACTOR 
 
 Large head and bust portrait. 
 
 Oban. Signed: Kunimasa ga. 
 
 UTAGAWA TOYOKUNI 
 
 (B. 1769, d. 1825) 
 
 .... 1 ”■"" ' 1 ai 
 
 620. TAKASHIMA=YA OHISA 
 
 Portrait of the popular waitress Ohisa of the Takashima 
 tea-house. She holds in one hand a bowl of tea on a 
 black saucer, and in the other an uchiwa bearing the mon 
 (badge) of Takashima-ya. Her kimono is of pink gauze 
 through which her arms and shoulder are faintly visible. 
 Though the color is beautifully soft and harmonious the 
 three tones of beni are quite as when printed. Dull yellow 
 ground. A highly important and remarkable print by 
 Toyokuni, in the style of Utamaro but showing also some¬ 
 thing of that of Eishi. Extremely rare. 
 
 Oban. Signed: Toyokuni ga. Publisher: Izumi-ya. About 
 1794. 
 
Third Evening 
 
 621. THE EBISU=YA DRY GOODS SHOP 
 
 A corner of the building and women passing by. 
 
 Oban. Right-hand sheet of a triptych. Signed: Toyokuni ga. 
 Publisher: Izumiya. About 1793. 
 
 622. HOLIDAY MAKERS 
 
 On Shinagawa beach at low tide. Right-hand sheet of 
 a well-known triptych. 
 
 Oban. Signed: Toyokuni ga. Publisher: Enomoto Kichibei. 
 About 1790. 
 
 In good condition, but the impression not ichi ban. The gray 
 of the beach and the blue of the sky above the horizon are 
 lighter in tone than in the best impressions. 
 
 YAKUSHA BUTAI NO SUGATA-YE 
 
 “Figures of actors on the Stage.” Four prints of Toyokuni’s 
 finest series of actor portraits. 
 
 Oban. Signed: Toyokuni ga. Publisher: Izumi-ya. About 
 1793-1796. All in fine condition. 
 
 623. THE THIRD SEGAWA KIKUNOJO 
 
 A noted actor of onna-gata, i. e., woman’s roles. Gray 
 ground. 
 
 624. UNIDENTIFIED ACTOR OF THE ICHIKAWA 
 
 LINE (HOUSE=NAME TAJIMUYA) 
 
 In the role of Fuya Banzaemon. Gray ground. 
 
 625. THE THIRD ICHIKAWA YAOZO 
 
 A distinguished actor who was born in 17 47 and died 
 in 1818. Ground, kirara (mica) over gray. 
 
 626. TWO FAMOUS ACTORS 
 
 Yamashita lvinsaku as a woman 
 brella, Ichikawa Ebizo (the fifth 
 seated at her feet. Gray ground. 
 
 holding an open um- 
 I)anj uro) as a man 
 
 627. TOSHIWASURI JOCHU KYOGEN NO ZU 
 
 Picture of a “Forgetting the old year” farce. 
 
 Oban. Right-hand sheet of a triptych. Signed: Toyokuni ga. 
 Publisher: Izumi-ya. About 1798. 
 
 D 
 
Third Evening 
 
 628. HINA MATSURI 
 
 Two sheets of a triptych representing a party of women 
 celebrating the Doll Festival on the roof of a great house 
 in a garden where many cherry trees are in bloom. 
 
 Oban diptych. Signed: ToyoJcuni ga. 
 
 629. PROCESSION OF ACTORS CROSSING A BRIDGE 
 
 Oban diptych, two sheets of a triptych. Signed: ToyoJcuni ga. 
 Published by Eijudo. 
 
 UTAGAWA TOYOHIRO 
 
 (B. 1763, d. 1828) 
 
 630. FAIR VISITORS TO MIOHOJI TEMPLE 
 
 Oban. Right-hand sheet of a pentaptych by ToyoJcuni and 
 Toyohiro. This sheet signed Toyoliiro ga. About 1799. 
 
 631. FAIR VISITORS TO MIOHOJI 
 
 Another sheet of the same composition. V 
 
 Signed: Toyohiro ga. 
 
 632. NI GATSU, THE SECOND MONTH 
 
 A man writing at a low table. Women preparing to make 
 flower arrangements. 
 
 Oban triptych. One of a series of twelve by ToyoJcuni and 
 Toyohiro. TJiis signed: Toyohiro ga. PublisJier: Yamada-ya. 
 About 1799. 
 
 633. A DAIMYO PROCESSION IMITATED BY WOMEN 
 
 Four small vertical prints, a part of a composition upon 
 eleven sheets. 
 
 EacJi signed: ToyoJiiro ga. 
 
 634. UENO BANSHO 
 
 The vesper bell at Ueno. Series, Edo Hokkei. 
 
 YoJco-e. Signed: ToyoJiiro ga. 
 
 Fine impression. Not in perfect condition. 
 
 635. RYOGOKU BASHI YUSHO 
 
 The evening glow at Ryogoku bridge. Same series as the 
 preceding lot. 
 
Third Evening 
 
 636. SIBERIAN IRIS AND MACKEREL 
 
 Wide vertical panel. Signed : Toyohira ga. 
 
 Very fine modern reproduction of an extremely rare surimono. 
 
 637. ASAHINA PERFORMING THE ONIYARAI CEREMONY 
 
 Driving away the demons with a shower of beans. 
 
 Long surimono issued by Sakuragawa Jihinari as an invitation 
 to the celebration of his twenty-fourth birthday, first month 
 Bunsei 4, i. e., February, 1821, of our calendar. 
 
 Signed: Toyohiro ga. 
 
 638. ASAHINA OPENING A NEW SET OF ACCOUNT BOOKS 
 
 Long surimono. Invitation to the celebration of Jihinari’s 
 twenty-seventh birthday. Bunsei 7, i. e., 1824. 
 
 Signed: Toyohiro ga. 
 
 ( Illustrated) 
 
 HOKUSAI 
 
 (B. 1760, d. 1849) 
 
 1 
 
 639. TWO EARLY PRINTS 
 
 (a) The third Segawa Kikunojo as Kumanosuke. Hosoe. 
 Signed: Shunr5; and (b) Gihei guarding the Chest of 
 Arms, scene from the Chushingura drama. Hosoe. Not 
 signed. 
 
 640. A HIE=MAKI (MINIATURE RICE FIELD) 
 
 AND A ROUND FAN 
 
 Poem written by the seventh Ichikawa Danjuro, and 
 signed “Shichi dai mei Mimasu.” 
 
 Yoko-e. Surimono. Signed 1 . Hokusai ga. 
 
 641. 
 
 GATHERING SEA FOOD 
 
 Men, women and children on a beach at low tide, collecting 
 flounders, cuttle-fish, turtles and clams. 
 
 Yoko-e. Not signed. About 1800. 
 
 642. 
 
 ROSE, SPARROW AND BUMBLE BEE 
 
 Printed in tones of blue. 
 
 Chuban. Signed: Hokusai liitsu. 
 
■«_ As^^Tap* y^ T <<v^J5- 
 
 ^=3*_X# 
 
 o —s* ^\S ^2—*«" 
 
 & -4' V -W>» ^ . . **. 
 
 m& „-4* y* --^-.-^V^ ~*#-T 
 
 '*• » 
 
 3&- 45 .'fi# -# pf «r . , , 
 
 £jAA' '■4—'-* -4 §*^k 5’—^>-t> 0 ' XA'S*. -'■A l ' r or—— v 
 
 & ^ + -22^ 
 
 -'v-J®? A v W?J+- <9 7-?. «* (+■ «C—J£W“W 
 
 « O o 
 
 & w~a^~s-A' ^ •"'^ «—*• A^-SX 7<t ~ — 
 
 ^k> A> *^r 
 
 _ 
 
 /Y ,c C" >w '~* <9 ‘C^- ^ / CX^5'*0^ ' 4 y \r* 
 
 *"£' ^ 
 ’ /vl r^^V- 4 . O r >A—-X*'-' Ku S - ^< 9 f~l— 
 
 ■#fc* cW 9^ -f^-^-r,—:-^ 
 -iffpY^VV^VSk^4 
 
 f^N'T /V~a$j, y;'*/^ 4 t£> —-*^ 5 ^ 5 ^^.^ /'< <-v/ 
 
 4^S^r^v /le ‘ -tfr —^1 ^ v^v-jT 
 
 $ -sfc t 4 tw M ^ q 
 
 JSp, <—^ 
 
 ^J0f ' &. <r i>J"r '. ’^ Lr^F, c^-'^J «°‘W'^ ' V-'-^T ^»S\N^ 
 
 S»> c& & 
 
 y~j -i.JVX^<}.^jv»«/j,4-—J*—XM;<^Lr' -— y S-_v\4 
 
 4 £f,Jpr^4?L 
 
 j?$i-* -= a XS^vsS - xft* '-S** »ll»'■ <s«r* ^ * 
 
 ~V -—i^i'r ^ 
 
 ^ Sjta^ ■ -'•*£ t‘““ V* —*4* A* <i* 
 
 jSSwiMaVlfc -|t &• 
 
 ■d\XJ J -.S-^V-s/vS” —»-SHJS<'.A4.%t^%<S-^Vi^ 
 
 '>&■ \4--2. jg c 
 
 •Zo* - " | <S- i£t '52 ' <J-C» J 
 
 -a$ S» _E $" 
 
 -j^-vJKT.SiAr '1^—^ ^—*‘ , r>TJ 5iM S i 3 
 
 '4)0 -S.St 
 
 •atJ 34 «S «jws- <S~ «■ 
 
 r • 
 
 oS».^v/-jV/^^5\5E -3S^’ 
 
 ffr _r ^g 
 
 ^*4'N^‘'-‘;v- ,; ' yv -'^',’i : *^ .''/- V^v’'^ ; ''‘—-4; </^ J"'v S4?' 
 ^>o ^g- _r ‘j^J- 
 
 jo v-.’'.*X ^\- s ' - ' - «jV X 4 j" v v '^ :/ ;- 1 -'--<r-"Y J 
 
 vJJf: (Mr _ "z ££ 
 
 c» ^ «Vc , M*' , 
 
 (S^£f^y“ A' &-~ ,sro - ——(-Six 
 
 ^ j3v V4 A' 
 
 -ii^ 
 
 < 2 » 0 -.j^<> *~^ Wr ^ '^ r N 1 Jv^V > **. ^ 2 - 3 *^ 5 N V * 
 
 ~*4- ^ /H- f4»"A'~^ >< »^ eft P-^J te •^_' i 5M^^>5•''JS : i' , < 
 
 s »'• 
 
 _S-*.9JJN -J* <*:I- -'^'5^*—>^^}S •3u~*r-'J^ r 
 
 v ^ ^ 4 k 
 
 
 v\ t* y <s*r ssq: 
 
 '■ ^ H* ^ 
 
 VWs ^V . \_ ^ 
 
 ✓K Wj £Jr< 
 
 Xo. 638—ASAHINA OPENING A NEW SET OF ACCOUNT BOOKS 
 
Third Evening 
 
 643. CHRYSANTHEMUMS AND BUMBLE BEE 
 
 Yoko-e. Signed : Zen Hokusai Iitsu hitsu. 
 
 I *5 Fine impression. In good condition. 
 
 SHOKOKU MEIKO KIRAN 
 
 Views of Bridges in the Several Provinces. 
 
 Complete set of eleven yoko-e prints. Signed: Zen Hokusai 
 I-itsu hitsu. 
 
 I o 
 
 644. YAMASH1RO, ARASH1YAMA TOGETSU KYO 
 
 The moon-viewing bridge at Arashiyama in Yamato. 
 Fine impression. Good condition. 
 
 645. KOKUZE. SANO FUNA BASHI 
 
 V 
 
 
 The bridge of boats at Sano, province of Kozuke. 
 Fine impression. In fair condition. 
 
 646. KUMONO K AKE=H ASH I YODO SAN, ASHIKAGA 
 
 Tlie cloud bridge on Yodo mountain near Ashikaga. 
 
 ^ O 
 
 647. HIDA=ETCHU TSURU BASHI 
 
 The suspension bridge joining the provinces of Hida and 
 Etchu. 
 
 648. KINTAI BASHI SUWO NO KUNI 
 
 
 Kintai bridge, province of Suwo. 
 wooden arches on stone piers. 
 Fine impression. In good condition. 
 
 Famous for its five 
 
Third Evening 
 
 649. TOKAIDO OKAZAKI YAHAGI NO HASHI 
 
 The bridge over the Yahagi river at Okazaki on the T5- 
 kaidd. 
 
 650. TAIKO BASHI KAMEIDO TENJIN 
 
 The drum bridge in the grounds of the Tenjin shrine at 
 Kameido. 
 
 
 2~ - - 
 
 651. AJIKAWA GUCHI TEMPOZAN 
 
 The bridges at the mouth of the Aji river, Tempozan, 
 Osaka, “copied from an Osaka picture by request.” 
 Fine impression. In good condition. 
 
 652. SETTSU TENMA BASHI 
 
 The Tenna bridge at Osaka, province of Settsu. Even- j 0 
 ing scene on the occasion of the Festival of Lanterns. ‘ 
 
 653. ECHIZEN FUKUI BASHI 
 
 Fukui bridge connecting two districts in Echizen, built /() 
 partly of wood and partly of stone by the daimyo of the 
 two districts. 
 
 654. MIKAWA YATSU HASHI NO KOZU 
 
 The eight platforms bridge at Chiryu, province 
 kawa. 
 
 of Mi- 
 
 RYUKYU HAKKEI 
 
 Eight views of the Ryukyu Islands. Four prints of the series. 
 Yoko-e. Signed : Zen Hokusai Iitsu hitsu. 
 
 655. BEISON NO CHIKURI 
 
 The bamboo grove at Beison. 
 
 656. SHUNGAI YUSHO 
 
 The evening glow at Shungai. 
 
 ) 
 
 
 5 
 
 657. CHUTO NO SHO=EN 
 
 The banana gardens at Chuto (or Nakajima). 
 
 658. RYUTO NO SHOTO 
 
 The “Pine Wave” at Ryuto. Snow scene. 
 
 i^ 
 2 - 0 
 
Third Evening 
 
 SETTSU-GEKKA 
 
 Snow, Moon, Flowers, the three most beautiful things. Set of 
 three prints. 
 
 Yoko-e. Signed: Zen Hokusai Iitsu. 
 
 659. SNOW ON THE SUMIDA RIVER 
 
 View from Mokuboji temple; a little shrine on an islet 
 in the right foreground. 
 
 660. MOONLIGHT ON THE YODO RIVER 
 
 Yodo castle at the right with its famous water-wheel. 
 
 661. CHERRY TREES IN FULL BLOOM AT YOSHINO 
 
 662. WILD GEESE FLYING DOWN ACROSS THE MOON 
 
 .0 
 
 Narrow oban. Signed: Zen Hokusai Iitsu hitsu. 
 
 This is a modern print, not a re-engraving. Whether the de¬ 
 sign was drawn by Hokusai, or whether it is by another hand 
 in imitation of his style, the writer of this catalogue is not 
 informed. 
 
Third Evening 
 
 663. BUNYA NO YASUHIDE 
 
 Seated figure of the poet with an ode printed above. Series: 
 Rok-ka-sen. Six Famous Poets. 
 
 Oban. Signed: Katsushika Hokusai ga. 
 
 664. KISEN HOSHI 
 
 Another print of the same series as the foregoing. 
 
 665. KOSHU MI NOBUG AWA 
 
 The Minobu river in Koshu. Series: Shokei Kiran, Beau¬ 
 tiful Views of Unfamiliar Places. * 
 
 Mount for round fan. 
 
 Signed: Zen Hokusai Manji. 
 
 666. MAGNOLIA AND BUNCHO 
 
 Chuban. Signed : Zen Hokusai litsu hitsu. I 
 
 Fine impression. In good condition. 
 
 KATSUSHIKA TAITO 
 
 (Worked about 1810-1850) 
 
 667. THE MONKEY BRIDGE 
 
 Oban. Green label across the top has been trimmed off, leav¬ 
 ing the print square. Signed: Katsushita Taito. Published 
 by Echigo-ya. 
 
 Fine impression. Good condition. 
 
 HOKUJU 
 
 (Worked in early nineteenth century) 
 
 668. bushO senju ohashi NO KEI / Q 
 
 View of the great bridge at Senju. One of Hokuju’s 
 prints in Western style. 
 
 Yoko-e. Signed: Hokuju ga. 
 
 669. SEINING FISH AT NINETY=NINE RI BEACH 
 
 Yoko-e. Signed: Shotei Hokuju ga. Publisher: Eijudo. 
 
 670. ENOSHIMA, SEVEN RI BEACH 
 
 Seven RI Beach. 
 
 Yoko-e. Signed: Hokuju ga. 
 
 Fine impression. Perfect condition. 
 
 
 
Third Evening 
 
 671. MACKEREL FISHING AT CHOSHI IN KAGUSA / 0 
 
 Yoko-e. Signed: Shotei Hokuju ga. Publisher: Eijudo. 
 
 672. TWO PRINTS OF THE RYOGOKU HAKKEI SERIES 
 
 (a) Evening 1 Snow at Yanagi Bridge, (n) Returning sails 
 at Ishibi. 
 
 Size, 5 x 7t/o inches. Signed: Hokuju ga. 
 
 ARTIST UNKNOWN 
 
 673. TSUKUDA ISLAND, FUJI IN THE DISTANCE 
 
 Lateral format. 6^ x 16 inches. Not signed. 
 
 674. PINE TREE AND RISING SUN 
 
 Half block vertical panel. Not signed. 
 
 YANAGAWA SHIGENOBU 
 
 (B. 1784, d. 1832) 
 
 675. SHO=KEI, i. e. SPLENDID VIEW 
 
 A great waterfall coming down behind an overhanging 
 cliff'. At the right the crescent moon. 
 
 Narrow oban. Signed-. Yanagawa Shigenobu. 
 
 ASHIKUNI 
 
 676. THE FOURTH ICHIKAWA EBIJURO 
 
 IN A SHIBARAKU ACT 
 
 Large surimono, 16^21 inches. Somewhat stained and 
 wormed. 
 
 ANDO HIROSHIGE 
 
 (B. 1797, d. 1858) 
 
 TOTO MEISHO 
 
 “Famous Sights in the Eastern Capital.” Many series of Edo 
 views with this title were designed bv Hiroshige for various publishers. 
 
 Th ree prints of the earliest series. 
 
 Yoko-e. Signed: Ichiryusai Hiroshige. Published by Kawa¬ 
 guchi Shozo. 
 
Third Evening 
 
 677. SUSAKI. YUKI NO ASA 
 
 Susaki in snow on New Year’s morning; the sun just com¬ 
 ing into view above the horizon. To see the sun rise on New 
 Year’s morning was regarded as an auspicious way to be¬ 
 gin the year. The view from Susaki was greatly admired. 
 Fine impression of this rare print. 
 
 678. TAKANAWA NO TSUKI 
 
 Full moon at Takanawa; a flock of wild geese flying down. 
 
 679. SHINOBU GA OKA HASU IKE NO ZU 
 
 Lotus pads on Shinobazu Pond. 
 
 ‘iO- . 
 
 0 oX/lAs***- 
 
 680. SUMIDAGAWA HANA ZAKARI 
 
 Cherry trees in full bloom on the Sumida river embank¬ 
 ment. Mount Tsukuba in the distance. /S 
 
 Series No. 2, published by Kawaguchi Sliozo. 
 
 Good impression; not first edition. 
 
 Ten prints from the earliest of several series published by Sano-ki, 
 i. e., Sano-ya Kihei. 
 
 681. SHIBA SHINMEI KYODAI 
 
 Inside the grounds of Shinmei Yashiro (Shinto shrine) in I 5 
 the Shiba district. 
 
 682. NAGATABABA SANNO GU 
 
 The Sanno shrine at Nagatababa. 
 Unusually fine impression. 
 
 
Third Evening 
 
 683. MASAKI YUKI HARE NO ZU 
 
 Views of Masaki in clear weather after snow. 
 
 684. KANDA MYOJIN HIGASHI ZAKA 
 
 The eastern ascent to the Myojin shrine at Ivanda. 
 Superb impression in fine condition. 
 
 685. KAMEIDO TEMMANGU KYODAI YUKI 
 
 The grounds of the Temmangu shrine at Ivameido in snow. 
 
