S 
 
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 ly 
 
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 ON FREE VIEW 
 
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 ~1/\ aAM^ 
 
 AT THE AMERICAN ART GALLERIES 
 
 MADISON SQUARE SOUTH 
 NEW YORK 
 
 BEGINNING SATURDAY, NOVEMBER 4th, 1916 
 AND CONTINUING UNTIL THE DATE OF PUBLIC SALE 
 
 RARE JAPANESE COLOR PRINTS 
 
 THE PRIVATE COLLECTION 
 
 OF 
 
 MR. JUDSON D. METZGAR 
 
 im tVlW A 
 
 , j. Li: 
 
 L (Mt) ' 
 
 TO BE SOLD AT UNRESTRICTED PUBLIC SALE 
 
 ON THE AFTERNOON AND EVENING OF 
 
 MONDAY, NOVEMBER 13th 
 
 AT 2:30 AND 8:00 O’CLOCK 
 CONCLUDING 
 
 TUESDAY AFTERNOON, NOVEMBER 14th 
 
 AT 2:30 O’CLOCK 
 
 AT THE AMERICAN ART GALLERIES 
 
 MADISON SQUARE SOUTH 
 
 I i Lr 
 
 
FOREWORD 
 
 The dispersal of Mr. Metzgar’s collection of Japanese color-prints af¬ 
 fords another rare opportunity to acquire choice impressions of important 
 works by some of the great masters of the Ukiyoe school. 
 
 The supply of prints that for nearly a quarter of a century came from 
 Japan in a seemingly never-ending stream, has been rapidly dwindling for 
 several years past and now has virtually ceased to be a factor in the market. 
 And, although many thousands of prints were sent to America and Europe 
 while the tide was at its Hood, nearly all the finer ones have gradually found 
 lodgment in a comparatively few collections. The oivners of these collections 
 were the first to perceive that while the number of prints in existence is very 
 large, of the master works, only a very few of the most beautiful impressions 
 have survived in fine condition. These are the treasures that yield the art- 
 lover abiding joy. 
 
 That all of Mr. Metzgar’s prints are of this class, be would be the first 
 one to disclaim; but in gathering them he has constantly kept in view the 
 desirability of securing the best impressions he could find. His special en¬ 
 deavor has been to acquire choice prints by Hiroshige, and in particular to 
 perfect his set of the so-called “first” Tokaido series. How difficult it is 
 to make up a set such as the one included in this sale will be better understood 
 when it is learned that for years Mr. Metzgar has been indefatigable in his 
 search, not only watching carefully the stocks of dealers, but the sales by 
 auction in Japan and Europe as well as in America, and frequently buying 
 entire sets in order to get from each only one or two prints out of the 
 fi f ty-five. 
 
 The same method and the same care have been exercised in getting to¬ 
 gether the fine prints of the “Hundred Edo Views,” and other series which 
 he has now decided to give other collectors the opportunity to acquire. Of 
 especial importance are several proof impressions of prints of the “upright” 
 Tokaido and Yedo series, on surimono paper, mostly in tones of blue. Note¬ 
 worthy also are the charming Kwa-cho (Flower and Bird) prints, an excep¬ 
 tionally fine lot, including several of very distinguished design, and what are 
 perhaps the supreme impressions of one or two of the items. Taking them al¬ 
 together, not since the Happer Sale, has a finer lot of Hiroshige prints been 
 put up at auction. 
 
 Besides the Hiroshiges the collection includes many desirable prints by 
 other masters which it would take too much space to specify in this fore¬ 
 word. Attention should, however, be directed to the unusual group of pillar 
 prints in remarkable condition. These prints were generally mounted as 
 Kakemono and suffered from long exposure to light and smoke and the 
 ravages of insects, so that they are rarely found in satisfactory state. Mr. 
 Metzgar has been fortunate in getting hold of so many choice ones. 
 
 FREDERICK W. GOOKIN. 
 
Digitized by the Internet Archive 
 in 2020 with funding from 
 Getty Research Institute 
 
 https://archive.org/details/metzgarcollectioOOamer 
 
INTRODUCTORY SURVEY 
 
 By ARTHUR DAVISON FICKE„ Author of “CHATS ON JAPANESE 
 PRINTS,” “ TWELVE JAPANESE PAINTERS,” etc. 
 
 (Reprinted, ivith modifications, from “Scribners Magazine.”) 
 
 I 
 
 Late fruits though Japanese prints are of the great tradition of Asian art 
 they preserve, to an extent sufficiently striking for Western minds, the ancient Asian 
 cannon of ideality as distinguished from realism. One may even at first sight view 
 them with an aggrieved feeling that no man should pretend to he an artist if he 
 draws the human figure as inaccurately as do these designers. But eventually 
 one realizes that to draw the human figure accurately w T as the very last thing these 
 artists cared about. And gradually the wisdom of Asia may come to us, and we 
 shall understand that it is the spiritual impact of reality on the artist’s emotion, 
 not his scientific observation of reality, that is his chosen and proper theme. 
 
 It is this unrealistic quality which relates Japanese prints not only to the 
 Primitives of Greece and Italy and Egypt, but also to even the most reckless modern 
 adventures in futuristic painting: in common, they aim at the production of forms 
 which shall convey not the facts of life but the emotions awakened by life, and 
 abstract conceptions that exist in a region a little apart from the main channel of 
 ordinary living. The figure of a woman, as treated by these artists, is not merely 
 the memory of a possible object of desire or devotion; it is also the embodiment of 
 impersonal formal meanings—relations of line and mass, harmonies and rhythms, an¬ 
 titheses and echoes—that have no direct window opening upon incidents of human 
 experience. The childish mind loves pictures that merely tell a story; but the more 
 sophisticated intelligence goes to a work of art for those elements which lie far be¬ 
 yond the region of episodic narration—elements that are allied to the principles of 
 geometry, the excursions of pure music, the visions of religious faith. 
 
 II 
 
 Not least successful among Japanese print-designers, in this attempt at the 
 expression of patterned perfection, were those earliest men who, working in the one 
 hundred years preceding 17G4, have been given the name of the Primitives. In 
 
 such prints as those of the great pioneer Moronobu (Nos. 1-3) of Toyonobu (No. 
 
 14-15), Kiyomasu (Nos. 261-262), Masanobu (Nos. 4-11), Iviyomitsu (Nos. 16-19), 
 and that very rare artist Kiyosato (No. 20), may be seen such qualities of rhythmic 
 composition, of sweep and flow and sway, as were never surpassed in later times. 
 In all this work the figure is simplified beyond any trace of realism; it is purely a 
 motif of movement—the shadow' of a dream of form projected by the luminous spirit 
 of the artist against the wall of space. The work of all these men is of great rarity 
 and great importance. 
 
 The Primitives worked at first in black and white only; (No. 1) ; then it became 
 the custom to color prints by hand, (No. 259) ; and it was not until about 1742 that 
 the true color-print was produced. At first two blocks only were employed (No. 260) ; 
 then the number grew to three (Nos. 267, 14). It requires a still further interval 
 
 before Harunobu, in the year 1764, issued the first print in which an unlimited 
 
 number of colors could be employed. 
 
 Harunobu stands out as one of the most unfailingly delightful artists of the 
 whole school. His delicate girl-figures have not the broad decorative strength of 
 
the Primitives; but for subtlety of pose, for sweetness of motion, they are unequalled. 
 Ilis aristocratic distinction of feeling is manifest in the refinement of every line; 
 and in color he was not only the pioneer, but perhaps also the unsurpassed master. 
 The fragile, fluttering figures of his women seem creatures of a charming dream¬ 
 world ; like the women of Botticelli, they poise in an atmosphere of more rarified 
 loveliness than anything we know in reality. 
 
 Harunobu’s small square prints are distinguished by a delicacy of color and line 
 that is almost matchless. (Nos. 22-30). His pillar-prints are among the greatest 
 triumphs that this form of composition has known (Nos. 273-278). In these, as 
 Fenollosa says, “He passes transfigured from our vision.” 
 
 Contemporaneous with Harunobu was the great school of actor-painters, whose 
 work is distinguished by a monumental force and dignity. Shunsho (Nos. 41-50, 2S0- 
 289), Sliunko (Nos. 290-293), Shunyei (Nos. 503-508) and Bunclio (No. 51) all pro¬ 
 duced designs that are the apotheosis of vigorous characterization and superb color. 
 Only an inexperienced eye will overlook the extraordinary aesthetic quality that 
 marks these sometimes ferocious representations. They have the vigor of those natural 
 forces—waves, river-currents, storms, and thunder—which so often form their back¬ 
 grounds. 
 
 Koriusai, also, was of this time. His distinctive glory lies in the sphere of pillar 
 prints, of which this collection contains a number of superb examples (Nos. 31-40, 
 509-517). This form of composition is one of the most interesting and difficult to 
 be found in the art of any race. It exacts the quintessence of selection—one narrow 
 glimpse of some cross-section of life. It became a favorite shape among the greatest 
 of the print artists; and no small number of their supreme achievements are in this 
 form. To the modern European eye, no other seems so distinctively characteristic 
 of the special Japanese genius. Pillar-prints are almost invariably works of the first 
 importance —pieces cle resistance, deliberate and studied productions, representing 
 the best effort and highest powers of the artist. They are today far rarer than prints 
 of the square variety. The Metzgar Collection is especially marked by the large number 
 that it contains. 
 
 A new era began in 1780, when that most superb designer Iviyonaga became the 
 central figure. Iviyonaga marks the apex of the technical development of the art 
 and perhaps the apex of its spiritual significance. Freed from the mechanical limit¬ 
 ations of the Primitives, and seeing visions of greater scope than Harunobu, he created 
 such Olympian figures as remind us of nothing so much as of faint memories of 
 the Greek gods. His triptychs are his most important works; they are triumphs of 
 intricate composition (No. 300). In his pillar-prints, a field where none excelled him, 
 his lordly and serene figures are at their best (Nos. 54-63). He pushed the tendency 
 toward naturalism as far as it can wisely be pushed; his designs are interpretations 
 of the real forms of actual men and women, but interpretations in which reality is 
 dominated by the magnificent imagination of the artist. Iviyonaga saw nature with 
 clear eyes; and on the solid foundation of observed fact he reared the noble structure 
 of his vision of life—a vision in which the world is peopled by a large-limbed, superb, 
 and gracious race such as the human race is not but ought to be. 
 
 Iviyonaga’s influence was enormous. All the greatest designers of his time were 
 affected by it. Shuncho (Nos. 64-66, 317-323), Shunman (No. 344), Ivitao Masanobu 
 (Nos. 308-316), Yeishi (Nos. 67-72, 522-531) and Clioki (Nos. 303-307) were all 
 followers of his; though often thoroughly individual ones. Yeishi, in particular, as 
 appears from such prints as No. 530 and No. 525, was master of a curiously fresh 
 poetic quality. 
 
 In the years following Iviyonaga's retirement, in 1790, there arose a new group 
 of artists who, headed by such men as the brilliant Ftamaro. the sardonic Sharaku. 
 and the versatile Toyokuni, produced designs in which the most subtle and many- 
 sided originality was accompanied by the first hints of a coming decadence. Realism 
 
on the one hand, and unbridled fantastic eccentricities on the other, became marked: 
 and the over-strung and satiated temper of a new age began to manifest itself in 
 figures whose sinuous languor and weary, sensuous provocativeness had an almost 
 pathological significance (No. 543). There is something feverish and perverse about 
 many of these end-of-tlie-century designs. True, the utmost expressiveness, the utmost 
 beauty, still marked them, and at least one actor by Toyokuni (No. 327) has a savage 
 intensity of ironic characterization and a splendor of design that are notable. Also 
 certain prints by Utamaro (Nos. 536, 538, 539, 548, 546) can hardly be said to have 
 been surpassed by any earlier work. They are the flawless expression of the mortal 
 body’s longing for a more than mortal perfection of happiness; the soul's utter weari¬ 
 ness looks out from them. But the morbid loveliness here so admirably mastered 
 was a perilous soil from which to expect further and vigorous growths. 
 
 So history proved. Upon the death of Utamaro, in 1806, the art disintegrated. 
 Speaking generally, no fine figure prints were produced after that year. And, it may 
 be noted, it is almost exclusively the prints of this following decadent period that 
 are known to the tourist and the general public. They are garish and degenerate 
 products, crude in color and meaningless in form; they can serve only to obscure the 
 greatness of the earlier masters. The Metzgar Collection contains no representatives 
 of this uninteresting type. 
 
 Curiously enough, however, the period between 1806 and 1S58 gave us the finest 
 of all landscape prints, as though a fresh and vigorous branch had suddenly shot up 
 from the trunk of a decaying tree. Hokusai and Hiroshige are the two names with 
 whom this renaissance of landscape must chiefly be associated. Because of their 
 enormous productiveness and comparatively late date, their work is better known in 
 the West than that of any other artists—a fact which gives them an undue import¬ 
 ance in Western minds. Hokusai, in particular, has been grossly overrated by 
 persons unfamiliar with his predecessors. Some Westerners still believe Hokusai 
 to mark the supreme pinnacle of all Chinese and Japanese art—a view which would 
 strike a Japanese connoisseur absolutely dumb with astonishment. Nevertheless, in 
 spite of much trivial work that Hokusai did, his real greatness is on occasion indis¬ 
 putable; in his superb series of views of Fuji, (Nos. 579-589), he rises to an extra¬ 
 ordinary height. His contemporary, Hiroshige, in whose work this collection is par¬ 
 ticularly rich, is the easiest of all Japanese artists for the foreign mind to under¬ 
 stand. His landscapes are vivid and decorative expressions of lyric moods; he does 
 not attempt to transcribe a scene literally, but gives us, by means of a few subtly 
 chosen and significantly arranged details, the emotion which a scene awakens in 
 him. His renderings of light and atmosphere, of rain and snow, are justly famous. 
 As a whole his prints must stand beside the “Liber Studiorum” of Turner; they con¬ 
 stitute perhaps the most complete and splendid landscape record that any land has 
 ever had. Practically all his greatest series, such as The Great Tokaido (Nos. SI to 
 159), The Eight Views of Lake Biwa (Nos. 685 to 693), The Hundred Views of Yedo 
 (Nos. 352 to 433), and The Kisokaido (Nos. 659 to 6S4), will be found in this collection, 
 together with a large number of his exquisite bird-and-flower designs. 
 
 Ill 
 
 “Prints” one has to call these works; yet the name is unfortunate, since it sug¬ 
 gests a hard, mechanical process of creation. As a matter of fact, it would be more 
 accurate to call them “wood-block paintings.” They were produced from a series of 
 engraved cherry plates, one plate being provided for each of the colors employed. 
 To these plates the appropriate pigments were applied by means of a brush, and care¬ 
 fully shaded as the requirements of the picture demanded; and, finally, a sheet of 
 soft absorbent paper was accurately impressed by hand on each of the plates suc¬ 
 cessively. Three men thus collaborated to produce each picture—the artist, who 
 designed the original drawing from which the plates were made, and who was the 
 responsible and important member of the trio; the engraver, who cut the wood- 
 
blocks; and the printer and colorist, who tinted the blocks and impressed the sheets. 
 Striking differences exist between different copies of the same print, due solely to 
 differences in printing. Late and careless impressions serve only to belie designs 
 which in delicately printed impressions are of the most surpassing beauty. Hiro¬ 
 shige’s work, especially, suffers from this misfortune, and though poor examples of 
 his prints are numerous, the really good ones are rare. The Metzgar Collection con¬ 
 tains scarcely a single poor impression, and many that are of unique perfection. 
 Such sheets as Nos. 210-244-248-500-6G6-671-695-718 and most of the Tokaido and 
 Yedo series are of an exceptional quality. 
 