 686. ASAKUSA KINRYUSAN TOSHI NO ICHI GUNJU 
 
 Crowd buying New Year’s decorations at Kinryusan tem- 
 / S pie, Asakusa. 
 
 Not first edition. The gray printed too dark. 
 
 687. ASAKUSA KINRYUSAN TOSHI NO ICHI 
 
 The same subject from a different point of view. Snow 
 is falling and many umbrellas are raised. 
 
 688. UENO TOEZAN NO ZU 
 
 Cherry trees in bloom in the grounds of Toeizan temple, 
 Ueno. 
 
 689. SHIBA, AKABANE BASHI NO ZU 
 
 Picture of Akabane bridge. The bridge in the foreground 
 and the barracks on the further side of the canal. 
 
 Ordinary impression. 
 
 5 
 
 690. SHIBA ZOJOJI SANNAI NO ZU 
 
 In the ground of Zojoji temple. 
 Ordinary impression. 
 
 Three prints from later series issued by the same publisher. 
 
 Yoko-e. Signed : Hiroshige ga. 
 
 691. SHIBA AKABANE NO YUKI 
 
 Snow Scene. A canal at left with Akabane bridge in the 
 / 6 middle distance; a row of barracks and a firemen’s watch- 
 
 tower on a wooded hill to the right. 
 
 Late impression. 
 
 692. OJI TAKI NO GAWA 
 
 Bathers in the Taki River at Oji. 
 
Third Evening 
 
 693. DOKANYAMA MUSHI NAKI NO ZU 
 
 Catching singing insects at Dokanyama. 
 Late impression. 
 
 Three prints from series issued by other publishers. 
 
 ■0 
 
 
 7 
 
 yO 
 
 694. IMADO YUSHO 
 
 The evening glow at Imado. Sub-title of series: Sumida- 
 gawa Hakkei. “Eight Sumida river Views. 
 
 Late impression without the red glow in the shy. 
 
 695. YUKI NO ASA SUSAKI NO HINODE 
 
 Sunrise at Susaki on New Year’s morning. 
 
 One of a series issued about 1842. Publisher’s imprint omitted 
 from this impression. 
 
 696. MATSUCHIYAMA NO ZU 
 
 View from Matsuchi hill, Fuji in the distance. 
 From the series published by Fukichi. 
 
 Late impression. 
 
 Two prints from series published by Marusei. 
 
 Yoko-e. Signed: Hiroshige ga. 
 
 697. SUM1DAGAWA HASHIBA NO WATASHI 
 
 The Hashiba Ferry across the Sumida river. 
 
 An unusually fine and early impression though not of the first 
 edition. This was a popular print, and edition after edition 
 was printed until the blocks were worn out. The badness of 
 the later impressions is inconceivable unless one has seen them. 
 
 2 -^ 
 
 % 
 
 698. SHINOBAZU NO IKE 
 
 Shinobazu pond: three tea-houses and the Benten shrine at S ( 
 
 the ri s ht - Q 
 
 Seven prints of the series published by Fuji-hiko whose shop 
 name was Matsubara-do. 
 
 Half-block vertical panels. Signed: Hiroshige ga. 
 
 699. NIHON BASHI SETCHU NO KEI 
 
 Nippon bridge in snow; Fuji san in the distance. 
 
 CD 
 
 
 (3 
 
 700. SUSAKI KAIHIN SHOHI GARI NO ZU 
 
 Picture of gathering clams at Susaki at low tide. 
 
 t 
 
Third Evening 
 
 j-' 
 
 %*■ 
 
 *• i 
 
 i 
 
 701 
 
 703 
 
 V 
 
 701. MATSUCHI YUKI HARE 
 
 Matsuchi hill in clear weather after a snowfall. 
 Superb impression. In fine condition. 
 
 S 0 702 - 
 6^Ho3. 
 
 ASUKA=YAMA SHITA HARU NO KEI 
 
 View at the foot of Asuka hill in spring. 
 
 SHIN YOSHIWARA EMONZAKA AKI NO TSUKI 
 
 The autumn full moon over the hill leading to the gate to 
 the new Yoshiwara. 
 
 Fine impression of a much admired print. 
 
 7 
 
 704. ASAKUSA KINRYUSAN [NO] SHITA 
 
 AZUMABASHI UCHO BO 
 
 Kinryusan temple seen through rain from beneath Azuma 
 bridge. 
 
 705. 
 
 706. 
 
 UME YASHIKI MANKA NO ZU 
 
 Plum trees in full bloom at Ume Yashiki. 
 
 Three prints of a series published by Kawaguchi Shozo. 
 Half-block vertical panels. Signed : Hiroshige ga. 
 
 SUMIDA=GAWA WATASHI BA 
 
 The ferry place on the Sumida river. 
 
Third Evening 
 
 707. TAKANAWA NO TSUKI 
 
 Moonlight at Takanawa. 
 
 I 
 
 2 - 
 
 iro 
 
 708. UENO, SHINOBAZU NO IKE 
 
 Shinobazu pond, Ueno, in snow. 
 
 709. TAKANAWA TSUKI NO ZU 
 
 Picture of moonlight at Takanawa. 
 Half-block vertical panel Toto Meisho, 
 Published by Yamaguchi-ya Tobei. 
 Trimmed down and slightly soiled. 
 
 7 
 
 
 O 
 
 signed : Hiroshige ga. 
 
 (3 
 
 710. SHICHLRI GA HAMA 
 
 Seven-ri beach. Travellers toiling through the deep sand. 
 
 Mount, for a round fan; one of a series Toto Ensoku Meisho, i. e. 
 Famous sights far from Edo. Not signed. Q 
 
 Trimmed to rectangular shape. Left edge torn. 
 
 
 711. MOUNT FUJI, PROVINCE OF SURUGA 
 
 Fan-shaped. Series: Shokoku Meisho Harimaze. Not signed. 
 
 712. KYOTO. KAWARA YUSUZUMI 
 
 “Evening cooling on the river bed.” Two women on a 
 low platform built over the shallow Kamo river. 
 
 Circular composition. Same series as preceding lot. 
 
 Signed : Hiroshige ga. 
 
 713. TOTSUKA 
 
 Landscape and figure of a woman. 
 
 The title of the series “ Tokaido ” in bold charcters formed a part 
 of the sheet at the head, but has been trimmed off, leaving only 
 the picture which is intact. Signed : Hiroshige ga. 
 
 714. VIEW OF FUJI FROM TAGO NO URA 
 
 Middle sheet of a triptych, the right-hand sheet of which was 
 designed by Kunisada. Oban. Signed: Hiroshige hitsu. Seal, 
 lchiryu-sai. Publisher, Maru-ya Jinpachi. Dated 1858. 
 
Third Evening 
 
 715. AKASHI BEACH 
 
 Left-hand sheet of a triptych of the series Furyu Genji Awase, 
 i. e. Genji up-to-date. The right hand sheet of this triptych 
 was designed in part by Kunisada. Oban. This sheet signed: 
 Hiroshige hitsu. Seal. Ichi-ryu-sai. Publisher, Isekane. 
 Dated 1853. 
 
 Very fine impression. 
 
 716. A SNOWY DAY AT NUMAZU 
 
 Oban. Middle sheet of a triptych. Signed: Hiroshige liitsu. 
 Seal, Ichi-ryu-sai. Also signed by the engraver Take. Pub¬ 
 lisher, Isekane. Dated Ox Year, 1853. 
 
 Fine impression. The white pigment of the snow flakes black¬ 
 ened by chemical decomposition. 
 
 EDO MEISHO 
 
 “Famous Sights in Edo.” Many series of Edo views with this 
 title were issued by different publishers. 
 
 717. YUSHIMA TENJ1N GU YUKI HARE NO ZU 
 
 The Yushima Ten jin shrine in clear weather after snow. 
 
 Late impression. 
 
 718. TAKANAWA AKI NO TSUKI 
 
 Autumn moon at Takanawa. 
 
 Yoko-e. Published by Arita-ya. 
 
 719. OCHA NO MIZU 
 
 The Tea-water canal. 
 
 Dated eleventh month Ox Year, 1853. Yoko-e. Published by 
 Yamada-ya. 
 
 720. ASUKA=YAMA HANABI 
 
 A party of women, all carrying blue umbrellas, viewing the 
 cherry blossoms on Asuka hill. 
 
 Half block vertical panel. Signed: Hiroshige ga. Published 
 by Wakasa-ya. Dated third month Bat Year, 1852. 
 
 721. ASUKAYAMA HANA MI 
 
 Looking at Cherry Flowers on Asuka hill. 
 
 Yoko-e. Published by Sano-ki. 
 
 Good impression. Margins trimmed close. 
 
Third Evening 
 
 122. RYOGOKU BASHI HANABI 
 
 Fireworks at Ryogoku bridge. 
 Yoko-e. Published hy Izumi-ya. 
 
 123. OJI INARI YASHIRO 
 
 The Inari Shrine at Oji. 
 Yoko-e. Published hy Fuji-kei. 
 Ordinary impression. 
 
 SHIKI EDO MEISHO 
 
 Famous sights of Edo in the four seasons. 
 
 Half-block vertical panels. Signed: Hiroshige ga. Published 
 by Kawaguchi Shozo. 
 
 - ^ 
 
 124. HARU, GOTENYAMA NO HANA 
 
 Spring. Cherry blossoms on Gotenyama. 
 
 725. NATSU, RYOGOKU NO TSUKI 
 
 Summer. The full moon seen from a boat under Ryogoku 
 bridge. 
 
 726. AKI, KAIANJI KOFU 
 
 Autumn. Maple trees at Kaianji. 
 
 II 
 
 £ 
 
 121. FUYU. SUMIDA=GAWA NO YUKI 
 
 Winter. Raftsman on the Sumida river in a snow storm. 
 
 SANKAI MITATE SUMO 
 
 Mountains and Sea Judged at Wrestling. The title upon an 
 umpire’s fan for a wrestling match. Nine prints of the series of 
 twenty. 
 
 Yoko-e. Signed: Hiroshige ga. Publisher: Yamada-ya. Dated 
 
 1846. 
 
 728. ECHIGO, YUNO=0 TOGE 
 
 The Yuno-o pass, province of Echigo. 
 
 729. SETTSU AJIKAWA GUCHI 
 
 The mouth of the Aji river, province of Settsu. 
 
Third Evening 
 
 730. ECHIGO, NIIGATA 
 
 View of Niigata harbor, with many white sails in the dis¬ 
 tance. 
 
 731. ETCHU KOZU MINATO 
 
 *> The harbor of K5zu, province of Etchu. 
 
 
 
 732. AWA, KUMINATO 
 
 The fishing village of Kuminato on the coast of Awa. 
 
 733. ETCHU, TATEYAMA 
 
 Hugged mountain scenery, with columns of steam rising 
 from hot springs. 
 
 734. HARIMA, TATSUYAMA 
 
 /> 
 
 In the foreground at the right a small temple in a sheltered 
 nook: in the background a peak surrounded by white clouds. 
 
 I V 
 
 735. SETTSU, ARIMAYAMA 
 
 Distant view of Mount Arima, province of Settsu. 
 
 736. BIZEN UKAZAN 
 
 ) > 
 
 Snow scene. A Shinto shrine on a hill in the foreground; a 
 taller hill in the middle distance; and at the left a glimpse 
 of a frozen lake with low hills on the further shore. 
 
 FIVE NARROW PANELS 
 One-third block vertical. Signed: Hiroshige. 
 
 737. COURT NOBLE AT FOOTBALL PRACTICE 
 
 In old Japan football was played by the Court nobles. It 
 was a game quite unlike European football. The ball was 
 a featherweight and great skill was required to keep it in 
 the air and to send it from player to player without touch¬ 
 ing except with the foot. 
 
 738. THE MONKEY BRIDGE IN SNOW 
 
 A charming composition. 
 
 739. A PRECIPITOUS CLIFF 
 
 Crowned with a grove of red-leaved trees; a river at its 
 foot. 
 
Third Evening 
 
 740. TWO PRINTS 
 
 (a) Spring landscape with Fuji in the distance; (b) geese 
 flying down at Tsukuda island. 
 
 741. BATS FLITTING THROUGH THE MOONLIGHT 
 
 Small vertical 'print. Signed: Hiroshige hitsu. Bare. 
 
 742. BOYS ROLLING A HUGE SNOWBALL 
 
 Koban. Signed: Hiroshige liitsu. Early work. Rare. 
 
 HIROSHIGE II 
 
 743. WILLOW BRANCHES AND SWALLOWS 
 
 Half-block vertical panel. Signed: Shigenobu. Publisher, 
 Wakasa-ya. Dated 1858. 
 
 744. YOROI NO WATASHI 
 
 The Yoroi ferry in falling snow. Series: Toto San-ju-rok- 
 kei. Thirty-six views of the Eastern Capital. 
 
 Oban. Signed : Hiroshige ga. 
 
 Fine impression. 
 
 TOTO MEISHO 
 
 Yoko-e. Signed: Hiroshige ga. Published by Izumi ya. Dog 
 Year, 1862. Tzvo prints of the series. 
 
 745. RYOGOKU KAWABIRAKI HANAMI 
 
 Opening of the river season with fireworks at Ryogoku. 
 
 746. SUMIDA=GAWA MIMEGURI 
 
 Cherry blossoms at Mimeguri on the Sumida river. 
 
 Very good impression. Soft blues and red. 
 
 7 
 
 JT* 
 
 7 2 
 
 -o 
 
 OMI HAKKEI 
 Eight views of Omi. 
 
 Oba/n. Signed: Hiroshige ga. Dated 1864. The red labels 
 in all the eight prints have been toned down with chemicals. 
 
 747. AWAZU SEIRAN 
 
 Clear weather after a storm at Awazu. 
 
Third Evening 
 
 748. SETA YUSHO 
 
 The evening' glow at Seta. 
 
 749. YABASE KIBAN 
 
 Returning sails at Yabase . 
 
 750. KATADA RAKUGAN 
 
 Geese flying down at Katada. 
 
 751. ISHIYAMA AKI TSUKI 
 
 Autumn moon at Ishiyama. 
 
 752. Mil BANSHO 
 
 The vesper bell at Mii temple. 
 
 753. HIRA BOSETSU 
 
 Evening snow on Mount Hira. 
 
 754. KARASAKI YAU 
 
 Night rain at Karasaki. 
 
 755. WISTARIA AND CANARY 
 
 Half-block vertical panel. Signed: Rissho hitsu. Dated eleventh 
 month Ox Year 1865. It was in this year that the artist de¬ 
 serted his wife and took up his residence in Yokohama, relin¬ 
 quishing the Hiroshige name to Shigemasa who became Hiro¬ 
 shige III. 
 
 756. SOSHU, SHICHERI GA HAMA 
 
 Holiday makers at Seven-ri Beach. 
 
 Oban triptych. Signed: Hiroshige ga. Published by Fuji-kei. 
 Dated: Monbey Year, 1860. 
 
 Not in perfect condition. 
 
Third Evening 
 
 HIROSHIGE III 
 
 Pupil of Hiroshige. Took the name after 1865, when lie married 
 Hiroshige’s daughter, divorced wife of Hiroshige II. 
 
 SHOKOKU MEISHO HYAKKEI 
 
 One hundred views of famous sights in the home country. 
 Oban. Signed: Hiroshige ga. Published by Eikichi. 
 
 757. UNSHU, HIROSE SHIN=KEI 
 
 Real view of Hirose, province of Unshu (Izumo). 
 Dated Ham Year 1871. 
 
 758. BANSHU, MUROTSU SHIN = KEI 
 
 Real view of Murotsu in Banshu. Snow scene. 
 Dated 1871 
 
 759. SUWA, IWAKUNE KINTAI BASHI 
 
 Ivintai bridge at Iwakuni, province of Suwa. 
 Dated 1871 
 Good impression. 
 
 760. BIZEN, RYUKOZAN 
 
 Dragon mouth mountain in Rizen. Rain scene. 
 Dated Monkey Year, 1872. 
 
 761. MINO, OCHIAI BASHI 
 
 Ochiai bridge, province of Mino. 
 
 Dated Cock Year, 1873. 
 
 762. BUNGO, HIDA=KAMA BUCHI TAKASE MURA 
 
 Hida-kama and the village of Takase in Bungo. 
 
 Dated 1873. 
 
 Good impression. 
 
 3 
 
 3 
 
 763. OSHU, SOTO GA HAMA 
 
 Soto beach, province of Oshu. 
 Dated 1871. 
 
 3 
 
 764. TSUCHIYAMA 
 
 A daimvo procession crossing the bridge in a shower. 
 
 Oban. Series: Tokaido. Signed: Hiroshige ga. Dated 1875. 
 
Third Evening 
 
 UTAGAWA YOSHITORA 
 
 (Worked in middle years of nineteenth century) 
 
 765. ROKUGAWA WATASHI BUNE 
 
 Ferry-boat crossing the Rokugawa. Series: Shinsen Edo 
 Meisho. New selection of Edo Views. 
 
 Yoko-e. Signed: Ichimosai Yoskitora ga. Publisher: Mori-ya 
 Jihei. Dated Hare Year, 1855. 
 
 766. GO=H YAKU RAKAN SAZAIDO 
 
 The shrine of the Five-hundred Rakan. 
 
 Same series as the preceding lot. 
 
 
 767. NIPPORI JI = IN SETTEI NO ZU 
 
 The Snow Garden at Nippon temple. 
 Same series. 
 
 FUSATANE 
 
 768. OMI HAKKEI 
 
 0 Eight Views of Omi. Complete set of eight prints. 
 
 Yoko-e. Signed: Fusatane ga. Publisher, Mori-ya Jihei. 
 Dated Tiger Year 1854. 
 
 GOSOTEI TOYOKUNI AND GOTOTEI KUNISADA 
 
 YAKUSHA JU-NI-TSUKI 
 
 Actors in each of the twelve months. Four of a series of twelve 
 oban triptychs. 
 
 769. SHI GATSU. THE FOURTH MONTH 
 
 Actors and geisha viewing wistaria in bloom at the Tenjin 
 shrine at Kameido. 
 
 Signed: Toyokuni ga. Published by Uemura. 
 
 In good condition. Framed. 
 
 770. KU GATSU: THE NINTH MONTH 
 
 Seven actors masquerading as the Seven Fortune Gods. 
 Published by Maruya Jinpachi. Signed: Gototei Kunisacla ga. 
 In fine condition. Framed. 
 
Third Evening 
 
 771. JU GATSU: THE TENTH MONTH 3 q 
 
 Actors and geisha at Keianji viewing the maple trees in 
 autumnal foliage. 
 
 Published by Yamada-ya. Signed : Gototei Kunisada ga. 
 
 In good condition. Framed. 
 
 772. JU=NI GATSU: THE TWELFTH MONTH 
 
 Actors standing on the river embankment at Mukojima 
 by the torii of the Mimeguri shrine, in a snow storm. All 
 wear kappa (rain coats) and have zukin (hoods) or hoka- 
 buri (kerchiefs) about their heads, and carry umbrellas. 
 Published by Tsuru-ya. Signed: Gototei Kunisada ga. 
 
 In good condition. Framed. 
 
 UTAGAWA KUNISADA 
 
 (B. 1786, d. 1864) 
 
 773. MEMORIAL PORTRAIT OF HIROSHIGE 
 
 Issued in the 9th month of the Horse Year, 1858, shortly 
 after Hiroshige’s death. Long inscription by his friend 
 Temmei Rojin; and a short one by Kunisada, reading 
 “While thinking of him we shed tears.” 
 
 Oban. Signed: Toyokuni ga. Publisher: Eikichi. 
 
 774. FUTAMI GA URA AKEBONO NO ZU 
 
 Sunrise at Futami beach, at Ise. 
 
 Yoko-e. Signed: Kochoro Kunisadaga. Publisher: Yamaguchi. 
 
 KUNISADA II 
 
 (B. 1823, d. 1880) 
 
 775. MURASAKI SHIKIBU GENJI KARUTA 
 
 Illustrations of scenes in the Genji Monogatari. Complete £ 
 set of 54 oban prints, in original album as published. 
 Dated Snake Year, 1869. 
 