 The ordinary Japanese print of commerce is generally without value; acquaint¬ 
 ance with the finer examples soon leads its owner to throw it away. It has no re- 
 lation to the great Japanese prints whose deserved fame sheds, for the unwary 
 tourist and collector, a fictitious glamor over all the rubbish of Japan. There exist, 
 however, in Boston, Chicago, New York and other American cities, collections of 
 Japanese prints which can be compared in importance only to the Italian paintings 
 in the Louvre or the Greek sculptures of the Bi-itish Museum. This is fortunate; 
 for within our lifetimes the masterpieces of this art will be as unprocurable as fine 
 Greek sculpture is today; and we shall need them. It is not uni’easonable to imagine 
 that there will come a time when we shall find ourselves turning to the arts of the 
 East, as Goethe turned to the classical antique, for an inspiration and liberation that 
 is possible only from contact with an art whose foundations are based on deep per¬ 
 ceptions of formal order, and not on the shifting sands of realism or sentimentality. 
 
 Note.— The Hiroshige prints in this catalogue have been described by the owner of 
 the collection; the figure-prints by Mr. Arthur Davison Ficke. 
 
CONDITIONS OF SALE 
 
 1. Any bid which is 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 arises 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 purchasers 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 presenting 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 Asso¬ 
 ciation is in no wise engaged, and will not be performed by the Association for pur¬ 
 chasers. The Association will, however, afford the purchasers every facility for em¬ 
 ploying 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 purchaser. Title 
 passes upon the fall of the auctioneer’s hammer, and thereafter, while the Associa¬ 
 tion 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 destroyed. 
 
 Storage charges will be made upon all purchases not x*emoved within ten days 
 from the date of the sale thereof. 
 
 7. Guarantee is not made by either the owner or the Association of the correct¬ 
 ness 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 correctly, and will 
 give consideration to the opinion of any trust-worthy 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 
 
First Afternoon Session 
 
 At the American Art Galleries 
 November 13, 1916 
 Beginning at 2:30 o ’clock 
 
 MORONOBU 
 
 (Worked c. 1660-1100) 
 
 ' s' 
 
 W. si ; 
 
 si lii02 -mrio frnm « hrnv.ipr wVnnVi q< 
 
 
 . A Man on a Veranda. 
 
 Pie is holding a woman on his lap; he lights his pipe from a brazier which 
 young servant holds. A miniature rock-garden appears to the right. 
 Full-size horizontal sheet. Unsigned. Printed in hlack-and-wliite. A fine and 
 rate print, in beautiful condition. 
 
 (Illustrated, plate 1) 
 
 2 . Two Women in Flowing Robes. 
 
 They are kneeling before an old man with a hood. Interior. 
 
 / Cf Full-size horizontal sheet, composed of two single-sheet book-illustrations joined 
 together. Colored slightly by hand, with yellow and orange. Unsigned. 
 
 3. Two Book-illustrations. 
 
 Each representing two women, with suggestions of landscape background. 
 / 0 , Size 8x6 each. Colored by hand. Unsigned. 
 
 
 4. 
 
 
 
 OKUMURA MASANOBU 
 
 (c. 1685-1761,) 
 
 Two Courtesans and their Servants. 
 
 They are attempting to detain two passing Samurai. 
 Full-size horizontal sheet. In black-and-white. Unsigned. 
 
 a. 
 
 /7 
 
 
 / • 
 
 5 . Passers-by Talking with Two Courtesans. 
 
 Full-size horizontal sheet. In black-and-white. Unsigned. 
 
 
 (i. 
 
 7 
 
 A Chinese Warrior Attacking a Dragon. 
 
 An equestrian crosses the bridge overhead. 
 
 Full-size horizontal sheet. Colored by hand. Unsigned. 
 
 
 7. A Young Samurai Bearing an Umbrella. 
 
 3 ^ 
 
 
 'h . .v ... 
 
 lie approaches a gate. Snowy landscape background. 
 Full-size horizontal sheet. Colored by hand. Unsigned. 
 
First Afternoon Session 
 
 
 ■j 
 
 S' (JO 
 & 
 
 JTO. 
 
 /*±° 
 
 JA. 
 
 8. A Noble Lady on a Veranda. 
 
 
 She is attended by her servant. Outside in the garden two Samurai crouch 
 behind a hedge. A stream in the background. 
 
 Full-size horizontal sheet. Colored by hand. Unsigned. 
 
 9. Two Girls Boating’ in an Enormous Saki Cup. 
 
 On shore, a Samurai leans against a large jar. 
 
 Full-size horizontal sheet. Colored by hand. Unsigned. 
 
 cf £ 
 
 10. A Woman and a Mythical Male Figure. 
 
 Full-size horizontal sheet. Colored by hand. Unsigned. 
 
 11. The Great Statesman and Humanist, Sugawara no 
 Michizane. . 
 
 He is seated on a dais under the mingled branches of a pine tree and a 
 plum tree. 
 
 An exceptionally large upright sheet, 26x10; hand-colored with lacquer. A very 
 important print , in excellent condition. Signed —“Hogetsudo Tanchosai 
 Okumura Shimmyo Bungaku Masanobu.” 
 
 “Une estampe de Masanobu reprcsente Sugawara no Michizane, noble de la fin 
 du IX sidcle, en costume de cour, il trone sur une estrade basse, ay ant a cote de lui 
 une branch e de pin et un prunier en fI curs. Exile, a la suite d’intrigues de Cour , 
 bien qu’il fdt favori de VEmpereur, il dut quitter Kyoto oai temps de la floraison des 
 pruniers. C’dttaient les fleurs favorites de son jar din , oil se dressait un “pavilion du 
 prunier rose.” Sa poesic d’adieux d ses fleurs, tout Japonais, aujourd'hui encore, la 
 cannatt par coeur: 
 
 Sous la brise de VEst, 
 
 Brillez de tout votre dclat. 
 
 0 fleurs de prunier; 
 
 Bien que n’ayant plus de maitre, 
 
 X'oubliez pas le printemps. 
 
 . . . Et comme dans la poesie japonaise le prunier est toujours assort# au pin, 
 
 la Idgende joignit un vieux pin au prunier fiddle, et tous deux symbolisdrent les esprits 
 des serviteurs qui n'avaient pas abandonne lour maitre.” 
 
 Louis Albert. 
 
 (Illustrated, plate IX) 
 
 TOSHINOBU 
 
 (Worked c. 1780-171,0) 
 
 12 . An Actor as a Seated Woman Playing the Lute. 
 
 Size 10x6. Hand-colored with lacquer and metallic powder. 
 
 13. 
 
 
 An Actor as a Man, 
 
 He is seated at the edge of a veranda performing the tea ceremony. 
 Size 12x6. Hand-colored with lacquer and metallic powder. 
 
First Afternoon Session 
 
 TOYONOBU 
 
 (1711-1785) 
 
 it 
 
 14. Young Noble Carrying his Mistress through the Fields. 
 
 A brook Hows at his feet, a tree arches overhead. 
 sSZ. Pillar-print; three colors, with much over-printing. In an altogether exceptional 
 state of preservation, unaltered by time. 
 
 15. 
 
 
 ' “ * 
 
 Girl Leaping from the Balcony of Kiyomidzu Temple. 
 
 She is using an umbrella as a parachute. 
 
 Pillar-print; three-color. The circular rhythms of the design are notable. 
 
 16. 
 
 
 
 KIYOMITSU 
 
 (1735-1785) 
 
 Two Actors as Minstrels Wearing Basket Hats, yf'f 
 
 Size 11x5. Printed in two colors. 
 
 17. 
 
 Two Actors. A. 
 
 The Actor Otani Oniji as a man and the Actor Onoye Matsusuke as/a 
 woman; he carrying a lacquer box and she a drum. 
 
 Size 11x5. Printed in three colors. In remarkable condition. 
 
 18 . 
 
 The Legendary Poetess Murasaki Shikibu. 
 
 
 She is seated on the balcony of the temple of Isliiyamadera, overlooking 
 Lake Biwa, writing a poem; in the background, a mountainous landscape 
 with moon. 
 
 Pillar-print.; three- color. All Kiyomitsu's pillar-prints are rare and fine. 
 
 
 19. A Standing Courtesan. 
 
 t/. 
 
 She is clad in a translucent robe of blue and pink and is engaged in tying her 
 girdle. 
 
 Pillar-print; three-color. The rhythm of the draperies and the poise of the figure 
 are characteristic of Kiyomitsu at his best. 
 
 KIYOSATO 
 
 (Worked c. 1740-1760) 
 
 20. Child and Woman Carrying a Plum-branch. ' / / 
 
 
 Pillar-print; three-color. Kiyosato is an exceptionally rare artist, of whom almost 
 nothing is known. 
 
First Afternoon Session 
 
 HARUYUKI 
 
 (Worked c. 1750-1770) 
 
 <fZf- 
 
 21. Slioki the Demon-queller. r fy 
 
 Pillar-print; three-color. Powerful line-work. /*' 
 
 This artist is an unknown man whose work is of exceptional rarity. 
 
 
 HARUNOBU 
 
 (1725-1770) 
 
 >0 
 
 22. Interior, Opening- on a Garden. 
 
 A courtesan is leading a man in the foreground. 
 
 Size SxlO. Unsigned. The rich and clear color illustrates the new effect pro¬ 
 duced by Harunobu’s great discovery of polychrome printing. 
 
 7 -? 
 
 
 
 // 
 
 2.1. A Courtesan. A 
 
 She is being served with tea by a young waitress; in the background, 
 a Temple Torii. 
 
 Size 11x8. The waitress is the famous O-sen of Kagiya tea-house at Kasamori 
 Temple, whom Harunobu so often and so romatically depicted in his prints. 
 
 ‘ 'A* 
 
 24. Two Prints, Each Representing- a Standing ^Courtesan. 
 
 Size 8x0 each. From the famous album, “Seiro Rijin Awase.” 
 
 25. Two Prints, Each Representing a Seated Courtesan. 
 
 Size 8x6 each. From the same publication. 
 
 Ct. 
 
 26. Two Prints, Each Representing a Standing Courtesan. 
 
 Size 8x6 each. From the same publication. 
 
 ff» 
 
 27. 
 
 £2. O 
 
 Girl Returning a Football. t. 
 
 Size 11x8. Exquisite in grace of line and delicacy of color. In a beautiful 
 state of preservation. 
 
 (Illustrated, plate II) 
 
 
 28. The Famous Beauty O-Fuji. 
 
 She is receiving a girl caller at the cosmetic shop of her father Nikeiji. In 
 the foreground a cock is picking at crumbs. 
 
 Size 11x8. 
 
 In the year 1769, four beautiful young girls were selected to perform the cere¬ 
 monial dance at the temple of Yushima Tenjin on the occasion of the installation of a 
 statue of Ichizu Shoshi. Of these O-Fuji was one. The resulting popular interest in 
 her appearance impelled Harunobu to produce many prints in which her graceful 
 (igure is depicted. The artist's delicate drawing and luminous color arc exhibited 
 to high advantage in this finely preserved print. 
 
 (Illustrated, plate II) 
 
\ First Afternoon Session 
 
 29. Two Girls Fishing. 
 
 A young man is guiding tlieir boat down the Sumida River; in the back¬ 
 ground appears the temple of Mimeguri. 
 
 Size 11x8. 
 
 30. A Courtesan Standing on a Veranda. c ^ 
 
 She is looking out toward the sea ; beside her is a servant carrying a lute. 
 Size 11x8. Signed “Harunobu.” 
 
 In spite of the signature, this print is probably not by llarunobu but by Shiba 
 Rohan, who, shortly after Harunobu's death, produced a remarkable series of forgeries 
 that are in some instances almost as fine as the irorlc of Harunobu himself. 
 
 (Illustrated, plate II) 
 
 
 31 
 
 32. 
 
 ^7 
 
 4*- x 
 
 /7 
 
 Sy 
 
 33. 
 
 sy 
 
 34. 
 
 6'V 
 
 KORIUSAI 
 
 (Worked c. 1770-1781) 
 
 A Courtesan in Striped Orange Robe. 
 
 Her attendant, in robe decorated with snowy pine branches, carries a 
 tobacco-box. 
 
 Pillar-print, without background. One of a famous series of courtesan portraits. 
 In fine condition. 
 
 Two Young Lovers Under an Umbrella in Snow 
 
 Pillar-print. A distinguished design. 
 
 ^ /V. 
 
 /? 
 
 A Courtesan in Striped Robe of Orange and Yellow. 
 
 Pillar-print. Notable for its superb and daring color. In fine condition. 
 
 A Woman with a Boy Carrying a Black Box. -y^ 
 
 In background, a castle with setting sun behind it. 
 
 Pillar-print. 
 
 
 35. A Girl Hiding on a Crane. A"./,’ . A.,< < ■ - ‘ <*< •< f 
 
 Below her, a young man in imitation of Urashima is riding on a tortoise (/ 
 that swims the waves. He is handing her a love-letter. 
 
 Pillar-print. 
 
 36. Young Man Riding a Horse. 
 
 The animal is being led by a woman 
 7 Pillar-print. 
 
 Fuji in the background. 
 
 37. Two Girls at the Well. d „ 
 
 One draws water while the other washes linen. 
 
 Pillar-print. One of Koriusai’s most famous designs; in soft colors. 
 
 (Illustrated, plate XIV) 
 
 
First Afternoon Session 
 
 
 /Z 
 
 38. The Courtesan Haruji of Clioji-ya. 
 
 She appears in a many-folded robe, accompanied by a girl attendant whose 
 +TO robe is decorated with a pattern of pine branches. 
 
 Pillar-print. 
 
 ?T?r. 
 
 7 / 
 
 39. A Courtesan on a Balcony Overlooking; the Sumida River 
 
 Her girl attendant kneels beside her; boats pass in the background. 
 Pillar-print. One of Koriusai’s famous designs. 
 
 
 40. An Interior Scene. /t ^ '/ 
 
 Two women are arranging flowers; one kneels, the other stands behind her. 
 Pillar-print. 
 
 siiuns no 
 
 (c. 1726-1792) 
 
 41. The Actor Ishikawa Yaozo. 7 ? 
 
 . He appears in the role of a man carrying an orange/lacquer box; lie stands 
 
 beside a river, under the branches of a tree. 
 
 Size 12x6. Beautiful in color; in fine condition. 
 
 (Illustrated, plate 1) 
 
 U, £ 
 
 42. The Actor Iwai Hanshiro as a Woman Holding a Comb. 
 
 Size 13x6. From the Hayashi collection. A figure of notable grace. In fine 
 
 y> 
 
 * j 
 
 condition. 
 
 
 43. The Actor Onoye lVIatsnsuke. 7 ^ ^ 
 
 He appears in the role of a noble, standing on a rock beside the sea, hold 
 ‘7' ci - a scroll. 
 
 Size 12x6. A notable example of Finnish o'8 intense dramatic power. In fine 
 condition. 
 
 (Illustrated , plate III) 
 
 44. The Actor Ishikawa Monosuke in “Shiba^aku.” 
 
 ^2. J Size 12x5. A simple design, of marked power. 
 