 KUNIYOSHI 
 
 (B. 1797, d. 1861) 
 
 776. SHIN YOSHIWARA 
 
 View on the road to the Yoshiwara; bright moonlight, the 
 moon surrounded by a broad halo. Series: Toto Meisho. 
 Yoko-e. Signed: Ichiyosai Kuniyoshi. Publisher: Kaga-ya. 
 Fine impression. 
 
Third Evening 
 
 777. WANG NGAI IN A THUNDERSTORM 
 
 After the death of his mother who in her lifetime had 
 always been frightened by the sound of thunder, he never 
 failed, when a thunderstorm arose, to hasten to her tomb, 
 kneel down before it and cry aloud, “Fear not, mother! 
 Your son is near!” Series: Twenty-four Paragons of Filial 
 Piety. 
 
 Yoko-e. Signed: Ichiyusai Kuniyoshi-ga. 
 
 778. THE STORY OF KAWABE NO KAMI 
 
 Ordered by the Emperor to fell a large tree for timber 
 for shipbuilding, he brought his workmen to it, but before 
 they could begin their task Kaminari the Thunder God, who 
 was hidden in its branches, dispersed them with blinding 
 flashes of lightning. He desisted, however, when Kawabe 
 assured him he was obeying an Imperial command to cut 
 down the tree. 
 
 Yoko-e. Signed: Ichiyusai Kuniyoshi ga. 
 
 779. FOUR VILLAGES SHOWN ON ONE SHEET 
 
 Series: Tokaido Go-ju-san Tsugi Go-shuku Meisho. 
 
 Yoko-e. Signed : Ichiyusai Kuniyoshi ga. Published by Tsuru- 
 ya and Tsuta-ya jointly. 
 
 780. SUMIDA TSUTSUMI NO YU FUJI 
 
 Fuji in the evening from the Sumida river embankment. 
 Series, Toto Fujimi San-ju-rok-kei. 
 
 Yoko-e. Signed : Ichiyusai Kuniyoshi ga. Publisher: Murata. 
 
 781. SOSHU OYAMA MICHI TAMURA WATASHI NO KEI 
 
 The Tamura ferry on the road to Oyama. 
 
 Yoko-e. Signed: Ichiyusai Kuniyoshi ga. Publisher-. Ibasen. 
 
 782. THE AWABE SHELL DIVERS AT ISE 
 
 Oban. Left-hand sheet of a triptych. Signed: Ichiyusai Kuni¬ 
 yoshi ga. About 1842. 
 
Third Evening 
 
 IvOSO GO ICHIDAI RYAKU ZU 
 
 An epitome of the whole life of Koso told in pictures; Koso being 
 another name for Nichiren, the founder of the Hokke sect of Buddhists. 
 Three prints of the series of ten. 
 
 Yoko-e. Signed : Icliiyusai Kuniyoshi ga. Publisher: Iseri. 
 
 783. KAMAKURA REIZANGASAKI AMA INORI 
 
 Nichiren praying for rain, at Kamakuri in A.D. 1271 after 
 a long drought. He stands upon a ledge of rock pro¬ 
 jecting over the sea, and in answer to his prayer, rain 
 falls in torrents. 
 
 784. SASSHU SADO RYUKEI TSUNODA NAMI DAIMOKU 
 
 Nichiren on his way to exile in the isle of Sado, quelling 
 a terrible storm by casting a spell on the waves in the 
 form of the invocation to Buddha, Namu Mivo Ho Renge 
 Iviyo,—Hail to the Jewel in the Lotus. 
 
 785. NICHIREN IN A SNOW STORM 
 
 making a pilgrimage to Tsukahara while in exile in Sado. 
 
 786. SHIOKUMI 
 
 Carriers of Sea water for salt making. Four women as 
 representatives of as many of the fabulous Chinese heroes 
 whose exploits are recounted in “Suikoden.” 
 
 Four square surimono of the FuzoJcu Onna Suikoden set of five. 
 Signed: Icliiyusai Kuniyoshi ga. 
 
 Superb impressions. Perfect condition. 
 
 SURIMONO 
 
 KUNISADA 
 
 787. ACTOR AS A MAN DRAWING A SWORD 
 
 FROM ITS SCABBARD 
 
 KUNISADA 
 
 788. TWO EXAMPLES 
 
 (a) Actor in a female role. Dated 1820. (b) Actor as 
 
 an enraged noble brandishing a war fan. 
 
Third Evening 
 
 KUNISADA 
 
 789. ACTOR AS BENKEI ON GOJO BRIDGE 
 
 KUNISADA 
 
 790. ACTOR AS A NOBLE SEATED ON A DAIS 
 
 ^ Another actor is seated before him holding a sake ladle 
 
 decorated for the marriage ceremony. 
 
 KUNISADA 
 
 791. TWO EXAMPLES 
 
 (a) Primitive warrior with tattooed body, (b) Theatrical 
 scene. 
 
 KUNISADA 
 
 ^ 792. GROUP OF JAPANESE WARRIORS IN ARMOR 
 
 3 
 
 SADAKAGE 
 
 793. ACTOR AS A WOMAN HIDING BENEATH 
 
 A VERANDA AT NIGHT 
 
 SHUNMAN 
 
 794. TWO 
 
 EXAMPLES 
 
 (a) A maiko dancer, (b) Woman drawing an uchikake 
 over her head as a protection from rain. 
 
 KUNIYOSHI 
 
 795. TWO 
 
 EXAMPLES 
 
 (a) Scene from a drama: a combat in a thunderstorm at 
 night. (b) A battledore decorated with a picture of a 
 gathering of nobles and a large figure of a girl holding a 
 shuttlecock. 
 
 KUNIYOSHI 
 
 796. SCENE FROM A DRAMA 
 
 Actors as Ushiwaka and Benkei fighting on Go jo bridge. 
 
 KUNIYASU 
 
 797. TWO EXAMPLES 
 
 (a) The youthful seventh Danjurd being taught the toshi- 
 koshi ceremony of throwing beans to drive away evil spirits. 
 
 (b) The fifth Segawa Kikunojo as a woman holding a stand 
 with New Year’s decorations and addressing an actor of 
 the Ichikawa line impersonating a dwarf. 
 
Third Evening 
 
 ARTIST UNKNOWN 
 
 798. TWO EXAMPLES ^ 
 
 (a) A woman hanging up a kakemono, (b) Scene from 
 a drama: actors as a Buddhist pilgrim and a woman. 
 
 SHINSAI 
 
 799. A GIRL PUTTING HER HANDS OVER <T 
 
 THE EYES OF ANOTHER GIRL 
 
 and interrupting her examination of a picture book. 
 
 HOKUSAI 
 
 800. NEW YEAR’S EMBLEMS 
 
 Ebi (crayfish); Shimi-nawa (decoration 
 Pine branch, and Gohei (cut paper). 
 
 Signed : Fuzenkyo Iitsu. 
 
 SO 
 
 3 2 - — 
 
 of rice-straw) ; 
 
 HOKIvEI 
 
 801. SHINBUTSU=MARU SLAYING THE KOI NUSHI 
 
 A legendary exploit of the youthful Benkei. 
 Large surimono. 8^ x 14 V 2 inches. 
 
 Signed : Hokkei. 
 
 Fine impression. 
 
 HOKKEI 
 
 802. GIANT TENGU AND A WHITE COCK AND HEN 
 
 HOKKEI 
 
 803. WHITE COCK, HEN, AND VIOLETS 
 
 3 * 
 
 V 
 
 
 
 HOKKEI 
 
 804. ONNA NO DARUMA 
 
 A young woman impersonating Daruma crossing the sea 
 on a reed. 
 
 2 ^ 2 - 
 
 yO 
 
 HOKKEI 
 
 805. KUAN YU, THE CHINESE GOD OF WAR 
 
 5* 
 
 HOKKEI 
 
 806. MOTHER AND DAUGHTER 
 
 reading an inscription upon a stone monument. 
 
Third Evening 
 
 HOKKEI 
 
 807. WOMAN LOOKING DOWN AT A FALLEN KITE 
 
 in the shape of a vakko, or servant. 
 
 0 
 
 HOKKEI 
 
 808. MOSHOKUN AT THE BARRIER GATE 
 
 which he passed through the cleverness of one of his suite 
 who climbed a tree and imitated the crowing of a cock. 
 
 HOKKEI 
 
 809. JOSAN NO MIYA’S PET KITTEN 
 
 running out from under the curtain and interrupting Prince 
 Genji and his friends at football practice under cherry 
 trees in the palace grounds. 
 
 I® 
 
 , lO 
 0 ^ 
 
 HOKKEI 
 
 810. AN EMPEROR OF THE FUJIWARA EPOCH AND 
 
 COURT LADIES COMPOSING ODES 
 
 HOKKEI 
 
 811. PORTRAIT OF TOSHINARI 
 
 And above, a view of Matsushima. 
 
 HOKKEI 
 
 812. AOGARASU: “THE GREEN CROW” 
 
 I Illustration of an incident from the Genji Monogatari. 
 
 0 
 
 
 HOKKEI 
 
 813. KOCHO NO UME 
 
 
 Pleasure boat on lake in the gardens of the Imperial palace. 
 Incident from the Genji Monogatari. 
 
 HOKKEI 
 
 814. GENJI AT AKASHI BEACH 
 
 Another incident from the Genji Monogatari. 
 
 GAKUTEI 
 
 815. LIU PEI 
 
 the first Emperor of the Shu Han dynasty of China. One 
 of a set of surimono depicting the three friends who took 
 the famous “peach-garden oath” to live and die together. 
 
Third Evening 
 
 Four surimono of the series “Gaku Men Fujin Awase.” 
 of Framed Pictures of Women. 
 
 GAKUTEI 
 
 816. ONO NO KOMACHI 
 
 Collection 
 
 817. TOMOE JO 
 
 GAKUTEI 
 
 The famous woman warrior better known as Tomoe Gozen.. 
 
 s-0 
 
 GAKUTEI 
 
 818. MASATSURA HAHA, THE MOTHER OF MASATSURA 
 
 GAKUTEI 
 
 819. SOTO=ORA HIME 
 
 GAKUTEI 
 
 820. KUSUNOKI TAITO MASATSURA TAIHEIK1 
 
 The famous warrior stands on the side of a hill amid blos¬ 
 soming cherry trees. 
 
 ) ^ 
 
 
 GAKUTEI 
 
 821. HINOASHIMARU TAIHEIKI 
 
 The young warrior leaning against a door post and look¬ 
 ing into a room. 
 
 /Z 
 
 !>b 
 
 GAKUTEI 
 
 822. THE DANCER BIMIYO TOKAN 
 
 GAKUTEI (?) 
 
 823. THREE SEVENTEENTH CENTURY FIGURES 
 
 824. GANRYO ^ 
 
 Shadowy figures of a man and a woman. 
 
 HANZAN 
 
 Surimono for a seventieth birthday celebration. 
 
 EKITEI 
 
 825. OISO NO TORA AND ASAHINA 
 
 Surimono calendar for a Tiger year. 
 
 Signed: Ekitei ga. 
 
FOURTH EVENING SESSION 
 
 THURSDAY, MAY 9, 1918 
 
 AT THE AMERICAN ART GALLERIES 
 
 BEGINNING AT 8.15 O'CLOCK 
 
 HOSODA EISHI 
 
 (Worked c. 1788-1800) 
 
 826. PLEASURE BOATS AT A LANDING 
 
 Oban. Part of a triptych. Signed-. Eishi ga. Publisher-. 
 W aka-sa-ya. About 1788. 
 
 827. AN INFORMAL CALL 
 
 A girl approaching a house where a woman stands on a 
 veranda: rice fields in the distance. 
 
 Koban. Signed: Eishi ga. About 1788. 
 
Fourth Evening 
 
 828. SE1YO. THE FIRST MONTH 
 
 A youth calling at a house and bearing 
 A girl holding a shuttlecock looks on. 
 
 a New Year’s gift. 
 
 Series: Furyu Ju-ni do. 
 
 Chuban. Signed: Eishi ga. About 1788. 
 
 829. AT THE FERRY LANDING 
 
 
 1 
 
 Two women in a ferry boat and one standing on the shore. 
 Series: Miyako Hakkei no Nishiki. 
 
 Cliuban. Signed: Eishi ga. About 1789. 
 
 830. MINASHI=GAI: THE MINASHI SHELL 
 
 .- 0 A young man walking between an oiran and her kamuro 
 
 ' J to 7 
 
 ) ") ^ and followed by a maid bearing a lantern. 
 
 Chuban. Signed: Eishi ga. Publisher: Izumi ya. About 1789. 
 
 831. KISEGAWA OF MATSUBAYA 
 
 ATTENDED BY TWO KAMURO AND A SHINZO 
 
 Chuban. Signed: Eishi ga. Publisher: Iwato-ya. About 1789. 
 
 832. A FAMILY OUTING IN SPRINGTIME 
 
 
 A man carrying his infant son along a path through rice 
 fields, accompanied by his wife and a maid. 
 
 Oban. Part of a triptych. Signed: Eishi ga. About 1790. 
 
 833. WOMAN AT A TEA=BOOTH ON ASUKA HILL 
 
 Oban. Signed: Eishi ga. About 1790. 
 
 834. WOMEN WATCHING A CUCKOO FLY OVERHEAD 
 
 o 
 
 One of an unnamed series ; customs of the twelve months. 
 This for the third month. 
 
 Oban. Signed: Eishi ga. Publisher: Eijudo. About 1791. 
 
 > 
 
 835. THE FOURTH MONTH 
 
 Women looking at iris in bloom in a garden. 
 Same series as the preceding. 
 
 
 
 836. THE FIFTH MONTH 
 
 A woman looking at a letter spread upon the ground; two 
 other women conversing. 
 
 Another print of the same series. 
 
Fourth Evening 
 
 837. FLOWER VIEWING 
 
 Three girls at a garden party in the time of the cherry 
 blossoming. 
 
 Oban. Part of a triptych. Signed: Eishi ga. Publisher: 
 Matsumura. About 1790. 
 
 838. WOMEN AT A PICNIC 
 
 Oban. Middle sheet of a triptych. Signed: Eislii ga. Publisher: 
 Eijudo. About 1792. 
 
 839. GENJI ASAGAO NO MAKI 
 
 A young man representing Prince Genji, seated on the 
 veranda of a house, his back turned to two women, one 
 seated beside him, the other standing. Asagao (morning 
 glories) growing over a fence in the foreground. 
 
 Oban. Signed: Eishi ga. About 1792. 
 
Fourth Evening 
 
 840. GENJI HANA NO EN 
 
 Women and girls at a botan show. 
 
 3^ Oban. Signed'. Eishi ga. Publisher, Eijudo. About 1792. 
 
 Is 
 
 
 841. A MODERNIZED SCENE FROM THE ISE MONOGATARI 
 
 A youth impersonating Narihira stands, talking to two 
 young women. 
 
 Oban. Signed: Eislii ga. Publisher: Iwatoya. About 1T92. 
 
 842. MOMIJDGA: THE MAPLE FETE 
 
 Middle sheet of a triptych, showing two women coming 
 0 forward from the left, and another woman playing a tsuri- 
 
 daiko or large hanging drum. Series: Furyu Yatsu-shi 
 Genji. 
 
 Oban. Signed: Eishi ga. About 1790. 
 
 Notable for the free use of several yellows in the color scheme. 
 The blue and violet softened by fading. Trimmed at the foot. 
 
 
 0 
 
 
 843. FOUR YOSHIWARA BEAUTIES 
 
 Oban. Signed: Eishi ga. Publisher, Eijudo. About 1793. 
 
 844. A WOMAN’S FIREFLY=CATCHING EXCURSION 
 
 Oban. Signed: Eishi zu. Publisher: Izumi ya. About 1793. 
 
Fourth Evening 
 
 845. THE OIRAN UJIYAMA 
 
 As a modern representative of the poet Risen Hoshi. 
 
 Same series as the preceding. 
 
 Superb impression. Perfect condition. 
 
 846. THE OIRAN SHIRATSU=YA 
 
 As a modern representative of the poet Sojd Henjd. Series: j f ^ 
 
 Furvu Ryaku Rokkasen. 
 
 Oban. Sigjied: Eishi zu. Publisher: Eijudo. About 1793. 
 
 Fine impression. Perfect condition. 
 
 847. UTAURA OF KADOTAMA=YA AND HER KAMURO 
 
 ^7 0 
 
 They are walking in the Naka no Cho near the great gate 
 of the Yoshiwara. 
 
 Oban. Part of a triptych. Signed: Eishi ga. Publisher: 
 Izumiya. About 1793. 
 
 848. OTOMO NO KURONUSHI 
 
 Seated figure of the famous ninth century poet. Poem 
 above. 
 
 Oban. Signed: Eishi zu. Publisher, Eijudo. 
 
Fourth Evening 
 
 849. SHIRATSU=YA OF WAKANA=YA 
 
 2 - 
 
 
 Large head and bust portrait. Series: Ryaku Rokkasen. 
 Oban. Signed: Eishi zu. Publisher: Nishimura ya. About 
 1798. 
 
 Superb impression. Perfect condition. 
 
 ( Illustrated) 
 
 EISHO 
 
 (Worked c. 1790-1799) 
 
 850. THE SEVEN FORTUNE GODS IN A BOAT 
 
 ^ Hashira-e. Framed. Signed: Eisho ga. Published by Yama- 
 
 guchi. 
 
 Much faded. 
 
 851. KASUGANO OF SASA=YA 
 
 Large bead and bust portrait. She is shown coming from 
 the bath, Arearing a yukata (bath robe) and wiping her 
 cheek with the sleeve. Series: Kachu Bijin Soroi. Mica 
 ground. 
 
 Oban. Signed: Eisho ga. Publisher: Yamaguchi. About 1798. 
 Fine impression. Perfect condition. 
 
 ( Illustrated ) 
 
 852. SHIRATSU=YA OF WAKANA=YA 
 
 Large head and bust portrait. She is shown holding a gold 
 fish in a glass bottle. Dark kirara-ye (mica composition) 
 ground. 
 
 Oban. Signed: Shoeido Eisho ga. About 1798. 
 
 In very fine condition. 
 
 ( Illustrated ) 
 
 EISUI 
 
 (Worked c. 1790-1798) 
 
 853. HANANDO OF OGI=YA 
 
 Large head and bust portrait of the beauty. She holds a 
 bottle of hair oil and bends over to read the hieroglyphs 
 on the cloth tied about the stopper. Series: Bijin Gosekku. 
 
 Oban. Signed: Ichirakutei Eisui. Publisher: Maru-bun. About 
 1798. 
 
 ( Illustrated ) 
 
852 
 
 853 
 
Fourth Evening 
 
 EIKO 
 
 (Worked c. 1795-1799) 
 
 854. KOMURASAKI OF KADOTAMA=YA 
 
 Large head and bust portrait. Series: Kachu Bijin Kisoi. 
 q Oban. Signed : Eiko ga. Publisher : Yamaguchi. About 1798. 
 
 KITAGAWA UTAMARO 
 
 (B. 1753, d. 1806) 
 
 855. GEISHA MUSICIANS IN A NIWAKA 
 
 One girl plays a tsuri daiko (hanging drum) ; another 
 plays a samisen; and a third is standing beside her koto 
 (harp). One of the series: Seiro Niwaka Jensei Asobi: 
 “Well-known Niwaka plays by Green-house Girls.” 
 
 Oban. Signed: Utamaro hitsu. Publisher : Yama-fuji. 
 
 856. SHINOHARA OF TSURU=YA 
 
 Another large-head portrait. Same series as the preceding. 
 The girl is shown adjusting one of her large wooden hair- 
 X) pins. The printer omitted to charge the block fully so 
 
 this pin is white while the others and the girl’s comb are 
 yellow. Gray ground. 
 
 Fine impression. In good condition. 
 
Fourth Evening 
 
 857. HONSHO MONO: “GOOD NATURE” 
 
 Head and bust of a girl leaning over a table, writing 
 Chinese characters in a copy-book. One of the series: 
 Kyokun Oya no Mekagami. “Education through parent’s 
 eye-glasses.” 
 
 Oban. Signed: Utamaro hitsu. Publisher: Tsuru-ya. About 
 
 1798. 
 