 45. The Actor Ishikawa Danjuro. 7^/7 - 
 
 lie appears in the role of a ferocious warrier with bow and arrows, stand- 
 ing on I lie bank of a river. 
 
 Size 12x6. Daring color; in a phenomenal state of preservation. The peculiar 
 blue used here for the water is seldom found unfaded. 
 
 7 
 
 /% 
 
 46. An Actor as a Man, grasping a Fan 
 
 He is pulling a robe over his shoulder. 
 
 Size 12x6. Yellow background. Notable for its 
 signed, but with Shunsho’s “Jar Seal.” 
 
 
 simplicity and 
 
 intensity. Un- 
 
First Afternoon Session 
 
 
 47. 
 
 48. 
 
 £ ?y~. 
 
 The Actor Onoye Matsusuke as a Man Standing Beside 
 a Bench. 
 
 Size 32x6. In brilliant condition. 
 
 (2 /?■ 
 
 The Actor Sawamnra Sojnro as a Man Holding a LetteF. I £> 
 
 He stands before a red fence. 
 Size 12x5. In fine condition. 
 
 Z- o 
 
 49. The Actor Kosagawa Tsnneyo as a Woman Holding a 
 Picture. 
 
 She is standing before a red fence. 
 
 Size 12x5. In fine condition. This and the preceding number are the right and 
 middle sheets of a triptych. 
 
 
 50. 
 
 Scene from the Drama of the Forty-seven Bonin. 
 
 A woman crouches before a screen and holds the robe of a Samurai who 
 stands beside her. 
 
 Size 10x7. A rare print in luminous condition. 
 
 rf-tUusti atrd, plate /T*7 ' 
 
 BUNCHO 
 
 (Worked c. 1765-1775) 
 
 
 51. The Actor Onoye Matsusuke witjji Fan and Drum. 
 
 lie is standing before a large screen. 
 
 Size 12x6. Buncho's work is of considerable rarity. Tins is a characteristic 
 example, in good condition. 
 
 (Illustrated, plate IV) 
 
 So 
 
 SHUNJO 
 
 (Worked c. 1760-1780) 
 
 52. The Actor Segawa Kikunojo as a Woman. 
 
 Size 12x5. The line-rhythm of this design has been much admired by amateurs 
 
 (Illustrated, plate IV) 
 
 MTS* 
 
 53. The Actor Matsiunoto Koshiro in the Role of a Peasant. i o 
 
 He is holding a lantern as he crouches before a fence. Rain pours down; 
 p. 7 the night sky is represented by solid black. 
 
 Size 12x6. In flawless condition. 
 
 K1Y0NAGA 
 
 (1742-1815) 
 
 54. Two Girls Hand in Hand tinder a Willow. 
 
 
 Pillar-print. Superb figures, with the characteristic Kiyonaga grace amrdignity. 
 
 (Illustrated, plate XII) 
 
First Afternoon Session 
 
 
 55. Woman Holding- a Child. 
 
 d? lV- 
 
 Another woman crouches at her feet, dressing. 
 
 I’illar-print. Kiyonaga's virile line-work appears here to advantage. 
 
 
 56. Woman Carrying an Umbrella, under a Willow. 
 
 Pillar-print. One of Kiyonaga’s tgpicaUg stately figures. 
 
 (Illustrated, plate XI) 
 
 /? - _X s- 
 
 57. Girl in a Black Hood on a Windy Day. 
 
 She is walking along the bank of a stream; strong horizontal tines make a 
 ^P7 superb rhythm through her garments. 
 
 Pillar-print. Mr. F. IP. Goolcin says of this design, “The drawing of the black 
 sulcin (hood) about the girl's head, and the superb brush-strokes with 
 which the whole is executed, are among the finest things in all Ulcioye. One 
 of Kiyonaga's masterpieces." Some previous owner has skillfully mended 
 the top of the print, where, branches originally appeared. 
 
 58. 
 
 AMan Standing before a Bamboo Fence. 
 
 
 He has just kicked a football; a girl watches him from an upper balcony. 
 /*-^"7 Pillar-print. 
 
 '7 
 
 59. Two Girls Walking. 
 
 Above them the spring cuckoo flies. 
 Pillar-print. 
 
 
 
 2 *. 
 
 60. Woman with Basket-hat and Fan. 
 
 Pillar-print. Typical of Kiyonaga's stately figures at his best period. 
 
 (Illustrated, plate XII) 
 
 61. Two Youths in Gorgeous Robes. 
 
 Pillar print. The use of blacks is notable. 
 
 62. Young Man Wearing Two Swords. / pPP? t ^ jf & 
 
 77 
 
 Sp 
 
 He is carrying a falcon on his wrist. Fuji in background. 
 
 Pillar-print. 
 
 63. Woman with Basket-hat. 
 
 6 
 
 
 A girl is tying her sandal; sea and mountain background. 
 
 Pillar-print. A notable example of Kiyonaga’s ripest style. In fine condition. 
 
 (Illustrated, plate XII) 
 
First Afternoon Session 
 
 SHUNCHO 
 
 (Worked c. 1775-1800) 
 
 
 .£^64. A Palace Interior. 
 
 Four women are grouped beside a screen. 
 
 Full-size upright. The right-hand sheet of a triptych. Shuncho’s women are 
 characterized by a yrace and dignity that is unsurpassable. 
 
 65. Three Women on a Veranda beside the Snmida River. 
 
 Moon and delicate landscape in background. 
 
 Size SxG. Signed “ Manri ,” Shuncho's early signature. A charming work. 
 
 /e* . 
 
 66. Four Women and a Girl on a Veranda. 
 
 Full-size upright sheet; one of a triptych. 
 
 YEISHI 
 
 (Worked c. 1780-1805) • 
 
 67. An Interior. 
 
 Three Geishas are entertaining a young noble at a tea house in tl^ Yoshi 
 jr- 7 jy wara. & cz 
 
 ' Full-size upright; the middle sheet of a triptych. In Yeishi'v early style, influ¬ 
 
 enced by Kiyonaga. The man's figure is a marvel of simplicity and ex-. 
 pressiveness. 
 
 From the Fenollosa collection. 
 
 O 
 
 / 5 
 
 
 68. A Kneeling Woman who Holds a Decorated Tea Stand. 
 
 — Full-size, upright sheet; yellow background. One of a series—“Furyu go Sekku,” 
 
 Refined Five Festivals. 
 
 69. A Festive Group at the Edge of a Garden. 
 
 Full-size, upright sheet. Printed in pale tones of gray, green, yellow and purple, 
 with all Yeishi’s peculiar delicacy. 
 
 70. A Group of Four Courtesans in Robes of State. <r jr 
 
 y^ Full-size, upright sheet. Yellow background. 
 
 71. Two Prints, Each Representing a Courtesan and at¬ 
 
 tendants. X /. . 
 
 Size 8x6. Printed chiefly in various tones of gray, on a pale yellow background. 
 Yeishi was the master of gray symphonies. 
 
 72. Interior. ~ £ 
 
 A group of five women are looking out through a circular window onto the 
 Nihon Embankment covered with snow. 
 
 /x 
 
 An album-sheet, size Sxl4, from “Otoka Toka,” 1798. In fine condition. 
 
First Afternoon Session 
 
 HOKUSAI 
 
 (1760-18J,9) 
 
 “Shokolcu Takimeguri.”—Complete set of eight full-size upright aheets- 
 ing Around the Waterfall Country.” 
 
 ‘Travel 
 
 73. 
 
 So. 
 
 74. 
 
 
 (I)ate c. 1880) 
 
 The Kirifuri Fall. t iOr 
 
 In the Kurokami mountains, Province of Shimotsuke. 
 
 
 A broad, foidmig 
 
 cascade pours down between rocks; at its base three men look up at it, and 
 two other men look down from the hillside to the right. No. 1. 
 
 75. 
 
 /7- a 
 
 The Olio Fall. 
 
 On the Kisokaido road. A perpendicular fd-tl descends in a sheet on the 
 left; in the foreground a bridge, on which are five men, spans the pool 
 formed by the cascade, in the middieground a small house perches on a 
 rock; beyond it lie mists and precipices. No. 2. 
 
 (Illustrated , plate VI1J) 
 
 £ 
 
 The Kiyo Fall. ^ 
 
 By the shrine of Ivawannon of Sakanoshita, on the Tokaido road. Slender 
 forking streams pour down the steep hillside; on the right, three men are 
 climbing from the thatched tea-houses in the valley up to the shrine on 
 the slope. No. 3. 
 
 76. 
 
 77. 
 
 2-2 
 
 6-0 
 
 78. 
 
 / 7 ^ 
 
 79. 
 
 
 sjt 
 
 80 . 
 
 The Yosliitsune Horse-washing Fall. * 
 
 At Yoshino in the Province of Izumi. In the middle of the foaming cas¬ 
 cade stand two men washing a horse. The name of the fall is in allusion 
 to the great warrior Yosliitsune, who is fabled to have washed his horse 
 here. No. 4. 
 
 The Amida Fall. 
 
 
 In the Province of Kiso. Through a round gap in the upper rock the cas¬ 
 cade shoots perpendicularly down; three men are preparing to picnic on 
 the steep cliff t.o the left. No. 5. 
 
 The Hollyhock-hill Fall. 
 
 In the Province of Yedo. A short, broad fall descends from a wide lake; 
 on the left, a road with pedestrians on it winds up the hill to a tree-shaded 
 tea-house. No. 6. 
 
 The Roben Fall. 
 
 
 At Oyama in the Province of Sagaini. The narrow, curving fall shoots 
 out from a cliff to the left and splashes into a pool where naked men are 
 bathing. No. 7. 
 
 The Yoro Fall. -7 
 
 In the Province of Mino. The perpendicular cataract descends in a' broad 
 curtain, breaks behind a large rock, and swirls away to the left; on the 
 right side is a thatched roof where several men are resting. No. 8. 
 
First Afternoon Session 
 
 HIROSHIGE 
 
 (1797-1858) 
 
 In “Chats on Japanese Prints,” Mr. Arthur Davison Ficke presents us with 
 a faithful summary of this great artist's work: “Hiroshige takes rank, by unanimous 
 consent, as the foremost landscape artist produced by the Ukiyoye school. Hokusai’s 
 main concern was with the fundamental architecture of landscape. He outlined the 
 structure of mountains, rocks, rivers, waves, and bridges with a hard and brilliant 
 sharpness; but Hiroshige, less rigid in his treatment, seems chiefly intent upon the 
 more delicate and transitory appearances of cloud and mist, rain and snow, sunrise 
 and dusk, that give to a landscape at each particular moment so much of its specific 
 character. Few landscape painters of any race have succeeded in rendering so finely 
 the mood of a scene.” Mr. Ficke calls attention to the “delicate peace and sweet¬ 
 ness of twilight” in plate No. G8G, the “vigorous life of wide sea spaces” in plate 
 No. 143, the “heavy hush of nightfall over the snow-covered village” in plate No. 184; 
 the “luminous and solemn dusk on the Sumida ltiver” in plate No. 391, and the 
 “mystery of the Bow-moon” in plate No. 351. “Hiroshige’s great strength lay in his 
 genius for strikingly effective composition and the skill with which he adapted his 
 designs to the limitations of the color-print technique. He reduced the pictured 
 scene to a few simple elements of a highly decorative character, and managed to make 
 them so symbolic and suggestive that we do not miss the multitude of details which 
 he purposely omits. A strongly dominant unity of impression is the result.” 
 
 In making an estimate of the impression and condition of each print here shown, 
 the classification as given in Mr. Ficke’s book has been followed. In the chapter on 
 collectors he gives certain considerations that should govern the choice of a print. 
 
 I. The artist. 
 
 II. The qualita of the design. The impression produced upon the aesthetic sense 
 of the collector is the most vital of all the elements that should determine his choice; 
 he should pass by all designs in which clumsiness or awkwardness is evident. 
 
 III. The qualitg of the impression. Different copies of the same print differ 
 enormously in quality. The finest design is of little avail if the work of the printer 
 has not been judicious. Mr. Ficke classifies the various grades of impression as 
 follows: 
 
 ARTIST’S IMPRESSION. Such a print as might have been produced under the 
 eye of the artist himself, every line clear and sharp, every color delicate and perfectly 
 registered, the total effect luminous and harmonious; no possible subtlety of technique 
 left to be desired. 
 
 FINE IMPRESSION. A clear, perfect impression such as a careful printer would 
 normally turn out at his best. (Very few of the prints here shown fall below this 
 class.) 
 
 GOOD IMPRESSION. Such a print as would pass muster with the ordinary 
 buyer of that day; good, but not especially fine; clear, but not notably sharp; pleas¬ 
 antly enough colored, but not distinguished in color scheme. Very slight defects of 
 register or gradation will not exclude a print from this class. 
 
 LATE IMPRESSION. One in which serious defects appear, such as bad register, 
 raw color, blurred definition, or any other real error. 
 
 IV. CONDITION. The state of preservation is important. The following classi¬ 
 fication is suggested by Mr. Ficke: 
 
 PUBLISHER’S STATE. Without the slightest evidence of any change since the 
 hour it was printed; colors unaltered; paper absolutely new and sparkling. 
 
 COLLECTOR’S STATE. As a print might be after a few years in the possession 
 of a careful purchaser; perfect, except for having been mounted or washed, or for 
 
First Afternoon Session 
 
 slight chemical change in the colors due to time only and not to damage; paper white 
 and clear. (Very few of the prints here shown fall below this class.) 
 
 GOOD STATE. Marred only by minor defects that would be unnoticeable to 
 casual observation—small worm holes, slight tears, moderate fading of colors, or 
 slightly rubbed surface; paper toned but not brown. 
 
 ORDINARY STATE. Still retaining its chief beauty in spite of noticeable injury 
 by tears, small stains, worn or faded colors or other damage; paper somewhat 
 browned by exposure. 
 
 DEFECTIVE STATE. Such injuries or color changes as deprive the print of its 
 significance as a thing of beauty; paper browned or stained. 
 
 Impression is considered of more importance than condition by most collectors; 
 a fine impression in poor condition might give much pleasure, but a poor impression 
 is very seldom a thing of beauty in any state. In fact, a slight toning of the colors, 
 which in their pristine state were strong or harsh, sometimes brings the entire print 
 perhaps one key lower and makes of it a soothing harmony. The reds, purples, greens 
 and yellows are a little softened, but the paper itself must be white, fresh and clear 
 and not toned or soiled. 
 
 The Hiroshiges in this collection were acquired by me many years ago at a time 
 when this artist's prints in fine impression and state were frequently found in the 
 hands of the dealers and were procurable at comparatively low prices; and for that 
 reason many collectors evidently thought the supply inexhaustible and paid little 
 attention to collecting them until the harvest was past. This was before any 
 Hiroshige forgeries appeared on the market. For this reason, and also relying upon 
 the verdict of Mr. F. W. Gookin, and Mr. A. D. Ficke, to both of whom I am deeply 
 indebted, and from my own experience in handling many thousands, I can unhesitat¬ 
 ingly guarantee the genuineness of every print here offered. I have also to thank 
 Mr. T. Ito, Mr. W. H. Edmunds, whose catalogues I have freely drawn upon; and 
 Mr. John S. Happer, without whose catalogue and letters I would never have ven¬ 
 tured upon the following descriptions, especially in view of the fact that the rest of 
 this catalogue was written by one who is not only a literary man, but an authority 
 on Japanese prints as well. J. D. M. 
 