 858. SAIZABURO DRESSING THE HAIR OF JOHACHI 
 
 WHILE OKOME LOOKS ON 
 
 This print represents the characters in a well-known love 
 story. Okome of the house called Shiroki-ya was in love 
 with Obana Saizaburd the barber; and the tedai (servant) 
 Johaehi was deeply in love with her and jealous of Saiza¬ 
 burd. One of the series, Sen Kakyo Tsuki no Murasami. 
 “A thousand mirrorings of clouds across the moonlit sky.” 
 Oban. Signed: Utamaro hitsu About 1797. 
 
 859. YOSO=OI OF MATSUBA=YA 
 
 Seated with a kamuro (girl attendant) by her side, looking 
 at a flower arrangement of bignonias in a hanging bamboo 
 holder. 
 
 Oban. Signed: Utamaro hitsu. 
 
 Fine impression; in good condition; the color softened by fading. 
 
Fourth Evening 
 
 860. BIJIN GO MEN=SO 
 
 A woman fortune-teller. Large head and bust. 
 
 Oban. Signed: Utamaro liitsu. Publisher: Tsuru-ya. About 
 
 1798. 
 
 861. SCENE FROM THE THIRD ACT OF CHUSHINGURA 
 
 Kanpei witnesses Okaru repel Bannai’s attempt to embrace 
 her. 
 
 Circular composition on an oban. Signed: Utamaro liitsu. 
 About 1799. 
 
 862. SEGAWA OF OGI=YA STANDING 
 
 Her kamuro Oname and Menami and two older girls are 
 seated in a group beside her. Yellow ground. 
 
 Oban. Signed: Utamaro hitsu. Publisher: Mur at a-y a. About 
 
 1799. 
 
 863. BOATING ON THE SUMIDA RIVER 
 
 Koban. Signed: Utamaro hitsu. 
 
 864. TEKKAI SENNIN 
 
 Comic representation of the Rishi Tekkai. His frog, 
 seated upon his head, is sending its spirit heavenward 
 where it is revealed as Ebisu the purveyor of food. 
 
 Narrow panel. In gray and black. Signed: Utamaro hitsu. 
 
 865. MUSASHI: CHOFU NO TAMAGAWA 
 
 “The Chofu Tama river, Province of Musashi.” A woman 
 pounding white cloth in a tall wooden tub, as a part of 
 the washing process; another woman seated, smoking a 
 pipe; and a porter bringing baskets of cloth to be washed. 
 The river appears as a winding stream in the background. 
 Oban. Series: Furyu Mu Tamagawa. Signed: Utamaro liitsu. 
 About 1802. 
 
 866. KAYOI KOMACHI: “VISITING KOMACHI” 
 
 An Ukiyo-e analogue of the repeated visits to the famous 
 ninth century poetess Ono no Ivomachi by a persistent 
 suitor. Here a girl is sending away her lover who turns 
 his back to receive his haori (coat) which she holds and 
 is about to throw about his shoulders. One of the series: 
 Futabagusa Nana Ivomachi. 
 
 Oban. Signed: Utamaro hitsu. About 1803. 
 
 Fine impression. In excellent condition. 
 
Fourth Evening 
 
 867. A SCENE FROM THE SIXTH ACT OF CHUSHINGURA 
 
 Also its analogue in real life. A mother sending away her 
 daughter who has been sold to the keeper of a Yoshiwara 
 house: and in the smaller inserted picture, the proprietor 
 of Ichimonji-ya of Gionmachi calling at the house of 
 Yoichibei for his daughter Okaru. 
 
 Oban. Signed: Utamaro. About 1804. 
 
 868. A WOMAN PLAYING HANETSUKE 
 
 Battledore and shuttlecock. Another woman seated on a 
 wooden bench, looks on. Part of a triptych. 
 
 Oban. Signed: Utamaro hitsu. About 1804. 
 
 Fine impression. The quality of the black in the kimono of the 
 principal figure is noteworthy. 
 
 869. THE PERSIMMON GATHERERS 
 
 Right-hand sheet of a well-known triptych. 
 
 Oban. Signed: Utamaro liitsu. About 1804. 
 
 Not a very early impression: color rather strong. Good con¬ 
 dition. 
 
 870. A WOMAN’S DAIMYO CORTEGE HALTING 
 
 AT THE SEA SHORE 
 
 The subject is an Lkiyo-e pleasantry in which women are 
 substituted for the noble and his suite. Middle sheet of a 
 triptych. In Utamaro’s latest manner. 
 
 Oban. Signed: Utamaro hitsu. Publisher: Wakasa-ya. Prob¬ 
 ably 1805. 
 
 871. A WRITING LESSON 
 
 A young woman seated before a writing desk, writing on 
 a roll of paper. A girl on the other side of the table is 
 showing her writing in a copy book to an older woman 
 who stands behind the others. An inscription gives a 
 summary of the development of calligraphy from ancient 
 times when the first brushes used were made of splints of 
 wood tied together with rice straw. 
 
 Oban. Signed: Utamaro hitsu. Publisher: Izumi-ya. About 
 1805. 
 
 Fine impression. Condition perfect scire for a few moth holes. 
 
Fourth Evening 
 
 872. YOUNG MAN LOOKING DOWN AT A GIRL 
 
 HOLDING A SPY=GLASS 
 
 One of an Ukiyo Hakkei series. 
 
 Hashira-e. Signed: Utamaro ga. About 1798. 
 
 873. BOATING PARTY UNDER A BRIDGE 
 
 A woman standing has caught a small fish with a rod and 
 line; a man seated leans over the rail to wash a sake cup 
 and his figure is reflected in the water. 
 
 Wide hashira-e. Signed: Utamaro liitsu. 
 
 Good impression. Trimmed slightly at the foot and someivhat 
 toned. 
 
 874. PEONIES 
 
 A leaf from a paper manufacturer’s sample book, issued 
 about 1850. 
 
 Lateral format 6% x 18% inches. Signed in gauffrage, Uta¬ 
 maro ga. 
 
 UTAMARO II 
 
 (Worked in Bunka period, 1804-1817) 
 
 875. A YOUNG WOMAN READING A BOOK 
 
 One of the series Ju-go Ivirio Soroi. Competition of skill 
 between fifteen children. A small picture of the village 
 of Chikubashima adjoins the label upon which the series 
 title is engraved. 
 
 Oban. Signed: Utamaro liitsu. Publisher: Eijudo. Seal date, 
 1807. 
 
 EISHOSAI SHIKO 
 
 (Worked c. 1785-1800) 
 
 JORURI MITATE HAKKEI 
 
 Eight views of famous eloping lovers. Complete set of eight prints. 
 Narrow yoko-e. Signed: Sliiko ga. About 1798. 
 
 876. OSOME AND HISAMATSU 
 
 The woman’s name is mentioned first. 
 
 877. KYOKAWA AND BUNSHICHI 
 
Fourth Evening 
 
 878. UMEGAWA AND CHUBEI / © 
 
 879. OHATSU AND TOKUBEI / 0 
 
 And the girl’s mother searching for them. 
 
 880. OHANA AND HANSHICHI 
 
 881. OHAN AND CHOEMON 
 
 882. KOINA AND HAMBEI 
 
 883. OMME AND KUMANOSUKE 
 
 884. THE DOLL FESTIVAL 
 
 Two women engaged in preparations for the festival. One 
 of them carries a bunch of blossoming cherry branches 
 and a box containing a doll. Series, Azuma Fuzoku Go- 
 sekku Awase. 
 
 Oban. Signed: Shilco ga. Publisher, Matsugasu. About 1798. 
 
Fourth Evening 
 
 897. MINO YORO NO TAKI 
 
 
 The Yoro Fall in Mino province. 
 
 Very fine impression. 
 
 SHIKA SHA-SHIN KYO 
 
 The Imagery of the Poets of China and Japan. Seven of the 
 series of ten kakemono-e. 
 
 Signed: Zen Hokusai I-itsu liitsu. Publisher: Mori-ya Jihei. 
 
 
 s 
 
 898. SHONENKO 
 
 This is the Japanese pronunciation of a famous Chinese 
 poem on the pleasure of travel. Hokusai shows Chinese 
 travellers on horseback on a road by a lake where a man is 
 fishing. 
 
 899. HARUMACHI NO TSURAKI 
 
 The poet and attendants crossing a bridge across a rapidly 
 flowing river. 
 
 ns 
 
 900. SEISHONAQON 
 
 Hokusai here illustrates Seishonagon’s famous ode about 
 Moshokun at the barrier gate which could not be opened 
 until cockcrow, so one of his attendants climbed a tree 
 and imitated a cock so successfully that the gate was 
 opened for them to pass. 
 
 Fine impression in very good condition. 
 
 ( Illustrated ) 
 
 901. HAKURAKUTEN 
 
 Japanese rendering of the name of the Chinese poet Po 
 Chii-i who is shown seeking the advice of a sage who spent 
 his time in fishing. 
 
 902. TOKIWA DAIJIN 
 
 The noble poet and two attendants upon the bank of a 
 river; the crescent moon of the third day, overhead. 
 
 903. ABE NO NAKAMARO 
 
 The poet being starved to death in China after having been 
 graciously received and feasted by the Emperor. 
 
 Fine impression. In fair condition. 
 
900 
 
 904 
 
Fourth Evening 
 
 904. TOKUSA KARI 
 
 Collecting tokusa, a kind of flowering rush. An old farmer 
 ~ is crossing a bridge carrying bundles suspended from the 
 
 ends of a pole. Here the poet is perhaps Hokusai him¬ 
 self. 
 
 ( Illustrated) 
 
 CHI-E NO UME 
 
 A thousand pictures of the sea. Nine prints of the ten com¬ 
 prising this extremely rare series. 
 
 La teral chuban. Signed : Zen Hokusai Iitsu. 
 
 905. SOSHU URAGA 
 
 ^ Fishing from the rocks at Uraga in Soshu. 
 
 906. MACHIAMI 
 
 Fishing with nets in the rapids below the great fall. 
 
 907. GOTO, KUJIRA TSUKE 
 
 
 V 
 
 Towing a whale to the shore at Goto. 
 
 908. SHIMOSA NOBUTO 
 
 Gathering marine creatures on the sands at Nobuto at low 
 tide. 
 
Fourth Evening 
 
 909. KINUKAWA HACHIFUSE 
 
 Recovering iron from the bed of the river Kinu. 
 
 n 
 
 910. KOSHU HIBURI 
 
 Night fishing with flares at Hiburi in Koshu. 
 
 911. KAYABARI NAGARE 
 
 Fishing with rod and line in the stream at Kayabari. Q 6 
 
 912. SOSHU TONEGAWA 
 
 Fisherman in a boat on the Tone river hauling in a net. ! 
 
 913. SOSHU CHOSHI 
 
 Surf-fishing from boats off a point of land in Sbshu. 
 Superb impression. Immaculate condition. 
 
 HOKKEI 
 
 TOSHI GAFU ZU 
 
 Illustrations of Chinese Poems. Two prints of the series. 
 
 Koban. Printed in blues and salmon pink. Signed : Hokkei. 
 
 914. ON THE HEIGHTS 
 
 A man standing on a rocky crag and looking at a peak ^ 
 rising above an intervening cloud-filled valley. 
 
Fourth Evening 
 
 915. LANDSCAPE 
 
 ^ t> A river flowing out from a lake surrounded by rugged hills. 
 
 916. THE TEMMANQU SHRINE 
 
 Seen from the river through morning fog. 
 
 La teral chuban. Signed : Hokkei. 
 
 917. AUTUMN MAPLES ON THE TATSUTA RIVER 
 
 / Double page print, 8 x 12 inches from a volume of poems. Signed 
 
 Hokkei. 
 
 SHOIvOKU MEISHO 
 
 “Famous sights in the home country.” Eight prints of the series 
 of which thirteen are known. 
 
 Narrow yoko-e. Signed ,: Aigaoka Hokkei. 
 
 918. SHIMOTZUKE. NIKKO=SAN URAMI QA TAKI 
 
 “The waterfall one can see from behind, at Nikko, province 
 'y of Shimotzuke.” Men on a log bridge peering at a great 
 
 i > curving fall from the under side. 
 
Fourth Evening 
 
 919. BUSHU. SUMIDA GAWA 
 
 A ferry boat crossing the river in a heavy downpour of 
 rain. 
 
 This rare print is a characteristic example of the work of 
 Hokkei at his best. 
 
 920. JUSHU. MIKUNLGOE FUDO TOGE 
 
 “The Fudo protector of the Mikuni pass.” The ghostly 
 form of Fudd (Japanese name of the Deva Vairocana) ap¬ 
 pears on the hillside above a small waterfall under which 
 a man assists a woman to wash her hands. 
 
 921. SUNSHU. OMIYAGUCHI TOZAN 
 
 Pilgrims beginning the ascent of Fuji at Omiyaguchi. Long 
 rays from the morning sun illuminate the slope. 
 
 922. IZU. MAISHI NO AMIDA 
 
 The stone-horse Amida, province of Izu. Man in a boat 
 beside a great arched rock on the sea coast. 
 
 923. ECHIGO. OYASHIRAZU 
 
 Surf at Oyashirazu province of Echigo. The name of the 
 place signifies “Parents, take warning,” i. e. to keep chil¬ 
 dren out of reach of the waves. 
 
Fourth Evening 
 
 
 924. NAQATO. NUNOKARI JINJI 
 
 Shint5 festival at Nunokari, province of Nagato. Two 
 shicho, one carrying a flaming torch, dash along a 
 narrow tongue of land momentarily exposed between the 
 gigantic waves of a heavy surf. 
 
 925. SURUGA. SATTA TOGE 
 
 Satta pass in winter, clad in a mantle of snow. At the 
 left travellers toil up the ascent: at the right the blue 
 water of the bay and snowy hills beyond. 
 
 KATSHUSHIKA TAITO 
 
 (Worked c. 1810-1850) 
 
 These prints are often attributed to Hokusai but are now known 
 to be by his pupil Kameya Saburo to whom Hokusai gave his Taito 
 name. 
 
 926. 
 
 MOUNTAIN LANDSCAPE 
 
 In white reserve on a dark blue field. 
 Half block vertical panel. Signed : Taito. 
 
 927. 
 
 n / 
 
 TEKKAI SENNIN 
 
 Narrow vertical panel. 
 
 928. HOT El 
 
 Signed: Katsushika Taito. 
 
 |i 
 
 Seated on his great bag of precious things. 
 Narrow vertical panel. Signed: Katsushika Taito. 
 
 929. PINK CHERRY BLOSSOMS AND BULLFINCHES 
 
 Narrow vertical panel. Signed: Katsushika Taito. 
 
 930. A CARP IN RAPID STREAM; AND A POEM 
 
 Oban. Signed: Katsushika Taito. 
 
 KYUZAN GAKUTEI 
 
 (Worked in the first half of the nineteenth century) 
 
 931. TEMPOZAN SUEHIRO BASHI TSUKI YO NO ZU 
 
 View of Suehiro bridge, Tempozan, on a moonlight evening. 
 Yoko-e. Signed: Gogaku. 
 
 At a recent auction in Tokyo an impression of this print fetched 
 two hundred yen. 
 
Fourth Evening 
 
 932 . OSAKA TEMPOZAN YUDACHI NO KEI 
 
 A junk laboring in a heavy storm off Tempozan in Osaka 
 harbor. 
 
 Yofco-e. Signed : Gogaku. 
 
 HIROSHIGE 
 
 (B. 1797, d. 1858) 
 
 THE MARUSEI TOIvAIDO 
 
 Forty-two prints of the Tbkaido set published by Marusei about 
 1843. 
 
 1 oko-e. Signed: Hiroshige ga. 
 
 933. KAWASAKI (No. 3) 
 
 G 
 
 Two ferry boats crossing the river and a loaded barge ) 2* 
 coining up the stream under sail. 
 
 934. KANAGAWA (No. 4) 
 
 A row of tea-houses between the highway and the shore of 
 Edo bay. 
 
 
 !> 
 
 -O 
 
 935. HODOGAYA (No. 5) 
 
 Snow scene. Shin-kame bridge and houses at each end. / 
 Fine impression. 
 
 936. TOTSUKA (No. 6) 
 
 The highway bordered by pine trees at the left; Fuji at 
 the right. 
 
 937. HIRATSUKA (No. 8) 
 
 The Nawate highway across the fields; the village in the 
 distance. 
 
 Fine impression. 
 
 938. HIRATSUKA (No. 8) 
 
 Another impression. 
 
 
 ^0 
 
Fourth Evening 
 
 1 
 
 939. ODAWARA (No. 10) 
 
 Porters carrying travellers across the ford of the Sako 
 
 river. 
 
 940. HAKONE (No. 11) 
 
 A traveller in a kago being carried over the pass by night. 
 
 941. MISHIMA (No. 12) 
 
 The village street; two inns on its further side; in the fore¬ 
 ground, trees and the torii of a Shinto shrine. 
 
 Fine impression. 
 
 942. NUMAZU (No. 13) 
 
 The narrow Miho no Matsubara peninsula in the fore- 
 ground: Fuji towering above a range of hills in the dis¬ 
 tance. 
 
 943. HARA (No. 14) 
 
 S' 
 
 )> 
 
 The great cone of Fuji seen against a deep blue sky, across 
 the rice fields and two ranges of foot-hills. 
 
 Fine impression. 
 
 944. YOSHIWARA (No. 15) 
 
 A group of travellers at the right, 
 horse. Fuji in the distance. 
 
 Fine impression. Margins trimmed off. 
 
 one 
 
 a woman on 
 
 a 
 
 1 
 
 V 
 
 945. 
 
 KAMBARA (No. 16) 
 
 Ferry boats on the Fujikawa; the white cone of Fuji lifting 
 above the green hills along the river. 
 
 946. YUI (No. 17) 
 
 The inn on the beach at the foot of Satta peak. 
 Fine impression. 
 
 |1 
 
 947. OKITSU (No. 18) 
 
 y Junks sailing along the coast: Fuji in the distance. 
 
 I 
 
 948. EJIRI (No. 19) 
 
 Fuji seen across the bay which is dotted with the white 
 sails of fishing boats. 
 
 0 
 
Fourth Evening 
 
 949. FUCHU (No. 20) 
 
 Travellers arriving at and departing from the inn at night. 
 Very fine impression. 
 
 950. OKABE (No. 22) 
 
 The road up Utsu hill. 
 
 951. FUJIEDA (No. 23) 
 
 A gray sky and rain beginning to fall. Wayfarers on 
 the road across the rice fields, with hastily improvised 
 protection from the shower. 
 
 952. SHIMADA (No. 24) 
 
 The ford across the Oi river; Fuji in the distance. /jT* 
 
 953. KANAYA (No. 25) 
 
 View of Kanaya hill and the Oi river. ) N 
 
 954. NISSAKA (No. 26) 
 
 The great pine, and the “Night-crying Stone” of Saya no 
 Nakayama. The stone marks the place where, in ancient 
 times, a woman was murdered, and it is reputed to give 
 out sounds at night like the crying of a human being. 
 
 Fine impression. 
 
 955. HAMAMATSU (No. 30) 
 
 A storm approaching across the sea. 7 ^ 
 
 Fine impression of a much admired print. 
 
 956. MAIZAKA (No. 31) 
 
 Porters carrying bales of goods on board sail boats drawn 
 up to the shore. Imaki point in the background. 
 
 957. MAIZAKA (No. 31) 
 
 Another impression. b 
 
 958. ARAI (No. 32) 
 
 A iew across the ba} r : the white cone of Fuji showing above 
 the horizon. 
 
 959. ARAI (No. 32) 
 
 Another impression. 
 
 
Fourth Evening 
 
 960. FUTAGAWA (No. 34) 
 
 Travellers resting at the post station. 
 
 961. YOSHIDA (No. 35) 
 
 The Tennd sairi, 15th day of the 6th month. Villagers 
 *2 watching the festival procession as it debouches upon the 
 
 beach. 
 
 962. GOYU (No. 36) 
 
 The old road by the river at Honnoga; Fuji san on the 
 horizon. 
 
 963. AKASAKA (No. 37) 
 
 The inns and shops along the village street. 
 
 964. FUJIKAWA (No. 38) 
 
 ^ A daimyo procession coming down the road between the 
 
 hills. 
 
 965. OKAZAKI (No. 39) 
 
 The advance guard of a daimyo procession crossing the 
 bridge over the Yakagi river. 
 