 THE TOKAIDO SET 
 
 TOKAIDO GOJU SAN TSUGI. Full-size horizontal plates, published by lloyeido- 
 Takeuchi. Complete in fifty-five plates, with additional plates showing the variations 
 in blocks, both key and color blocks. Believed to be a complete variorum set. The 
 accepted date for the complete issue of this set is lSSif, but an earlier date should 
 probably be assigned. The marked variation in the earlier plates is probably due to the 
 well-known fact that Ycdo was every winter ravaged by fire and the original blocks 
 may have been burnt or damaged in hasty removal from a threatened depository. 
 More of Hiroshige's fine designs are found in this set than in any other. 
 
 Each print is signed Hiroshige. Following the station name on each plate is a 
 sub-title which is given in the following notes, which, together with this description, 
 are taken almost verbatim from the Happer catalogue. Many of these prints are from 
 the set formerly owned by Edmund de Goncourt, the French author and collector. 
 
 81. Nihon Bashi. 
 
 Sub-title, Asa No Kei, morning sc< , jetter, dif¬ 
 
 fering in detail from the more usual print; publisher’s seal, Kikaku, 
 Takeuehi. (No. 1.) 
 
 
 Fine impression. Collector's state. 
 Signed : Hiroshige. 
 
First Afternoon Session 
 
 82 . Nihon Bashi, Gioretsn Furude. 
 
 
 Banners waving. Marked changes appear. Sub-title changed, no clouds; 
 right foreground tilled with street hawkers; dogs smaller and changed 
 AT. to middle foreground; publisher’s seal, Takeuchi only. 
 
 Artist's impression. Collector's state. 
 
 Signed : Hiroshige. 
 
 83. Shinagawa, Hinode. 
 
 Daybreak. Village street on right; junks at anchor on left; publisher’s 
 seals following signature, Senkakudo Hoyeido. A print of unusual beauty. 
 (No. 2.) 
 
 Artist's impression. Publisher’s state. 
 
 Signed: Hiroshige. 
 
 84. The Same. A Variation. 
 
 (A? c - 
 
 A 
 
 7 
 
 Four figures are added to the procession of nobles; other minor changes in 
 ^7? the treatment of the boats; publisher’s seal, Takeuchi only. 
 
 Good impression. Ordinary state. 
 
 Signed: Hiroshige. 
 
 85. Another Variation. 
 
 
 Clouds and publisher’s seal omitted. 
 Late impression. Ordinary state. 
 
 Signed : Hiroshige. 
 
 86. Kawasaki, Rokugo Tosen. 
 
 a. 
 
 7 
 
 
 Ferry boat, Rokugo river; publisher’s seals, Senkakudo, Hoyeido. 
 Artist’s impression. Publisher's state. 
 
 Signed: Hiroshige. 
 
 (No. 3.) *' 
 
 87. The Same. A Variation. 
 
 
 
 Fuji is only an outline; no key block; the man on the raft is absent, the 
 boatman faces to the left; other minor differences. 
 
 Fine impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 88. Kanagawa, Knre-no-kei. 
 
 Sunset. The cloud is on the left half of the sky; the angle of the roofs is 
 very sharp; there are no posts in the foreground of water; publisher's seal. 
 Hoyeido ; beautiful color. (No. 4.) 
 
 Fine impression. Publisher’s state. 
 
 Signed: Hiroshige. 
 
 From the de Goncourt collection. 
 
 
First Afternoon Session 
 
 /a. 
 
 89. The Same. A Variation. , . 
 
 The cloud is in the right half; roofs are broader angles; posts appear in the 
 foreground of water; other minor differences; publisher’s seal, Takeuchi. 
 Good impression. Good state. 
 
 Signed : Hiroshige. 
 
 90. Hodogaya. Shin Kanie Bashi. 
 
 7 
 
 
 Publisher’s seal, Seukaku do Hoyeido. (No. 5.) 
 Fine impression. Publisher's state. 
 
 Signed : Hiroshige. 
 
 91. 
 
 Totsnka, Moto machi Betsndo. 
 
 Branch road main street; publisher’s seals, Kakuki, Takeuchi. 
 Artist’s impression. Publisher’s state. 
 
 Signed: Hiroshige. 
 
 From the de Goncourt collection. 
 
 (No. 6.) 
 
 92. A Variation. 
 
 Marked differences in key block ; the man is 
 ^ boarded in, the middle tree is gone and the sky is not striated. Seal dif¬ 
 
 fers in shape, reading Takeuchi. 
 
 Fine impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 mounting the horse; tea house 
 
 
 93. Fujisawa, Yuyoji. 
 
 
 Temple. Torii in foreground; bridge and village in center with temple on 
 wooded hill in distance. Publisher’s seal. Hoyeido. A superb copy. (No. 7.) 
 Artist’s impression. Publisher’s state. 
 
 Signed : Hiroshige. 
 
 94. 
 
 
 Hiratsuka, Navvate I)o. 7'. / '' 
 
 Nawate highway. Three coolies on highway leading to a round top hill. A 
 beautiful impression of a print usually quite unattractive. Publisher’s seal. 
 Hoyeido, Sen Kakudo. (No. 8.) 
 
 Artist's impression. Publisher’s state. 
 
 Signed : Hiroshige. 
 
 95. Oiso, Tora Ga Ame. 
 
 
 / 
 
 Tiger rain. In later editions the yellow sky is less beautiful; seal, Takeuchi 
 (No. 9.) 
 
 Good impression. Collector's state. 
 
 Signed : Hiroshige. 
 
First Afternoon Session 
 
 96. Odawara, Sako Gawa. 
 
 Fording the Sako river. This plate has many states; apart from the vary¬ 
 ing outlines of the distant hills (color blocks only), the key block varies in 
 ef "0 the number of figures on the foreground bank. In the two volume edition, 
 
 taken as a standard, the plate has only two coolies on the shore; Hoyeido 
 seal is the same on all. This is a rare impression. (No. 10.) 
 
 Artist's impression. Publisher's state. 
 
 Signed: Hiroshige. 
 
 97. The Same. A Variation. 
 
 
 Four figures on the shore, two travelers and 
 ture, an earlier state. 
 
 Late impression. Ordinary state. 
 
 Signed : Hiroshige. 
 
 two coolies. From the signa 
 
 98. The Same. A Variation. 
 
 Five figures on the shore, three coolies, two 
 hills. 
 
 Good impression. Good state. 
 
 Signed : Hiroshige. 
 
 travelers 
 
 change in outline 
 
 of 
 
 99. The Same. A Variation. ?p: J 
 
 Five figures on the shore, but the outline of the 
 foregoing. 
 
 Fine impression. Collector's state. 
 
 Signed : Hiroshige. 
 
 100. Hakone, Kosui. 
 
 Lake. This plate and the remaining numbers of the series show hardly 
 any variation of importance. (No. 11.) 
 
 Good impression. Collector's state. 
 
 Signed : Hiroshige. 
 
 101. Mishima, Asa Kiri. 
 
 P Morning mist. A celebrated print. 
 
 <7^2- — Artist's impression. Collector's state. 
 Signed : Hiroshige. 
 
 (No. 12.) 
 
 CP. /F. 
 
 
 102. Nnmadzu, Ki Knre. 
 
 
 Yellow evening. A moonlight scene. The grotesque mask on the back of 
 the pilgrim was a distinctive mark of the pilgrims traveling to the Shinto 
 shrine of Kompira in the Island of Shikoku. A striding design. (No. 13“.) 
 Good impression. Ordinary state. 
 
 Signed: Hiroshige. 
 
First Afternoon Session 
 
 103. Hara, Asa No Fuji. ^ ^ 
 
 Morning Fuji. Three pilgrims on the highway; Fuji rising in majestic 
 grandeur in the distance. A supreme copy of a print rarely seen in even 
 33 . a good impression. (No. 14.) 
 