 <>66. CHI RYU (No. 40) 
 
 Porters bearing bales of merchandise along the highway 
 on a festal day- 
 
 967. NARAMI (No. 41) 
 
 The village street with shops for the sale of dyed cotton 
 3? cloth. 
 
 968. MIYA (No. 42) 
 
 ^ The harbor. Boats at anchor at the right; the “Awaken- 
 
 ^ ing from sleep” point at the left. 
 
 969. ISHIYAKUSHI (No. 45) 
 
 Travellers halting at the post station. 
 
 j> b h 
 
 970. SHONO (No. 46) 
 
 A cold morning. Men warming themselves at a fire built on 
 ) ~V the highway. 
 
Fourth Evening 
 
 971. KAMEYAMA (No. 47) 
 
 The road by the castle moat. 
 
 Good impression, but in poor condition. 
 
 972. SAK A=NO=SH ITA (No. 49) 
 
 Morning scene on the highway. The man carrying a large 
 red mask in a box on his back is returning from a pil¬ 
 grimage to the Kompira shrine, island of Shikoku. 
 
 973. SAKA=NO=SH ITA _ b '0 
 
 Another impression. / 
 
 974. TSUCH UYAMA (No. 50) 
 
 Travellers on the road by the river. 
 
 975. MIZUKUCHI (No. 51) 
 
 A man leading a laden carabao up the road between green 
 hills upon which cedars are growing. 
 
 Fine impression. 
 
 976. MIZUKUCHI (No. 51) 
 
 Another impression; condition not quite so good. / 
 
 cO 
 
 977. KUSATSU (No. 53) 
 
 -0 
 
 The ferry to Yabase across Lake Biwa. / V 
 
 978. KYOTO (No. 55) 
 
 A ieiv from the Sanjo bridge. 
 
 
 THREE SERIES OF SHOKOKU MU TAMA-GAWA 
 
 the Mu Tama-gawa, or six Tama rivers in as many provinces, 
 have furnished favorite themes for many Japanese poets and painters. 
 It is usual to typify each river by the representation of a well-known 
 incident mentioned in a classic ode. 
 
 The half block panel set. 
 
 Size, 15x5 inches. Signed: Hiroshige ga. Published bp Fuji¬ 
 lt iko. 
 
 979. MUSASHI. CHOFU NO TAMA=GAWA 
 
 A woman washing cloth in the river. The cloth has been 
 placed on a rock near the shore and she stands upon it 
 with bare feet. 
 
Fourth Evening 
 
 980. MUTSU, NODA NO TAMA=GAWA 
 
 A court lady standing on the grassy river bank and holding 
 a large green hat. A flock of chidori (sanderlings) flies 
 by overhead. 
 
 981. SETTSU, KINUTA NO TAMA=GAWA 
 
 Two women seated on the river bank on a moonlight even¬ 
 ing, fulling cloth by the kinuta process of beating it with 
 large wooden pounders. 
 
 982. YAMASHIRO, IDE NO TAMA=GAWA 
 
 
 The poet Narihira on horseback, fording the river and 
 admiring the yamabuki in bloom upon its banks. 
 
 983. YAMATO, NOJI NO TAMA=GAWA 
 
 Narihira standing on the bank thickly overgrown with hagi 
 (bush clover) and looking at the reflection of the moon in 
 the water. 
 
 984. KII, KOYA NO TAMA=GAWA 
 
 i 
 
 A noble youth holding a flower bucket and standing upon 
 a bridge built across a deep chasm into which a waterfall 
 plunges. 
 
 3 
 
 o 
 
 The Tsuta-ya set. Two prints of the six. 
 
 Yoko-e. Signed : Hiroshige go. Published by Tsuta-ya Kichizd. 
 About 1840. 
 
 985. YAMATO, NOJI NO TAMA=GAWA 
 
 Narihira looking at the moon reflected in the water; his 
 servants seated behind him. 
 
 986. SETTSU, KINUTA NO TAMA=GAWA 
 
 Women fulling cloth by moonlight. 
 
Fourth Evening 
 
 The Maru-kyu set. 
 
 Oban, Signed: Hiroshige ga. Published by Maru-kyu. Seal 
 date 1857. 
 
 987. MUSASHI, CHOFU NO TAMAGAWA 
 
 On the banks of the river women are washing clothes and 
 pounding them in a wooden tub. Willow trees are in the 
 middle distance, and Fuji in the background. 
 
 988. MUTSU, NODA NO TAMAGAWA 
 
 A court lady with an old retainer seated by her, looking at 
 sanderlings flying over the stream. 
 
 989. SETTSU, KINUTA NO TAMAGAWA 
 
 Women fulling cloth by moonlight. The landscape printed 
 in soft tones of Chinese ink. 
 
 Fine impression. 
 
 990. YAMASHIRO, IDE NO TAMAGAWA 
 
 Narihira and his attendants halting to look at the yellow 
 yamabuki blossoms. Beyond the river are grassy hillocks 
 with cherry trees in bloom, and in the distance is the gray 
 mass of a mountain. 
 
 Fine impression. 
 
 991. YAMATO, NOJI NO TAMAGAWA 
 
 Here there is a setting of soft yet rich greens and blues, 
 bringing out effectively the poet and his attendants who 
 gaze at the reflected moon in the water. 
 
 992. KII. KOYA NO TAMAGAWA 
 
 The river coming down over a hillside at the right and 
 flowing through a broad valley where a stout priest dressed 
 in red, with a green kesa, and attended by a servant, stands 
 looking at the swift current. 
 
 EDO KOMEI KAITEI ZUKUSHI 
 
 “Famous Tea-houses of Edo.” Two prints of the series. 
 
 Yoko-e. Signed : Hiroshige ga. Published by Fuji-hiko. 
 
 993. TAMA=YA. KAMEIDO URA MON 
 
 The Tama tea-house at the Ura gate to the Temmangu 
 shrine at Ivameido. 
 
Fourth Evening 
 
 
 994. SUSAKI. MUSASHI=YA 
 
 The Musashi tea-house at Susaki. 
 morning in winter. 
 
 View at sunrise on a 
 
 GO-JU-SAN TSUGI MEISHO ZU KAI 
 
 Fifty-three post-stations, famous places picture collection. Thir¬ 
 teen prints of the series known as the “Upright Tdkaido set.” 
 
 Oban. Signed: Hiroshige ga. Published by Tsuta-ya Kichizo 
 1855. 
 
 
 > 
 
 '0 
 
 995. NIHON BASHI. SHINONOME NO KEI 
 
 Early morning view of Nippon bridge. 
 
 I s - 
 
 'i 
 
 
 996. HODOGAYA. SAKAKI NO TATEBA KAMAKURA 
 
 YAMA DO NOZOMU 
 
 Distant view of the Kamakura mountains from the Sakaki 
 rest house at Hodogaya. 
 
 997. HIRATSUKA. BANYUGAWA FUNA WAT ASH I 
 
 Ferry boats crossing- the Banvu river at Hiratsuka. 
 
 1 
 
 998. HIRATSUKA 
 
 S Another impression in darker colors. Later edition. 
 
 999. NUMAZU. ASHIGARA=YAMA FUJI HIRU HARE 
 
 >'5 Ashigara-yama and Fuji seen from Numazu on a clear 
 
 noon-day after a snowfall. 
 
 >5- 1000. YOSHIWARA. FUJI NO NUMA NARUSHIMA OA MARA 
 
 ir 
 
 Fuji swamp and Narushima field at Yoshiwara; Fuji-san 
 in the distance. 
 
 
 1 * 
 
 
 
 !> 
 
 1001. OKABE. KATAZU NO YAMA TSUTA NO HOSOMICHI 
 
 Mount Ivatazu and the Ivy path at Okabe. 
 
 1002. NISSAKA. SAYO NO NAKAYAMA MUQEVZAN EMBO 
 
 Distant view of Mount Mugen from Sayo no Nakayama 
 Nissaka. 
 
 1003. HAMAMATSU. MEISHO ZAZANZA NO MATSU 
 
 The Zazanza Pine-tree, famous sight at Hamamatsu. 
 
Fourth Evening 
 
 1004. FIJIKAWA. SANCHU NO SATO KYUMEI 
 
 Snow scene. The mountain village of Fujikawa formerly 
 called Kyumei. 
 
 1005. FUJIKAWA 
 
 L 
 
 Another impression, with a dark sky and shadow at the } n - 
 foot. ' ' 
 
 Later edition. 
 
 1006. MAIZAKA, IMAKIRI KAIJO FUNA WATASHI 
 
 The Ferry to Imakiri from Maizaka. 
 
 10 
 
 1007. SHI NAG AW A. GOTENYAMA YORi EKI CHU O NOZOMO 
 
 Looking down upon Shinagawa from Gotenvama. 
 
 OMI HAKKEI 
 
 Two prints of the “upright set.” 
 
 Oban. Signed : Hiroshige ga. Published by Eikichi. 
 Snake Year, 1857. 
 
 Dated 
 
 1008. HIRA NO BOSETSU 
 
 Evening snow on Mount Hira, seen from across Lake Biwa. 
 
 1009. KARASAKI YAU 
 
 Night rain at Karasaki. 
 
 )t> 
 
 i * 
 
 ROKU-JU-YO SHU MEISHO ZU KAI 
 
 “Famous Sights in the Sixty-odd Provinces.” Ten prints of the 
 set of sixty-nine. 
 
 Yoko-e. Signed: Hiroshige ga. Published by Koshimura Hei- 
 suke. 
 
 1010. MUSASHI. SUMIDA=GAWA YUKI NO ASA 
 
 Snowy morning on the Sumida river, province of Musashi. 
 Dated 1853. 
 
 Unusually good impression. Soft color. 
 
 
 1011. WAKASA. RYOSEN KARE AMI 
 
 Seining flounders off the coast of Wakasa. 
 Dated 1853. 
 
 5 
 
Fourth Evening 
 
 1012. TOSA. KAIJO, KATSUO TSURE 
 
 Mackerel fishing in the sea off the Tosa coast. 
 Dated 1855. 
 
 Exceptionally fine impression. 
 
 1013. IZUMO. OYASHIRO HOTO=HOTO NO ZU 
 
 
 View of the Hoto-hoto ceremony at Oyashiro in Izumo. 
 Dated 1858. 
 
 1014. KAZUSA. YASASHI QA URA TSUMYO KU=JU=KI RI 
 
 Yasashi beach, caller the Ninety-nine Ri beach, province of 
 Kazusa. 
 
 Dated 1858. 
 
 Fine impression, but has been trimmed down, especially on the 
 left side, where the signature of the engraver Take remains but 
 not that of Hiroshige. 
 
 1015. NAGATO. SH1MONOSEKI 
 
 The harbor of Shimonoseki. 
 Dated 1856. 
 
 
 0 
 
 1016. HIGO. GOKANOSHO 
 
 The natural bridge at Gokanosho in Higo. 
 
 Dated 1856 on the margin which has been trimmed off. 
 
 1017. HARIMA. MAIKO NO HAMA 
 
 Maiko beach in Harima. 
 
 Dated 1853. 
 
 Some white lines due to defective register have been touched out 
 with water color. 
 
 1018. KAI. SARUHASHI 
 
 The Monkey Bridge in the province of Ivai. This is not 
 the rare Saruhashi print but is another treatment of the 
 same subject. 
 
 Dated 1853. 
 
Fourth Evening 
 
 1019. YAMASHIRO TATSUTA YAMA; TATSUTA=GAWA 
 
 Tatsuta mountain and the Tatsuta river, famous for its 
 maple trees, province of Yamashiro. 
 
 Engraved by Take. Dated 1853. 
 
 Exceptionally fine impression. In perfect condition. 
 
 1020. KOZUKE. MAKINA YAMA SETCHU 
 
 Mount Makina in falling snow. 
 
 Dated 1853. 
 
 FUJI SAN-JU-ROIv-KEI 
 
 Thirty-six views of Fuji. Three prints of this series. 
 
 Oban. Signed: Hiroshige ga. Published by Tsuta-ya Kicliizo. 
 Dated fourth month Horse Year (1858, four months before 
 Hiroshige’s death), but published in 1859. 
 
 1021. TOTO. SUKIYAGASHI 
 
 Fuji seen from Sukiyagashi in Edo. 
 
 Good impression. The red of the signature label has been toned 
 down by the application of chemicals. 
 
Fourth Evening 
 
 1022. KAI. MISAKA GOE 
 
 View from the Misaka Pass in Kai. 
 
 1023. KAI. OTSUKI NO HARA 
 
 View from a meadow at Otsuki in Kai. 
 
 FUJI SAN-JU-ROK-KEI 
 
 Thirty-six Views of Fugi. Sixteen prints of the half-block set 
 published by Sano-ki in 1852. 
 
 Fine impressions are very rare. 
 
 1 
 
 1024. THE MOUNTAIN SEEN FROM NIHON BASHI EDO 
 
 1025. 6 EDO SHICHU TANABATA MATSURI 
 
 Fuji seen from “great Edo” when the city is decorated for 
 the Tanabata festival. 
 
 1026. TOTO SUMIDA ZUTSUMI 
 
 View from the Sumida embankment when cherry trees are in 
 bloom. 
 
 Fine impression. Perfect condition. 
 
 b 
 
 1027. TOTO KINOSHITAGAWA TAMBO 
 
 Fuji seen from a rice field at Kinoshitagawa. 
 Fine impression. 
 
 1028. VIEW OF FUJI 
 
 | 0 From the Tama river in Musashi. 
 
 1029. MUSASHI HONMOKU KAIJO 
 
 View from the sea at Honmoku. 
 Fine impression. 
 
 1030. TOKAIDO OISO NAWATE 
 
 Fuji seen from the entrance to Oiso on the Tokaido. 
 Fine impression. 
 
Fourth Evening 
 
 1031. KAZUSA. TENJINYAMA KAIGAN 
 
 View from the beach at Tenjinyama in Kazusa. 
 
 1032. KAZUSA KISARAZU KAIJO 
 
 Fuji seen from the sea off Kisarazu in Kazusa. 
 
 1033. KAI KATSURAYAMA URA FUJI 
 
 View of Mount Katsura, province of Kai, Fuji in the dis¬ 
 tance. 
 
 Fine impression. 
 
 1034. KAI OTSUKI NO HARA 
 
 View of Fuji from a field at Otsuki in Kai. 
 
 1035. KAI KENMOKU TOGE 
 
 Fuji seen from the Ivenmoku pass in Kai. 
 
 1036. SAGAMI SHICHURI GA HAMA FU=HA 
 
 Fuji seen through heavy surf at Seven-ri beach. 
 
 Fine impression. 
 
 1037. SURUGA FUJIKAWA 
 
 View of Fuji from the Fuji river in the province of Suruga. 
 Fine impression. 
 
 1038. SURUGA SATTA TOGE 
 
 View of Fuji from the Satta pass in Suruga. 
 
 Fine impression. 
 
 1039. TSURUGA FUJUNUMA 
 
 The mountain seen from the Fuji swamp in the province 
 of Suruga. 
 
 Exceptionally fine impression. 
 
 F 0 
 
 7 -^ 
 
 S 
 
 fT 
 
 Five prints of the fish sereis. 
 
 Yoko-e. Signed: Hiroshige ga. Publisher, Eijudo. 
 
 1040. HIRAME AND MEBARI 
 
 Plaice and mebari? 
 
Fourth Evening 
 
 1041. KURUMA=EBI AND AJI 
 
 Crayfish and horse mackerel. 
 
 1042. KANI AND SABA 
 
 Crab and mackerel. 
 
 1043. KATSUO 
 
 Bonito. 
 
 1044. AYU 
 
 Trout. 
 
 IvACHO. FLOWERS AND BIRDS 
 
 The kach5 prints designed by Hiroshige are distinguished by fine 
 poetic feeling and wonderful draughtsmanship. Among them are many 
 masterpieces. Early impressions are much finer than later ones but 
 they are extremely rare. 
 
 Half-block vertical panels. 
 
 Size, about 14^/2 x 5 inches. 
 
 1045. WHITE HERON AND RUSHES 
 
 A remarkable design. 
 
 Not first edition. Somewhat toned. 
 
 1046. BAMBOO AND SPARROW 
 
 1048. 
 
 Fine impression. Several large holes neatly repaired so as not 
 to be very noticeable. 
 
 GUELDER ROSE AND KINGFISHER 
 
 Late impression. In good condition. 
 
 FALCON, SWALLOW, AND NARCISSUS 
 
 A falcon on a perch and a swallow flying overhead; nar¬ 
 cissus in low corner. 
 
 Fine impression. Perfect condition. 
 
 ^ 1049. ASTERS AND CRANE 
 
 Fs ' Fine impression. Some moth holes have been neatly patched. 
 
 1050. ROSE AND YELLOW BIRD 
 
 | 1/ Not an early impression, but in very good condition. 
 
 1051. A CRANE WADING IN A STREAM 
 
 Bush Clover in bloom on the Bank. 
 
 Good, though not a very early impression. In fine condition. 
 
Fourth Evening 
 
 1052 
 
 1053 
 
 1052. WISTARIA AND SPARROW 
 
 Pale blue ground. 
 
 Fine early impression. 
 
 1053. WISTARIA AND CANARY ^ £ 
 
 Very fine impression. Slightly toned. 
 
 1054. RED HIBISCUS (FUYO) AND PHEASANT 2- S 
 
 Late impression; good condition. 
 
 1055. PASSION VINE AND KINGFISHER 
 
 Good impression. Perfect condition. 
 
 1056. POPPIES AND QUAIL 
 
 A well-known and much admired print. **7 0 
 
 Good impression. Slightly faded and toned. 
 
 1057. WILD RICE AND DUCKS 
 
 Late impression; good condition. 0 
 
Fourth Evening 
 
 1058 
 
 1003 
 
 1058. MAGNOLIA AND HORNBILL 
 
 Very fine early impression , in good though not quite immaculate 
 condition. 
 
 1059. NEDESHIKO PINKS AND FUJIBAKAMA 
 
 /o ' 0 
 
 7s 
 
 1060. 
 
 rl x 
 
 1 
 
 
 .0 1061. 
 
 Very rare. 
 
 Not a very early impression. Good condition. 
 
 CHRYSANTHEMUMS AND MEJIRO 
 
 Late impression. Good condition. 
 
 MANDARIN DUCKS AND SNOW=LADEN LEAVES 
 
 Late impression. A hole has been neatly patched. 
 
 1062. 
 
 MANDARIN DUCKS AND 
 
 SMALL RED CHRYSANTHEMUMS 
 
 Dated Ox Year , 1853. Late impression. 
 
 
 0 
 
 1063. MANDARIN DRAKE ON A SNOWY BANK 
 
 Fine impression. Perfect condition. Fare. 
 
Fourth Evening 
 
 1064. TERN, GRASSES, AND FALLING CHERRY PETALS 
 
 Late impression. Trimmed at the left. At the right is a part 
 of another design printed on the same sheet. 
 
 s' • 
 
 1065. HYDRANGEA AND SWALLOW ^ 
 
 Late impression. Good condition. 
 
 \ 
 
 1066. YAMABUKI AND SPARROW 
 
 Late impression. Good condition. 
 
 1061. PEAR BLOSSOMS AND TITMOUSE 
 
 Late impression. Good condition. 
 
 1068. CHERRY BLOSSOMS AND BULLFINCH /S, 
 
 Late impression. Defective spot in the paper; otherwise good 
 condition. 
 
 1069. A PHEASANT 
 
 On a projecting cliff beside a waterfall. 
 Late impression. Good condition. 
 
 2*0 
 
 
 1070. IVY AND WHITE=HEADED BIRD 3 £> 
 
 A notable and much admired design. 
 
 Rather late impression. In fair condition. Several holes neatly 
 patched. 
 
 1071. A FALCON AND IVY=CLAD PINE BRANCH °] 0 
 
 Fine impression. In good condition. 
 
 1072. BOTAN (TREE=PEONY) AND PEACOCK 
 
 Late impression. Good condition. 
 
 1073. TSUBAKI (CAMELLIA) AND FINCH 
 
 Late impression. Good condition. 
 
 1074. KOBAI (RED=FLOWERED PLUM) AND NIGHTINGALE 
 
 Late impression , the bird printed in green. 
 
 1075. HIBISCUS AND GOLDEN PHEASANT 
 
 Dated 1853. 1 S 
 
 Late impression. 
 
Fourth Evening 
 
 n 
 
 n 
 
 1076. PAROQUET ON A PINE BOUGH 
 
 Late impression. Good condition. 
 
 NARROW PANELS 
 Size, 131/z x 3 inches. 
 
 1077. NARCISSUS AND SPARROWS 
 
 Late impression. Good condition. 
 
 1078. CUCKOO, MOON AND FALLING CHERRY PETALS 
 
 Late impression. Good condition. 
 
 1079. PEACH BLOSSOMS AND YELLOW BIRD 
 
 Late impression. Good condition. 
 
 j 0 1080. SNOW=LADEN CAMELLIA, AND BIRD 
 
 Good impression. 
 
 1081. NARIHIRA A2UMA KUDARI 
 
 “The Eastern Journey of the poet Narihira.” The famous 
 Fuji war a noble is supposed to be “the man” whose doings 
 are recounted in the classic romance “Ise Monogatari.” 
 Hiroshige depicts him mounted on a white horse and at¬ 
 tended by a white-robed servant and a youth bearing 1 his 
 sword. Fuji-san which the poet saw and admired on his 
 eastern journey, fills the background. 
 
 Kakemono-e. Framed. Signed: Hiroshige ga. Publisher: 
 
 Sano-ki. About 1842. 
 
 Good impression. Toned. 
 
 1082. A FALCON ON SNOW=LADEN PINE TREE 
 
 Kakemono-e. Framed. Signed: Hiroshige hitsu. Seal: Icliiryu- 
 sai. Publisher: Sano-ki. 
 
 Fine impression. In good condition. 
 
 1083. A PEACOCK ON A CLIFF 
 
 WHERE PEONIES ARE IN BLOOM 
 
 V 
 
 
 Kakemono-e. Framed. Signed: Hiroshige hitsu. 
 Exception ally fine impression. Perfect condition. 
 
 ( Illustrated ) 
 
No. 10S3—A PEACOCK ON A CLIFF 
 
Fourth Evening 
 
 1084. THREE OIRAN IN THE VERANDA OF A HOUSE 
 
 IN SHINAGAWA OVERLOOKING EDO BAY 
 
 Oban triptych. Signed: Hiroshige hitsu. 
 
 Published by Daikoku-ya, About 1835. 
 
 1085. RYOGOKU BASHI YURYO ZEN GU 
 
 7 - ° 
 
 Bird’s Eye View of Evening Cooling at R} r ogoku Bridge. 
 Oban triptych. Signed: Ichiryusai Hiroshige hitsu. 
 
 Published by Tsutaya Kichizo. 
 
 1086. A PICNIC AT GOTENYAMA 
 
 Oban triptych. Signed : Hiroshige ga. Published by Fuji-kei, 
 
 7- O Ahout i 8 42. 
 
 Somewhat toned, and has a few moth holes. 
 
 1087. OMI HAKKEI JEN ZU 
 
 Complete View of the Eight Scenes of Omi. Represents 
 Murasaki Shikibu on the veranda of Ishiyama temple look¬ 
 ing out over Lake Biwa and viewing the famous scenes. 
 Triptych. Framed. Signed: Hiroshige hitsu. Seal: Ryusai. 
 In fine condition. Very rare. 
 
 1088. SOSHU: ENOSHIMA BENZA1TEN 
 
 KAICHO MODE HONGU 
 
 Opening of the season for worship at the Benten shrine on 
 the island of Enoshima. 
 
 Triptych. Framed, Signed: Hiroshige ga. Publisher: Iwa- 
 toya. About 1843. 
 
 In fair condition. One sheet slightly soiled. 
 
 1089. SOSHU: ENOSHIMA BENZAITEN KAICHO 
 
 SANKEI GUNJU NO ZU 
 
 Crowd at the opening of the season at the Benzaiten 
 shrine, Enoshima. 
 
 Oban triptych. Signed: Ichiryusai Hiroshige ga. Engraver: 
 Take. About 1843. 
 
 In fair condition. 
 
 1090. THE KISO GORGE IN SNOW 
 
 Kakemono-e. Signed: Hiroshige hitsu. Published by Sano-ki. 
 Good impression, but not very early. In fair condition. Framed. 
 
No. 1091—FAMOUS SCENES IN KANAZAWA: NIGHT VIEW 
 
Fourth Evening 
 
 1091. BUYO KANAZAWA HASSHO YAKEI 
 
 Night View of the eight famous scenes in Kanazawa. 
 
 Obcm triptych. Framed. Signed: Hiroshige hitsu. Seal: Ichi- 
 ryusai. Publisher: Tsutaya Kichizo. Dated seventh month 
 Snake Year, 1845. 
 
 Exceptionally fine, early impression. Perfect condition. 
 
 ( Illustrated ) 
 
 1092. KISOJI NO SAN=CHU 
 
 Mountains and streams on the Iviso highway. 
 
 Hiroshige's most important snow scene. 
 
 Oban triptych. Framed. Signed: Hiroshige hitsu. Publisher: 
 Tsutaya Kichizo. Dated eighth month Snake Year, 1845. 
 Fine impression. 
 
 1093. AWA NARUTO FUKEI 
 
 Distant view of the Naruto whirlpool, province of Awa. 
 Oban triptych. Framed. Signed: Hiroshige hitsu. Publisher: 
 Tsutaya Kichizo. Dated fourth month Snake Year, 1845. 
 
 In fair condition. 
 
 UTAGAWA TEISHO 
 
 (Worked middle of nineteenth century) 
 
 1094. NANIWA TEMPOZAN FUKEJ 
 
 Panoramic view of Tempo hill Osaka, overlooking the har¬ 
 bor. Many visitors viewing- the blossoming cherry trees. 
 Oban, four-sheet composition. Signed: Utagciwci Teisho, pupil 
 of Gototei K-unisada. Publisher: Tenki. About 1830. 
 
 In fair condition. Framed. 
 
Fourth Evening 
 
 UTAGAWA KUNIYOSHI 
 
 (B. 1797, d. 1861) 
 
 HYAKUNIN ISSHU NO UCHI 
 
 The Hundred Poems Illustrated. Six prints of the series of 
 one hundred. 
 
 Oban. Signed: Ichiyusai Kuniyoslii qa. Publisher: Ebine. 
 About 1840. 
 
 1095. A BUDDHIST PRIEST AND A WOMAN 
 
 They stand under yellow umbrellas in a shower. Illustra¬ 
 tion of the poem by Jakuren Hoshi. 
 
 The passing shower onward sweeps— 
 
 Not yet upon the yew-leaves dried 
 Its scattered drops,—and lo ! there creeps 
 The rising mist up yon hill-side 
 Of autumn e’en, 
 
 At twilight’s chilly hour seen. 
 
 1096. ABE NO NAKAMARO VIEWING THE MOON 
 
 Sent to China to discover the secrets of the calendar, he 
 was feasted by the Emperor and then surrounded by 
 guards and left to starve. Musing upon his fate and 
 upon his home in the province of Kasuga that he was 
 doomed never again to see, he wrote this poem in blood 
 upon his sleeve: 
 
 I search high heaven 
 And now above Mikasa 
 In the land of Kasuga 
 
 I know the moon is shining 
 Yon moon I now see rising, 
 
 (In a far-off land now rising). 
 
 1097. WARDERS OF THE IMPERIAL PALACE 
 
 AT THEIR NIGHT VIGIL 
 
 Illustration of the tanka by Yoshinobu no Ason. For an 
 English version see under Lot 183. 
 
 o 
 
Fourth Evening 
 
 II 
 
 1098. ODE 
 
 BY SANJI TAKAMURA 
 
 The poet sailing away to exile at Yasoshima. 
 English version of the ode see under Lot 120. 
 
 For an 
 
 1099. ODE BY GON=CHU=NAGON TADAYORI 
 
 A fisherman setting his nets. 
 
 By the dim light of early dawn 
 I I stray’d by Uji’s wave, 
 
 From whence the rifting mist upborne 
 Me scattered glimpses gave 
 Of Zeze’s stakes there set 
 Whereon the fisher spreads his net. 
 
 1100. TWO TRAVELLERS AT NIGHT 
 
 
 Looking at a tiny waterfall on a hillside. A part of a 
 print of the One Hundred Poems series, title, poem, and 
 signature trimmed off. 
 
FIFTH AND LAST EVENING SESSION 
 
 FRIDAY, MAY 10, 1918 
 
 AT THE AMERICAN ART GALLERIES 
 
 BEGINNING AT 8.15 (/CLOCK 
 
 HARUNOBU 
 
 (B. about 1730, d. 1770) 
 
 FURYU SHIIvI KASEN 
 
 Social Customs of the Four Seasons. Three prints of this series 
 of thirteen, one for each month of 1770, the year of Harunobu’s 
 death. 
 
 1101. YAYOI: THE THIRD MONTH 
 
 Two girls on a walk outside an enclosure where bamboos 
 are growing. One is standing, the other seated, picking 
 spring flowers. 
 
 Chuban. Signed: Harunobu ga. 1770. 
 
 1102. SAMEDARE: THE FIFTH MONTH 
 
 Street scene on a showery day. A woman on her wav to 
 a public bath house, attended by a maid holding an um¬ 
 brella over her, greets a young girl just opening an 
 umbrella, whom she is passing. 
 
 Chuban. Signed: Suzuki Harunobu ga. 1770. 
 
 Fine impression. In very nice condition. 
 
 / o 6 
 
 1.^0 
 
Fifth and Last Evening 
 
 1103. KIKUZUKI: THE NINTH MONTH 
 
 A young- man and two girls at Kasamori shrine, liberating 
 caged birds and watching them fly away. 
 
 j 7 0 Chuban, Signed: Harunobu ga. 1770. 
 
 Fine impression. In good condition. 
 
 THE MARRIAGE CEREMONIES 
 
 Complete set of seven lateral chuban prints. Remarkably fine 
 impressions in beautiful condition. 
 
 Each signed: Harunobu ga. About 1767. 
 
 yo£> 
 
 1104. MIAI 
 
 The First Meeting. Scene at a tea-house, the prospective 
 bridegroom seated beside the nakodo (go-between), watch- 
 mg the ai i i\ al of the bride-to-be, escorted bv her parents. 
 
 1105. YUINO 
 
 The exchange of presents after the espousal. The bride’s 
 father receiving the gifts by the bridegroom. 
 
 1106. YOMEI IRI 
 
 The going-away of tlie bride. She is carried in a kago 
 '/ ^he house of the groom attended by her family and 
 
 friends. Street scene at night. 
 
 1107. KONREI 
 
 ■. !\ The marriage ceremony. 
 
 1108. IRANAOSHI 
 
 Unrobing the bride. Women removing her outer garments 
 and hanging them on a clothes rack. 
 
 o 
 
 1109. TOKO SAKAZUKI 
 
 The bed-t ime sake-cup. 
 
 before retiring for 
 
 O 
 
 the night. 
 
 Husband and wife drinking sake 
 
 1110. FOOTBALL PLAYER 
 
 Hashira-e. Signed: Harunobu ga. About 1769. 
 ) i Q Fine impression. In very good condition. 
 
 (Illustrated) 
 
Fifth and Last Evening 
 
 1111. MASSAGE AFTER THE BATH 
 
 A young woman in a gray blue yukata seated on the 
 engawa of a house having her back massaged by a maid. 
 Late edition, signed Harunohu ga, in white reserve on the 
 engawa at the right. This signature does not appear in the 
 earlier editions, hut a careful comparison with an impression 
 from the first edition shows that both prints are from the 
 same block. The coloring, however, is different throughout. 
 About 1766. 
 
 1112. UIZAN 
 
 The first birth. The young mother propped up on a pile 
 of futon and being given something to drink; while the 
 midwife bathes the infant in a tub, the mother-in-law looks 
 on, and two maids wait ready to give help when needed. 
 
 1113. TWO GIRLS FORDING THE IDE NO TAMAGAWA 
 
 Series: Mu Tamagawa. 
 
 Hashira-e. Signed: Harunohu ga. About 1769. 
 
 Late impression. Good condition, 
 
 1114. AN OIRAN 
 
 Hashira-e. Signed: Suzuki Harunohu ga. 
 
 Faded, and cut down at both head and foot. 
 
 1115. AN ANIMATED PICTURE 
 
 A painted Daruma in a kakemono coming to life and 
 eagerly looking down at a girl seated reading a love 
 
 letter. 
 
 Hashira-e. Signed: Suzuki Harunohu ga. 
 
 About 1769. 
 
 BUNGHO 
 
 (Worked c. 1768-1775) 
 
 1116. SCENE FROM A DRAMA 
 
 The third Otani Hiroji standing holding a peony in his 
 mouth; Nakamura Matsue as a woman seated, holding 
 a ladle of sake. 
 
 Hosoe. Signed: Ippitsusai Buncho ga. About 1770. 
 
 The red seals are those of the late Tadamasa Hayaslii of Paris, 
 and of Wakai, an old-time Tokyo dealer and collector. 
 
 Superb impression. In perfect condition. 
 
Fifth and Last Evening 
 
 1117. A WAITRESS OF THE MINATO=YA TEA=HOUSE 
 
 Hosoe. Signed: Ippitsusai Buncho ga. About 1770. 
 Late impression. In good condition. 
 
 1118. A WAITRESS OF THE SAKANYA TEA=HOUSE 
 
 Hosoe. Signed: Ippitsusai Buncho go. About 1770. 7^ 
 
 1119. 
 
 THE SECOND ICHIKAWA YAOZO 
 
 as a samurai standing on a bank of a river, looking down 
 in amazement at a gigantic frog. 
 
 Hosoe. Signed: Ippitsusai Buncho ga. 
 
 Fine impression. In perfect condition. 
 
 1120. ICHIKAWA BENZO 
 
 dancing the Harugoma (horse-head) Odori in a shosa 
 act. In 1770 Benz5 became the second Ichikawa Monno- 
 suke. 
 
 Hosoe. Signed: Ippitsusai Buncho ga. 1769. 
 
 Fine impression. Perfect condition. 
 
 1121. MIMASUYA SUKEJURO 
 
 as a samurai carrying a kakemono on a small stand. 
 Hosoe. Signed: Ippitsusai Buncho ga. About 1769. 
 
 1122. THE THIRD OTANI HIROJI 
 
 as a noodle peddler, standing by a small pine tree at night. 
 
 He has set down his case of noodles to pick up a small child. t~j 
 Hosoe. Signed: Ippitsusai Buncho ga. About 1770. 
 
 Fine impression. In good condition. 
 
 1123. ONOE KIKUGORO 
 
 as a man standing with folded arms by a hibachi upon 
 which he is burning papers. 
 
 Hosoe. Signed: Ippitsusai Buncho ga. 
 
 Fine impression. In good condition. 
 
 1124. 
 
 ONOE MATSUSUKE 
 
 as a man in fantastic raiment standing 
 house in the Yoshiwara at night. 
 
 Hosoe. Signed: Ippitsusai Buncho ga. 
 
 in front of a 
 
Fifth and Last Evening 
 
 1125. THE FOURTH IWAI HANSHIRO AS OKARU 
 
 Scene from the seventh act of Chushingura. 
 Hosoe. Signed: Ippitsusai Bundid ga. About 1771. 
 Superb impression. In fine condition. 
 
 ( Illustrated ) 
 
 TORII KIYONAGA 
 
 (B. 1752, d. 1813) 
 
 1125A. TWO TALL WOMEN 
 
 Hasliira-e. Signed : Kiyonaga ga. 
 
 Somewhat soiled. Framed. 
 
 HIROSHIGE 
 
 (B. 1797, d. 1858) 
 
 1126. SAGAMI. OYAMA ROBEN NO TAKI 
 
 The Boben Fall (named after the founder of Todaiji 
 temple) at Oyama province of Sagami. One of the Ivwanto 
 Meisho series, “Famous Sights in the Kwanto,” or eight 
 provinces lying east of the Hakone pass. 
 
 Yoko-e. Signed: Hiroshige ga. 
 
 
 1 *> 
 
 S 
 
 o 
 
 1127. YUMI HARI TSUKI 
 
 “The bow-shaped moon” seen through a rocky gorge 
 spanned by a rustic bridge. One of the Tsuki Ni-ju Ivei 
 no Uchi series, or Twenty-eight Moon Views, of which 
 only two are known to have been published. 
 
 Wide panel. Signed: Hiroshige liitsu. Seal: Ichi-ryu-sai. 
 Published by Jakurindo. About 1835. 
 
 Superb impression of the first issue. At a recent sale in 
 Tokyo an impression of this print fetched 800 yen, the equiva¬ 
 lent of $400. 
 
 ( Illustrated ) 
 
 1128. SHISHI AND CUB 
 
 The mother lion crouches on a projecting ledge of a preci¬ 
 pice and watches the cub climb up from below. This illus¬ 
 trates the legend that young lions were not thought fit 
 to survive until they had been put to the test of being 
 thrown from a precipice and had climbed back up its 
 face to the crest. 
 
 Wide panel. Signed: Hiroshige hitsu. 
 Superb impression, in fine condition. Bare. 
 
 ( Illustrated ) 
 
1125 
 
 1128 
 
 1127 
 
Fifth and Last Evening 
 
 1128A. KASUMI GA SEKI JENZU 
 
 Complete view of the Kasumi Pass, Edo. 
 Oban triptych. Signed : Hiroshige ga. 
 
 Very rare. Framed. 
 
 IvACHO 
 
 Wide vertical panels. Size, about fifteen by six and three-quarter 
 inches. 
 
 1129. HYDRANGEA AND KINGFISHER 
 
 Fine early impression. In good condition. 
 
 1130. TREE=PEONY AND PEACOCK 
 
 Fine impression. Good condition. 
 
 1131. PAROQUET ON A PINE BOUGH 
 
 Late but excellent impression. Good condition . 
 
 1132. A CRANE STANDING ON A ROCK AGAINST 
 
 WHICH SURF IS BREAKING 
 
 Superb early impression in the finest condition possible. 
 
Fifth and Last Evening 
 
 1133. CAMELLIA AND SPARROWS IN FALLING SNOW 
 
 First edition, published by Fuji-hiko. 
 
 Fine early impression. Trimmed about an inch on each side. 
 
 1134. FALCON, PINE AND SUN 
 
 Late impression. Fair condition. 
 
 1135. ONAKA=DORI AND UME 
 
 A long-tailed bird perched on a plum branch preening its 
 feathers. 
 
 Second edition, published by Sano-ki. Differs in color from 
 the first edition which was published by Fuji-hiko. In good 
 condition. 
 
 1136. PEACH BLOSSOMS AND SWALLOWS 
 
 Very late impression. In poor condition. 
 
 1137. SIBERIAN IRIS AND WHITE HERON 
 
 Late impression in unusual coloring. 
 
 1138. DUCKS AND SNOW=LADEN GRASSES 
 
 A well-known and much-admired print. 
 
 Published by Eijydo. Has the Baku or “Fool” seal. * 
 Fine impression. In fair condition. 
 
 Three-on-a-block vertical prints. 
 
 Size, about 10 x 5 inches. 
 
 1139. PASSION FLOWERS AND USO; KIKYO AND 
 
 KINGFISHER; AUTUMN MAPLE AND HORNBILL 
 
 Three subjects on one sheet as printed, forming an un¬ 
 severed triptych. 
 
 Rather late impression. In fair condition. 
 
 1140. PASSION FLOWERS AND USO 
 
 Fine early impression of the right-hand subject of the preceding 
 lot. Good condition. 
 
 s-o 
 
 ll 
 
 
 ) 2 . 
 
 1141. KIKYO AND KINGFISHER 
 
 Late and poor impression of the middle subject of lot A T o. 1139. 
 
 1 
 
 so 
 
 1142. CHERRY BLOSSOMS AND YELLOW BIRD 
 
 Late impression. Fair condition. 
 
 1 
 
 0 
 
Fifth and Last Evening 
 
 1143. ROSE AND SPARROW 
 
 , s Fine impression. Good condition. 
 
 1144. CAMELLIA AND BLUE=HEADED BIRD 
 
 b Late impression. Good condition. 
 
 1145. BAMBOO AND SPARROW 
 
 Koban. Signed: Hiroshige ga. 
 
 Late impression. Good condition. 
 
 1140. CAMELLIA AND BIRD 
 
 _ Printed in two tones of blue. 
 
 1 1 n . 1 
 
 Early impression. Good condition. 
 
 1147. BAMBOO AND SPARROW 
 
 Small print, 7^4 x 4^4 inches; pink ground. 
 
 I q 5 Signed: Hiroshige Jiitsu. 
 
 Very fine impression. Perfect condition. 
 
 1148. PEONIES AND SWALLOWS 
 
 Cliuban. Signed: Hiroshige hitsu. 
 
 ^ Published by Marusei. 
 
 dine impression. Condition good , but not quite immaculate. 
 
 YOSHIKAZU 
 
 (Worked middle nineteenth century) 
 
 1149. BAMBOO AND SPARROWS 
 
 Half-block vertical panel. Signed: Issen Yosliikazu ga. Pub- 
 % y Usher: Arita-ya. 
 
 CHINESE PAINTINGS 
 
 ARTIST UNKNOWN 
 
 1150. “THE EMPEROR GENTOKU ON HORSEBACK” 
 
 Not signed. 
 
 In colors on paper, mounted as a kakemono. 
 
Fifth and Last Evening 
 
 LUI SUNG-NIEN 
 
 1151. RUGGED MOUNTAIN SCENERY WITH FIGURES 
 
 One of a set of four. Signed: Lui Sung-nien. Ming dynasty. 
 In colors on paper , mounted as a Kakemono. 
 
 LUI SUNG-NIEN 
 
 1152. MOUNTAIN SCENERY 
 
 Another of the same set. 
 
 LUI SUNG-NIEN 
 
 1153. MOUNTAIN SCENERY 
 
 Third picture of the set. 
 
 LUI SUNG-NIEN 
 
 1154. MOUNTAIN SCENERY 
 
 Fourth picture of the set. 
 
 JAPANESE PAINTINGS 
 
 ARTIST UNKNOWN 
 
 1155. MONJU BOSATSU SEATED ON A LION 
 
 In ink and colors on silk. Mounted as a kakemono. 
 
 ARTIST UNKNOWN 
 
 1156. PORTRAIT OF A BUDDHIST PRIEST 
 
 In colors and gold on paper. Mounted as a kakemono. 
 
 ARTIST UNKNOWN 
 
 1157. JIZO BOSATSU SEATED IN A LOTUS 
 
 Surrounded by four Buddhas, Kwannon, and nine other 
 Bodhisattva, among them (in the foreground) Fudo and 
 Kongo. Probably nineteenth century. 
 
 In colors and gold on silk. Mounted as a kakemono. 
 
Fifth and Last Evening 
 
 ARTIST UNKNOWN 
 
 1158. MANDALA 
 
 Pictorial cycle of Buddhist deities. Probably nineteenth 
 century. 
 
 In colors and gold on paper. Mounted as a kakemono. 
 
 ARTIST UNKNOWN 
 
 1159. BODHISATTVA, PRIESTS, JAPANESE NOBLES, A MON¬ 
 KEY DRESSED AS A NOBLE, AND LOTUS BLOSSOMS 
 IN VASES ON A STAND 
 
 All placed in a room in a palace; the engawa in the fore¬ 
 ground, with two shishi standing guard upon it. 
 
 In colors and gold upon silk. Mounted as a kakemono. 
 
 ARTIST UNKNOWN 
 
 1160. PEACOCK AND PEONIES 
 
 Signed with seals only. Attributed to Sanada Jisei Ikke. 
 In colors and gold on paper. Mounted as a kakemono. 
 
 \> 
 
 ARTIST UNKNOWN 
 
 1161. CRANE AND PINE BRANCH 
 
 Kano school. 
 
 In colors on paper; gold ground. One panel of a screen. Now 
 mounted as a kakemono. 
 
 KANO TSUNENOBU 
 
 1162. DOVE ON A BRANCH OF A PEACH TREE 
 
 V? 
 
 From a Chinese painting. 
 
 Signed : Tsunenobu koreo utsusu (copied). 
 In colors on silk. Framed. 
 
 KANO TANGEN 
 
 1163. CHINESE BOYS AT PLAY 
 
 Signed : Kano Tangen fade. Nineteenth century. 
 
 In colors on paper; gold ground. Mounted as a small six-fold 
 
 screen. 
 
Fifth and Last Evening 
 
 ARTIST UNKNOWN 
 
 Kano School 
 
 1164. CHINESE SAGE FEEDING A CRANE 
 
 Fan mount. 
 
 In colors on paper, gold ground. Mounted on a kiri wood 
 panel with chrysanthemum decorations in gesso. 
 
 NOBUYOSHI 
 
 1165. TEN=CHI=ZEN 
 
 Three figures symbolizing the sky (ten), the earth (chi), 
 and human beings (zen). 
 
 Signed: Fujiwara Sei Nobuyoshi Ryukyo Zu. 
 
 In colors on silk. Mounted as a kakemono. 
 
 ARTIST UNKNOWN 
 
 1166. WHITE HIBISCUS 
 
 Attributed to Ogata Korin. Seal only; no signature. 
 
 In ink and a little color on paper; gold ground. Mounted as 
 a kakemono. 
 
 ARTIST UNKNOWN 
 
 1167. THE EASTERN JOURNEY OF THE POET NARIHIRA 
 
 Signed: Tosa no Sakon Mitsuoki fade. I 
 
 In colors on silk. Mounted as a kakemono. 
 
 ARTIST UNKNOWN 
 
 1168. SOTOBA KOMACHI 
 
 The ninth century poetess Ono no Komachi in her old age. 
 
 Seal, Gyo. 
 
 In colors on silk. Mounted as a kakemono. 
 
 ARTIST UNKNOWN 
 
 1169. FUJI IN THE CLOUDS ^ /j? 
 
 Signed: Tsunenobu fade. 
 
 In ink on silk. Mounted as a kakemono. 
 
Fifth and Last Evening 
 
 ARTIST UNKNOWN 
 
 1170. CREATURES OF THE WILD 
 
 Many different animals. 
 
 Carefully painted in the manner of Mori Sosen. Signed: Sosen 
 fude. 
 
 In colors on silk. Mounted as a makimono, and enclosed in a 
 box. 
 
 KYUEI 
 
 1171. CHINESE POETS 
 
 in the garden of a villa in the mountains. 
 Signed: Jippu Kyuei Sei. Seal, Jusai. 
 
 In colors on silk. Mounted as a kakemono. 
 
 ARTIST UNKNOWN 
 
 1172. SOGA NO GORO AND KEHAIZAKA NO SHOSHO 
 
 Signed: Ritsuo, aged seventy-nine years. Dated Kwampo I, 
 i. e., 1741. 
 
 In colors and gold on paper. Mounted as a kakemono. 
 
 KOGA 
 
 1173. BON DANCING 
 
 Signed: Koga. Seals, Koga no In and Kan-o. 
 
 In colors on paper. Mounted as a kakemono. 
 
 ARTIST UNKNOWN 
 
 1174. A RICHLY DRESSED WOMAN 
 
 Standing figure. 
 
 Not signed. Ukiyo-e. Eighteenth century. 
 
 In colors on paper. Mounted as a kakemono. 
 
 ARTIST UNKNOWN 
 
 1175. AN OIRAN 
 
 Standing figure. 
 
 Not signed. Ukiyo-e. Eighteenth century. 
 
 In colors and gold on silk. Mounted as a kakemono. 
 
Fifth and Last Evening 
 
 ARTIST UNKNOWN 
 
 1176. A PARTY IN THE YOSHIWARA IN WINTER 
 
 Ukiyo-e. Style of Miyagawa Cliosun. Early eighteenth cen¬ 
 tury. Not signed. 
 
 In colors on silk. Framed. 
 
 ARTIST UNKNOWN 
 
 1177. WOMAN IN GARMENTS OF PALE BLUE BROCADE 
 
 Not signed. Ukiyo-e. Early eighteenth century. S 
 
 In colors on paper. Mounted as a kakemono. 
 
 ARTIST UNKNOWN 
 
 1178. CUSTOMS OF THE TWELVE MONTHS 
 
 1. New Year’s. 2. Visiting 1 a Buddhist temple. 3. Watch¬ 
 ing a cock-fight in the street. 4. A picnic in spring, 
 wistaria in bloom. 5. Hata nobori the boys’ festival, fifth 
 day of the fifth month. 6. Children’s matsuri procession. 
 7. Bon dancing. 8. Picnic by a river, people drinking sake, 
 others fishing. 9. A moonlight picnic party. 10. A pic¬ 
 nic under red-leaved maple trees. 11. Burning Tanabata 
 decorations. 12. The susuhaki or house cleaning at the 
 end of the year. 
 
 Ukiyo-e. About Kyoho period. 
 
 In colors on silk. Mounted in an album. 
 
 ARTIST UNKNOWN 
 
 1179. NOBLEMAN IN A BOAT 
 
 watching an awabi shell diver emerge from the sea with 
 a huge shell under her arm. 
 
 Not signed. Ukiyo-e. 
 
 In colors on paper. Mounted as a kakemono. 
 
 ARTIST UNKNOWN 
 
 1180. A WOMAN SEATED BY HER BED 
 
 writing a letter. 
 
 Not signed. Ukiyo-e , about 1740. 
 
 In colors on paper. Mounted as a kakemono. 
 
Fifth and Last Evening 
 
 FUJI WAR A SHO-UN 
 
 1181. DOMESTIC AVOCATIONS 
 
 Women spinning cotton yarn and stretching the warp for 
 weaving. 
 
 Signed: Fujiwara Sho-un hitsu. Ukiyo-e. About Kyoho period. 
 In colors on paper. Mounted as a gaku. 
 
 TANAKA MASUNOBU 
 
 1182. A KAMURO DELIVERING A LETTER 
 
 Signed: Masunobu ga. Ukiyo-e. About 1771. 
 In colors on silk. Framed. 
 
 KORYUSAI 
 
 1183. OIRAN AND KAMURO 
 
 Signed: Koryusai ga. Seal. About 1780. 
 
 In colors on silk. Mounted as a kakemono. 
 
 SHUNSHO 
 
 1184. SEVEN WOMEN IN A BAMBOO GROVE 
 
 Signed: Katsu Shunshd ga. 
 
 In colors on paper. Mounted as a small kakemono. 
 
 ARTIST UNKNOWN 
 
 1185. TALL WOMAN IN A GALE 
 
 Reminiscent of a well-known pillar print by Kiyonaga. 
 This painting much later in date. Not signed. 
 
 In colors on paper. Mounted as a kakemono. 
 
 KUBO SHUNMAN 
 
 1186. TWO TALL WOMEN STANDING IN A GARDEN 
 
 Mostly in tones of gray. 
 
 Signed: Kubo Shunman ga. About 1787. 
 
 In colors on silk. Framed. 
 
 KUBO SHUNMAN 
 
 1187. KINUTA NO TAMAGAWA 
 
 A woman seated, fulling cloth by beating, while her com- 
 / panion raises her hand to feel the first drops of a coming 
 
 \ shower. 
 
 Signed : Kenteibo Kubo Shunman ga. 
 
 In colors on silk. Framed. 
 
Fifth and Last Evening 
 
 KUNKYOSAI 
 
 1188. DANCING GIRL 
 
 Signed: Kunkydsai Shinichi. Ukiyo-e. 
 
 In colors on 'paper. Mounted as a kakemono. 
 
 TOYOHARU 
 
 1189. YOUNG WOMAN IN BLACK 
 
 Standing near a blossoming plum tree. 
 
 Signed: Toyoharu hitsu. Seal. 
 
 In colors on paper. Mounted as a kakemono. 
 
 TOYOHARU 
 
 1190. THREE WOMEN ON SEVEN=RI BEACH 
 
 Enoshima in the distance. 
 
 Signed: Toyoharu ga. Circular composition. 
 
 In colors on silk. Cardboard mount. 
 
 ARTIST UNKNOWN 
 
 1191. AN ODE COMPOSING CONTEST IN THE 
 
 PRESENCE OF THE SHOGUN ^ 
 
 From the John La Furge sale, where it was attributed to 
 Toyokuni. Not signed. 
 
 In colors on paper. Cardboard mounting. 
 
 TOYOHIRO 
 
 1192. GEISHA TUNING A SAMISEN 
 
 Signed: Ichiryusai Toyohiro ga. Seal, Utagawa. 
 
 In colors on silk. Mounted as a kakemono. 
 
 UTAMARO 
 
 1193. YOUNG WOMAN HOLDING AN UMBRELLA | 7 
 
 IN A SHOWER 
 
 Signed with seal only. Utamaro. 
 
 In colors on silk. Mounted as a kakemono. 
 
 HOKUSAI 
 
 1194. TAMETOMO IN EXILE 
 
 Signed: Aged SO, Manji hitsu. Seal. 
 
 In colors on silk. Mounted as a kakemono. 
 
Fifth and Last Evening 
 
 HOKUSAI 
 
 1195. STROLLING PLAYER WEARING A TENGU MASK 
 
 Amusing a group of boys. 
 
 Signed: Aged 80, Manji hitsu. Seal. 
 
 In colors on silk. Mounted as a kakemono. 
 
 HOKUSAI 
 
 1196. DAIKOKU AND EBISU AS MANZAI 
 
 Signed: 87 years, Manji hitsu. Seal. 
 
 In colors on silk. Mounted as a kakemono. 
 
 HOKUSAI 
 
 1197. A MAN SLEEPING 
 
 His eyes are shaded by a book. 
 
 Attributed to Hokusai. Not signed. 
 
 In colors on paper. Framed. 
 
 HOKIvEI 
 
 1198. PANORAMIC LANDSCAPE 
 
 Fifteen sheets for mounting as a makimono. Attributed to 
 Hokkei. Seal only. No signature. 
 
 In colors on paper. Enclosed in a box. 
 
 HOKKEI 
 
 1199. BENKEI STANDING ON A BENT=OVER PINE TREE 
 
 Attributed to Hokkei. Not signed. 
 
 In colors on paper. Cardboard mount. 
 
 HOKKEI 
 
 1200. KUAN YU, THE CHINESE GOD OF WAR 
 
 Attributed to Hokkei. Not signed. 
 
 In colors on paper. Cardboard mount. 
 
 HOKKEI 
 
 1201. THE OLD COUPLE OF TAKASAGO 
 
 J5 and Uba greeting the morning sun. 
 
 Attributed to Hokkei. Not signed. 
 
 In colors on paper. Cardboard mount. 
 
Fifth and Last Evening 
 
 OYEI 
 
 1202. TWO YOUNG WOMEN 
 
 One of them holds a doll. 
 
 Attributed to Hokusai’s daughter Oyei. Seal only. No sig¬ 
 nature. 
 
 In colors on paper. Mounted as a kakemono. 
 
 HIROSHIGE 
 
 1203. NARIHIRA CROSSING THE SUMIDA RIVER 
 
 He is noting the miyako dori (oyster catchers) hovering 
 over and swimming in the stream. 
 
 Signed: Hiroshige liitsu. Seal, Ryusai. 
 
 In colors on silk. Mounted as a kakemono. 
 
 ARTIST UNKNOWN 
 
 1204. WOMAN WALKING UNDER AN UMBRELLA 
 
 Not signed. Ukiyo-e. Late nineteenth century. 
 
 In colors on silk. Not mounted. 
 
 ARTIST UNKNOWN 
 
 1205. TWO WOMEN WALKING IN DEEP SNOW 
 
 Signed: Hokusai Taito hitsu. Ukiyo-e. Late nineteenth cen¬ 
 tury. 
 
 In colors on silk. Not mounted. 
 
 ARTIST UNKNOWN 
 
 1206. PANORAMA OF THE SUMIDA RIVER 
 
 IN THE FOUR SEASONS 
 
 Ink print colored by hand. Twelve sheets joined end to end 
 and mounted as a makimono. 
 
 ARTIST UNKNOWN 
 
 1207. A FLOCK OF SPARROWS 
 
 Not signed. 
 
 In colors on silk. Framed. 
 
 MOKUBUTSU 
 
 1208. GOLDFISH SWIMMING AMONG WATER PLANTS 
 
 
 Signed: Mokubutsu. 
 
 In colors on European paper. 
 
 
 Framed. 
 
Fifth and Last Evening 
 
 ARTIST UNKNOWN 
 
 1209. NADESHIKO PINKS AND FIREFLIES 
 
 Night scene. 
 
 Not signed. 
 
 In colors on silk. Framed. 
 
 ARTIST UNKNOWN 
 
 1210. AN ALBUM OF MISCELLANEOUS SKETCHES 
 
 BY A MODERN ARTIST 
 
 Not signed. 
 
 Ten paintings by Japanese artists of about twenty-two years 
 ago, imported by the J. B. Millet Company to be used as extra illus¬ 
 trations for the de luxe edition of “Japan Described and Illustrated 
 by the Japanese.” All are in cardboard mounts. 
 
 SEIKA 
 
 I o 
 
 1211. GOLDFISH 
 
 In colors on silk. 
 
 KONAN 
 
 (V 
 
 1212. BAMBOO AND SWALLOWS 
 
 In colors on paper. 
 
 IvEITEI 
 
 1213. TSUMUGI, BEES AND MOON 
 
 / 0 In colors on paper. 
 
 SOZAN 
 
 - 1214. GREEN HERON 
 
 CHIKUHO 
 
 1215. SWALLOWS AND FUJI 
 
 In water color and lacquer on paper. 
 
 RISSO 
 
 S' 
 
 1216. COCKS FIGHTING 
 
 In colors on silk. 
 
Fifth and Last Evening 
 
 1217. LANDSCAPE 
 
 In lacquer on paper. 
 
 1218. PEONIES 
 
 In colors on silk. 
 
 KAKO 
 
 KAKO 
 
 KAKO 
 
 1219. IRIS 
 
 In colors on paper. 
 
 KOHo 
 
 1220. PINK LOTUS 
 
 In colors on silk. 
 
 IIDA 
 
 1221. LANDSCAPE WITH MILL 
 
 Cut velvet picture. 
 
 C 
 
 s 
 
 ARTIST UNKNOWN 
 
 1222. (A) HERONS FLYING OVER A LAKE 
 
 (B) FALCON, SPARROWS, AND MAPLE TREE 
 
 Not signed. Modern. 
 
 Lacquer paintings on paper. Mounted as kakemono. 
 
 JAPANESE PICTURE BOOKS 
 
 ARTIST UNKNOWN 
 
 1223. ARTIST UNKNOWN. HYAKU FUJI 
 
 “One Hundred Views of Fuji.” Pictures in black and white. 
 3 volumes complete. Edo, Meiwa 4 (1767). 
 
 1224. EISEN (Keisai). BUYU SAKIGAKI ZU=E 
 
 “Pictures of Warriors.” 2 vols. No date. Late edition. 
 
 1125. HIROSHIGE. FUJI MI HYAKUZU 
 
 One Hundred Views of Fuji. Yol. 1 only. Edo. 1859. 
 
 1226. HOKUSAI. GO=JU=NIN ISSHU 
 
 “Fifty Comic Odes by Fifty Poets.” Colored portraits 
 of the poets. 1 vol. Edo, Tsutaya Juzaburo, 1802. 
 
Fifth and Last Evening 
 
 1227. HOKUSAI. DOCHU GAFU 
 
 “Drawings on tlie Road," i. e., the TokaidS. 2 volumes. 
 No date, but probably second edition, 1835. 
 
 1228. HOKUSAI. EHON SUMIDAGAWA RYOGOKU ICHIRAN 
 
 Bird’s-eye view of the scenery on both banks of the Su- 
 mida river. 3 vols. Edo. 1806. 
 
 1229. HOKUSAI. FUGAKU HYAKKEI 
 
 One Hundred Views of Fuji. 3 volumes. Late edition. 
 
 1230. HOKUSAI. EHON TEIKUN ORAI 
 
 A medley of useful information, with illustrations. Very 
 late edition. 
 
 1231. HOKUSAI. TOTO SHOKEI ICHIRAN 
 
 A synopsis of the scenery of the Eastern Capital. Illus¬ 
 trations in color. Edo, 1800. 2 vols.; not complete. 
 
 1232. HOKUSAI. KANSEI NENKAN EDO FUZOKU 
 
 Edo views in the Ivansei period. Illustrations in color. 
 1 vol., incomplete. 
 
 1233. HOKUSAI. HOKUSAI GAFU 
 
 Miscellaneous drawings by Hokusai. Late edition but fair 
 impressions of the prints. 1 ols. 1 and 3 only. 
 
 1234. HOKUSAI. HOKUSAI GAFU 
 
 Another copy of Vol. 3. Same edition. 
 
 1235. HOKUSAI. EHON TEIKUN ORAI 
 
 Incomplete vol. Thick paper. 
 
 1236. HOKUSAI. JORURI JEKKU 
 
 Attractive subjects for Joruri recitals; copied by Hokutei 
 Bokusen from the original book by Hokusai, dated Bunsei 
 12 (1829). 
 
 1237. HOKUSAI. SHOSHOKU HINAGATA HOKUSAI ZUSHIKI 
 
 Designs for Artizans. Small oblong volume. Re-engraved 
 edition, dated Meiji 14 (1881). 
 
Fifth and Last Evening 
 
 1238. HOKUSAI. YUMI HARI ZUKI 
 
 rile Bow Moon. Novel by Bakin with illustrations by 
 Hokusai. First vol. only. Poor condition. 
 
 1239. HOKUSAI. HOKUSAI MANGA 
 
 Miscellaneous sketches. Complete set of 15 vols. Re- 
 engraved edition, published in Meiji 11 (1878). Nagoya; 
 Ivatano Toshiro. 
 
 1240. HOKUSAI. HOKUSAI MANGA / L/ 
 
 Vol. 5 from the original blocks. Late edition. 
 
 1241. ICHIRO. ICHIRO GAFU 
 
 Miscellaneous Drawings. Printed in color. 1 vol. 1823. 
 
 1242. KUNISADA. HAYA SUGAO NATSUNO FUJI 
 
 “Actors Seen in Summer Time.” Printed in color. 1 vol. 
 Bunsei 10 (1827). 
 
 1243. MASANOBU (Kitao). “KYOKA GO=j0=NIN ISSHU” 
 
 Fifty comic odes by fifty poets. With portraits of the 
 poets. Printed in color. Vol. 1 only. Edo 1786. 
 
 1244. MITSUKATA (Rikan). KAIBUTSU GAHON 
 
 Pictures of Ghosts and Demons, by Rikan Mitsukata, 
 copied by Nabida Gyoku-ei. Printed in color. 1 Vol. 
 
 Edo, 1883. 
 
 1245. MORIKUNI (Tachibana). EHON OSHUKU=BAI 
 
 Subjects for Painters. 5 vols. only. 1739. Also 
 
 EHON SHAHO BUKURO 
 
 1 vol. only. Osaka 1720, reprinted 1770. 
 
 1246. SEKIEN (Toriyama). EJI HI KEN 
 
 “Pictured Things Compared.” Vols. 1 and 2 only. Edo, 
 
 Anei 6 (1777). 
 
 1247. SHIGENOBU (Yanagawa). YANAGAWA GAFU 
 
 Miscellaneous Rough Sketches. 1 Vol. Printed in blue 
 and tan. Late impression from worn blocks. 
 
Fifth and Last Evening 
 
 
 1248. SHUNKO (not Katsukawa Shunko). MEIKO SHOKEI 
 
 “Little Views of Famous Places.” Small landscapes in 
 color. 6 vols. Edo, 1847. 
 
 
 1249. SHUNMAN. TITLE LACKING 
 
 Comic odes and portraits of the poets. Incomplete volume. 
 Dated 1803. 
 
 > 
 
 1250. SUKENOBU (Nishikawa). EHON TESO GUSA 
 
 Domestic Scenes. Black and white illustrations. Late 
 impressions from worn blocks. 1 Vol., incomplete. Ap¬ 
 parently a reissue in Bunsei 12 (1829). 
 
 > 
 
 1251. TOYOHIRO. BANSHU MAIKO NO HAMA 
 
 The story of a vendetta at Maiko beach. Illustrations in 
 color. 2 vols. complete, clean as when first published and 
 in original colored paper wrapper. Edo, 1804. Late 
 impressions. 
 
 vl c> 
 
 1252. UTAMARO. EHON MUSASHI ERABI 
 
 The fifteen double-page color prints of flowering plants and 
 insects, together with the preface by Sekien, the imprint 
 page and the covers to Vol. 3, mounted on cardboard and 
 enclosed in a portfolio. The publication of the volumes 
 containing these prints helped to make Utamaro famous. 
 Edo, Tsutaya Juzaburo, 1788. 
 
 Cjf 6 
 
 1253. UTAMARO. SHIOHI NO TSUTO 
 
 “On the Beach at Low Tide.” 1 Vol. containing eight 
 double-page color prints, among them the famous pictures 
 of sea-shells on the sands. Fine impressions in good con¬ 
 dition. Edo, Tsutaya Juzaburo. About 1788. 
 
 
 1254. UTAMARO. EHON KYO GETSUBO 
 
 1 Vol. containing five double-page color prints. Signed: 
 Kitahawa Utamaro Toyoakira. Edo, 1789. 
 
 MO' 
 
 1255. UTAMARO. GAHON MOMO CHIDORI 
 
 “One Hundred Screamers.” Another famous volume con¬ 
 taining color prints of birds. 2 vols. complete. Edo, 
 Tsutaya Juzaburo, 1793. Good copy. Not earliest 
 printing, but in nice condition. 
 
Fifth and Fast Evening 
 
 1256. YOSHISHIGE (Pupil of Kuniyoshi) 
 
 GO=JU=SAN TSUGI HACHI = YAMA ZU=E 
 
 Designs for bonsai, i. e., miniature landscape decorations. 
 
 2 vols. No date. 
 
 1257. YOSHITORA. CHUSHINGURA GISHIDEN 
 
 The history of the forty-seven loyal ronin—with a color- 
 print portrait of each one of them. 1 Vol. No date. Late 
 edition. 
 
 1258. HOKUSAI. SHAKA ZU=E. 
 
 Incomplete volume of black and white illustrations. No 
 date. 
 
 1259. ARTIST UNKNOWN. OGURA HYAKUSHU 
 
 “One Hundred Odes by Ogura,” with colored illustrations. 
 
 3 vols. No date. (About 1800.) 
 
 1260. ARTIST UNKNOWN. HYAKU FUJI 
 
 “One Hundred Views of Fuji.” Pictures in black and 
 white. Vol. 4 only. Osaka. 1785. 
 
 1261. ARTIST UNKNOWN. FUKUSHOKU ZU KAI 
 
 Illustrations of Costumes of Court Nobles. 2 Vols. 1816. 
 
 1262. ARTIST UNKNOWN. DAI KYO GO=AKU ZU KAI 
 
 Pictures of Five Crimes. 2 Vols. 1848. 
 
 1263. VARIOUS. 
 
 Ten vols. of Japanese illustrated books. 
 
 1264. MOKUHAN UKIYOE TAIKA GASHU 
 
 The latest Japanese book on the artists of the Ukivoe 
 school with reproductions of prints, 29 of which are full- 
 page in color. Text by various authors. Folio. Tokyo. 
 S. Watanabe, 1915. 
 
 1265. UKIYOE HANGA KESSAKU SHU 
 
 Five chromo xylographic reproductions of prints by Suzuki 
 Harunobu. Enclosed in a portfolio. Published by S. 
 Watanabe. Tokyo, 1916. 
 
Fifth and Last Evening 
 
 1266. UTAMARO FUZOKU GA 
 
 An album containing twelve full-size repi*oductions of color 
 prints of lovers by Utamaro. Recent Tokyo publication. 
 No imprint. 
 
 1267. ALBUM 
 
 Containing twelve small colored reproductions of paint¬ 
 ings by Japanese artists. Tokyo, about 1900. 
 
 1267A. HOKUSAI. SEMMAN GACHO 
 
 Portfolio containing twelve reproductions of paintings on 
 fan mounts, signed Zen Hokusai Iitsu. No publisher 
 named. Modern. 
 
 ADDENDA 
 
 JAPANESE PRINTS 
 
 SUZUKI IIARUNOBU 
 
 1268. SETTING OFF INCENSE FIREWORKS 
 
 Two girls in thin summer garments, on a platform of the 
 Ise-ya tea-house built over the water of a river. One of 
 them has lighted a row of sparklers set up on a board 
 floating upon the stream. Tied to the corner post of the 
 tea-house is a netting bag containing melons cooling in 
 the water. 
 
 Chub an. Signed: Suzuki Harunobu ga. 
 
 ISODA KORYUSAI 
 
 1269. FAIR VISITORS AT A SHINTO SHRINE 
 
 Wakamatsu of Tawara-ya accompanied by another woman, 
 visiting a Shinto shrine. 
 
 Hashira-e. Not signed. About 1775. 
 
 1270. GIVING A LIGHT 
 
 Young lovers standing by a blossoming plum tree hung 
 with poem slips; the man giving the girl a light from his 
 pipe. 
 
 Hashira-e. Signed: Koryusai ga. About 1776. 
 
 Not in very good condition. 
 
Fifth and Last Evening 
 
 TOR 11 KIYONAGA 
 
 1271. OIRAN AND KAMURO 
 
 A tall woman looking down at her kamuro who is seated 
 at her feet and engaged in copying a letter. 
 
 Hashira-e. Signed: Kiyonoga ga. About 1783. 
 
 EISHOSAI CHOIvI 
 
 1272. YOUNG MAN READING A LOVE LETTER 
 
 Parody on the Ichiriki tea-house incident from Chushin- 
 gura. The man stands on a veranda, a girl hidden beneath 
 it looks up to read the letter as it is unrolled and drops 
 down to her, and another girl seated on a balcony above 
 reads it reflected in a hand mirror. 
 
 Hashira-e. Signed: Choki. About 1789. 
 
 KATSUKAWA SHUNCHO 
 
 1273. A SUMMER PICNIC 
 
 A party of women at a picnic in a piece of hilly ground 
 where tall bush clover is in bloom. Some are gathered 
 about a wooden bench covered with a red rug upon which 
 others are seated or standing. 
 
 Oban. Middle sheet of a triptych. Signed: Shuncho ga. 
 
 In poor condition. Faded and stained. 
 
 1274. PARTY OF WOMEN IN A GREAT HOUSE 
 
 Oban. Left-hand sheet of a triptych. Signed: Shuncho ga. 
 In poor condition. Faded, and trimmed at foot. 
 
 REKISENTEI EIRI 
 
 1275. THREE TALL YOUNG WOMEN 
 
 On their way to a Shintn shrine accompanied by a girl 
 carrying a mamori bukuro, i. e., talisman. All are dressed 
 in thin summer garments, and two of them are walking 
 under a blue umbrella. 
 
 Oban. Xot signed. Publisher: Murata-ya Jihei. 
 
 Faded and otherwise not in good condition. 
 
Fifth and Last Evening 
 
 KITAGAWA UTAMARO 
 
 1276. TWO 01 RAN 
 
 Madoka and Akashi of the house called Tama-ya. A cur¬ 
 tain with the name of the house upon it hangs above 
 their heads. 
 
 Hashira-e. Signed: Utamaro Tiitsu. 
 
 ANDO HIROSHIGE 
 
 1277. BUNGO, MINOSAKI 
 
 \ iew of the village of Minosaki on the sea coast, province 
 of Bungo. One of the series Roku-ju-yo Shu Meisho Zu 
 Kai. 
 
 Oban. Signed: Hiroshige hitsu. Publisher: Koshimura. 
 
 1278. SURUGA SATTA NO KAIJO 
 
 View of Fuji from the seashore at Satta Point, a great 
 wave curling up in the foreground at the right. Series, 
 Thirty-six Views of Fuji. Dated Horse Year, 1858. 
 Oban. Signed: Hiroshige ga. Publisher: Tsuta-ya. 
 
 1279. URA=URA DAI RYO NO ZU 
 
 Pictures of taking a great catch of fish. Scene on the sea 
 shore: many boats full of fishermen engaged in seining 
 fish. On the beach in the foreground and at the right 
 many men hauling in nets. 
 
 Oban triptych. Signed: Hiroshige ga. Publisher: Tatchiko. 
 Extremely rare. Not in very good condition. 
 
 PAINTINGS 
 
 YOKEI KOREFUSA 
 
 1280. SHAKYAMUNI ENTHRONED 
 
 He is shown seated on a lotus flower asana, which rests 
 upon an octagonal pedestal. 
 
 * Signed: Yokei Korefusa egaku. Nineteenth century. 
 
 In ink, gold and a little color, on paper. Mounted as a kake¬ 
 mono. 
 
Fifth and Last Evening 
 
 ARTIST UNKNOWN 
 
 1281. FALCONS 
 
 Set of three paintings. The birds are shown perched upon 
 a pine tree and upon a white dowered and a red flowered 
 tsubaki (camellia). Probably seventeenth century. 
 
 Not signed, but all three paintings bear impressions of a seal 
 reading “ Fujiwara ” which appears to be a modern addition. 
 
 In ink and colors on paper. Mounted as a set of three hake- 
 mono. 
 
 1282. JUROJIN 
 
 TANJO 
 
 Jurojin is one of the so-called Seven Fortune Gods. He 
 is shown attended by a crane and a hairy-tailed tortoise 
 and he stands under a pine-tree. 
 
 Signed: Kano zusho hit sue. “Picture in the style (brush idea) 
 of the Kano school .” Tan jo copied. 
 
 In ink and colors upon paper. Mounted as a kakemono. 
 
 ARTIST UNKNOWN 
 
 1283. GOOSE IN FLIGHT 
 
 Not signed. At the right an ode is inscribed and signed Kyo- 
 hushin. 
 
 In ink and a few touches of color, on silk. Mounted as a kake¬ 
 mono. 
 
 MOTONOBU 
 
 1284. A SHOWER IN THE MOUNTAINS 
 
 Copied by Kawanabe Kyosai of the Ukiyoe school, nineteenth 
 century. Inscribed, Kano Yusei Masanobu choshi (eldest son) 
 Eisen Motonobu, Ko Hogen fude, Kyosai aratame. 
 
 In ink on paper. 
 
 ARTIST UNKNOWN 
 
 1285. HOTEI AND KARAKO 
 
 The karako, i. e., Chinese child, is playing about Hotei’s 
 bag of precious things. 
 
 Probably a copy of a painting by Kano Naonobu. Not signed, 
 but bears the impression of two seals, one reading Hokyo, the 
 other Naonobu. These are certainly modern. 
 
 In ink on paper. Mounted as a kakemono. 
 
Fifth and Last Evening 
 
 KEISHU FUJIHIROTO 
 
 1286. THE STRATAGEM OF MASASHIGE 
 
 Kusunoki Masashige, renowned as the “Bayard of Japan,” 
 was the commander-in-chief of the army of the Emperor 
 Go Daigo. When Ho jo Takatoki deposed and exiled Go 
 Daigo he sent an army under the command of Osaragi 
 Sadanao against Masashige, who was entrenched in a 
 hastily constructed fort at Akasaka. Being blockaded and 
 in straits for provisions he resorted to a stratagem. A 
 wood-pile was built and upon it corpses of dead enemies 
 were placed. Then Masashige escaped in the night with 
 his men, leaving only a few to fire the pyre and spread 
 false news that he had committed suicide. In this picture 
 the artist shows Sadanao’s men attacking the fort. And 
 at the foot Masashige and his army are seen marching 
 away. Painted in Tosa style. 
 
 Signed: Keishu Fujihiroto. 
 
 In colors and gold on silk. Mounted as a kakemono. 
 
 KANO MICHINOBU (?) 
 
 1287. KUSUNOKI MASATSURA AT YOSHINO 
 
 The celebrated warrior, son of Masashige, is shown 
 mounted upon a black horse, near the tomb of the Emperor 
 Go Daigo, upon the door of which he inscribed a poem 
 with the point of an arrow. 
 
 Signed: Hogen Eisen ga. 
 
 In colors on silk. Mounted as a kakemono. 
 
 ARTIST UNKNOWN 
 
 1288. WOMAN WRITING A LOVE POEM ON A FAN 
 
 In the manner of the seventeenth century Ukiyoe artists 
 but probably painted toward the middle of the eighteenth 
 century. 
 
 Not signed. 
 
 In colors on silk. Mounted as a kakemono. 
 
Fifth and Last Evening 
 
 ARTIST UNKNOWN 
 
 1289. FUNA ASOBI 
 
 “Cooling off in a boat.” A woman seated in a boat and 
 holding on her outstretched hand the Chinese character 
 I, which signifies mind or soul. Over this a basket hat is 
 placed. Buildings are shown on the farther bank of the 
 river. 
 
 Not signed. Ukiyoe. Probably about 1730. 
 
 In colors on silk. Mounted as a kakemono. 
 
 ARIMASA 
 
 1290. A FANTASY 
 
 An Uguisu (Japan bush warbler or nightingale) on a 
 pine branch tied to two small baskets with noshi cords to 
 indicate a gift. 
 
 Signed: Arimasa utsusu, i. e., copied, a phrase which is used 
 not only for copies of other pictures, but for drawings made 
 from the objects represented and not merely from memory 
 of them. 
 
 In colors on silk. Mounted as a kakemono. 
 
 KANRYO 
 
 1291. WHITE HERONS, CHRYSANTHEMUMS, AND WILD RICE 
 
 Signed: Kanryo. 
 
 In colors on silk. Mounted as a kakemono. 
 
 KUMAHIKO 
 
 1292. LEAPING CARP 
 
 Signed: Kumahiko seki-ga, i. e., painted at a gathering of 
 artists at a tea-house where each in turn exhibits his skill with 
 the brush in a work conceived and executed in the shortest 
 possible length of time. Nineteenth century. 
 
 In ink on paper. Mounted as a kakemono. 
 
Fifth and Last Evening 
 
 TOKO 
 
 1293. CARP AND OMINAESHI 
 
 Stalks of yellow ominaeshi projecting across a stream in 
 which a number of large carp are swimming. 
 
 Not signed. Attributed to Toko, an artist who lived in Inaba 
 in the latter part of the eighteenth century and was noted for 
 his pictures of carp. 
 
 In ink and colors on paper. Mounted as a kakemono. 
 
 OKYO 
 
 1294. ROBINS, KINGFISHER, AND YOUNG MAPLE TREE 
 
 Dated Temmei Hinoe Uma chu shun, i. e., 1786, middle of 
 spring. Signed: Okyo; seal, Okyo. 
 
 In colors on silk. Mounted as a kakemono. 
 
 TANKO MORIYOSHI 
 
 1295. NO DANCER 
 
 He is in the role of Okina, i. e., Old Man, and stands with 
 arms outstretched showing the way of holding the fan. 
 Signed: Tanko Moriyoshi fude. 
 
 In colors and gold on silk. Mounted as a kakemono. 
 
 CHUWA 
 
 1296. HARU ARASHIYAMA 
 
 “Arashima in Spring.” Many cherry trees in full bloom 
 on the slope; and in the foreground the river Katsura, 
 here called the Oigawa, spanned by the “Moon-viewing 
 Bridge.” 
 
 Signed: Hokyo Chuwa. 
 
 In colors on silk. Mounted as a kakemono. 
 
 SHINGANIvEI 
 
 1297. BISH AMON=TEN: KWANNON: DAIKOKU 
 
 Set of three small Buddhist paintings. 
 
 Signed: Shingankei. Probably early nineteenth century. 
 
 In colors and gold on silk. Mounted as kakemono. 
 
 THOMAS E. KIRBY, 
 
 AMERICAN ART ASSOCIATION, 
 
 Managers. 
 
 Auctioneer. 
 
FOR INHERITANCE TAX 
 
 AND OTHER PURPOSES 
 
 The American Art Association 
 
 IS EXCEPTIONALLY WELL EQUIPPED 
 TO FURNISH 
 
 INTELLIGENT APPRAISEMENTS 
 
 OF 
 
 ART AND LITERARY PROPERTY 
 JEWELS AND PERSONAL EFFECTS OF EVERY 
 
 DESCRIPTION 
 
 IN CASES WHERE 
 
 PUBLIC SALES ARE EFFECTED 
 
 A NOMINAL CHARGE ONLY WILL BE MADE 
 
 THE AMERICAN ART ASSOCIATION 
 MADISON SQUARE SOUTH 
 NEW YORK 
 
 TELEPHONE, 3346 GRAMERCY 
 
COMPOSITION. PRESSWORK 
 AND BINDING BY