 Artist’s impression. Publisher’s state. 
 
 Signed: Hiroshige. 
 
 1 <S~Q 
 
 104. Yosliiwara, Hidari Fuji. 
 
 Fuji on the left. (No. 15.) 
 Fine impression. Collector’s state. 
 Signed : Hiroshige. 
 
 
 u . 
 
 ^7 
 
 105. The Same. A Variation. 
 
 Fuji is overwritten with the title; there is no signature; publisher’s seal 
 above the trees on the left. 
 
 Late impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 100. Kambara, Yorn No Ynki. 
 
 Evening snow. (No. 16.) 
 
 //O. A supreme impression in remarkable state. 
 
 Signed : Hiroshige. 
 
 107. 
 
 The Same. 
 
 /7 
 
 £? 
 
 In the usual printing. 
 
 Fine impression. Collector's state. 
 Signed: Hiroshige. 
 
 108. Yni, Satta Mine. 
 
 Satta Peak. Fuji seen across the water in the distance. 
 A supreme impression, unusually soft and beautiful. 
 
 Artist’s impression. Collector’s state. 
 
 (No. 17.) 
 
 Signed : Hiroshige. 
 
 2 s: 
 
 109. Okitsn, okitsn kawa. 
 
 Fat wrestlers fording a stream. 
 Artist's impression. Publisher’s state. 
 Signed : Hiroshige. 
 
 Rich in color. 
 
 (No. IS.) 
 
 /? 
 
 1 10 . 
 
 ~?9U 
 
 Ejiri, milio embo. _ 
 
 Distant view of Miho Beach. The rare beauty of this print suffers sadly in 
 later editions from poor printing off worn blocks. This is a superb impres¬ 
 sion. No. 19.) 
 
 Artist's impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
First Afternoon Session 
 
 111. Fueliu Abe Ivawa. 
 
 Crossing the Abe river. (No. 20.) 
 Fine impression. Collector's state. 
 Signed: Hiroshige. 
 
 112. Mariko, Meibutsu Cliaya. 
 
 Souvenir tea house. The inscription on the sign board is not a poem but 
 an advertisement of “very fine fish and rice for sale within.” A charming 
 design. (No. 21.) 
 
 Artist's impression. Collector's state. 
 
 Signed : Hiroshige. 
 
 113. The Same. 
 
 A softer printing. 
 
 77^ Artist's impression. Publisher's state. 
 Signed : Hiroshige. 
 
 
 6? /V. 
 
 r 
 
 114 
 
 jTJ 
 
 Oka be, I tsu No Yaina. 7^ 
 
 T'tsu hill is here colored green on both slopes, the coloring of the original 
 
 32 ^ issue. A supreme impression of one of the finest designs of the series. 
 
 (No. 22.) 
 
 Artist's impression. Publisher's state. 
 
 Signed: Hiroshige. 
 
 7. 
 
 115. The Same. 
 
 
 A' 
 
 The left slope of hills is a greenish yellow. The contract with the pre¬ 
 ceding copy is great, furnishing an excellent example of the difference in 
 impressions. 
 
 Late impression. Good state. 
 
 Signed : Hiroshige. 
 
 7<7 
 
 11(5. Fujietla, Hito Uma Keitatsu. 
 
 Changing horses and coolies. (No. 23.) 
 Fine impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 A ^ • 
 
 72 ^ 
 
 117. Sliimatla, Oigawa Shun (tan. 
 
 Steep bank of the Oi river. An unusually fine printing 
 Artist's impression. Collector's state. 
 
 Signed : Hiroshige. 
 
 From the de Goneourt collection. 
 
 (No. 24.) 
 
 
 
 118. Kanaya, Oigawa Em Gan. 
 
 Far bank of the Oi river. An unusually fine 
 print usually unattractive on account of poor printing. (No. 25.) 
 Artist's impression. Publisher's state. 
 
 Signed: Hiroshige. 
 
 M Aw 
 
 and beautiful impression of a 
 
First Afternoon Session 
 
 119. Nissaka, Sayo Naka Yama. 
 
 Pass through Sayo mountain; the huge stone in the roadway commemorates 
 the murder of a woman whose ghost led to the discovery of the murderer. 
 (No. 26.) 
 
 Fine impression. Collector's State. 
 
 Signed : Hiroshige. 
 
 120. Kakegawa, Akilia San Empo. ^ >/ 
 
 Distant view of Mount Akiha ; the road to its shrine left the Tokaido here. 
 The bridge is usually printed dark instead of the light gray shown here; 
 rare in this printing and state. 
 
 Artist’s impression. Publisher's state. 
 
 Signed : Hiroshige. 
 
 (Illustrated, plate XVI) 
 
 C O 
 
 121. Fukoroi, De Chaya. 
 
 Wayside tea house. The foreground printed a delicdtc plum color; only tiro 
 copies in this printing have come under my observation. 
 
 Artist’s impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 From the de Goncourt collection. 
 
 /7 
 
 ft 
 
 122. The Same. 
 
 The foreground printed green; in brilliant, sparkling state. 
 Artist’s impression. Publisher's state. 
 
 Signed : Hiroshige. 
 
 (Illustrated, plate XVI) 
 
 123. The Same. 
 
 2 s. 
 
 The foreground printed blue. 
 Artist's impression. Collector’s state. 
 Signed : Hiroshige. 
 
 124. Mitsn Ki, Ten Ryn Gawa. 
 
 
 ^ Heaven Dragon river, famed for its ninety mile rapids, is here crossed; 
 
 rc 0, the misty shores are finely rendered. (No. 29.) 
 
 Fine impression. Collector’s state. 
 
 Signed : Hiroshige. 
 
 125. Hamamatsu, Toko. 
 
 
 
 Dreary winter. (No. 30.) 
 Artist’s impression. Collector's state. 
 Signed : Hiroshige. 
 
 C 7/^7 PC ^ 
 
First Afternoon Session 
 
 126. Maizaka, Imaki Shin Kei. 
 
 View of Imaki Point; the yellow glow of sunset dgainst which the' cone 
 of Fuji, white in fine contrast with the deep blue of the distant hills, the 
 light and shadow of the blue sea, unite in one of the most charming views 
 of the series. A supreme copy. (No. 31.) 
 
 Artist’s impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 127. Arai, To Sen. 
 
 Ferry boat; the gay banners, the variegated garb of the boatmen, the golden 
 ? sunset fill the plate with rich color. (No. 32.) 
 
 Fine impression. Collector’s state. 
 
 Signed : Hiroshige. 
 
 
 128. The Same. 
 
 A later edition in a different color scheme 
 hate impression. Publisher's state. 
 
 Signed : Hiroshige. 
 
 
 129. Shirakai, Shio Mi Zaka. 
 
 Jf <- 
 
 Sea View Hill; the name of this station may be pronounced Shirasuka ; 
 0 the hill is well named, the wide sea-vista delights the eye. This is one of 
 
 the finest designs in the series and is rarely seen in such a fine impression. 
 (No. 33.) 
 
 Artist’s impression. Collector's state. 
 
 Signed : Hiroshige. 
 
 From the de Goncourt collection. 
 
 130. Futa Gawa, Sam Ga Baba. ^ ^. 
 
 Monkey racecourse; evidently country races or horsemarkets were held 
 here. A fine, soft impression. (No. 34.) 
 
 Artist's impression. Publisher’s state. 
 
 Signed : Hiroshige. 
 
 <_A 
 
 131. The Same. 
 
 A stronger printing. 
 
 Fine impression. Publisher’s state. 
 Signed : Hiroshige. 
 
 
 y 
 
 
 132. Yosliida. Toyokawa Ilashi. 
 
 The long bridge over the Toyo river. 
 
 3 A superb impression; one of the gems of the collection. 
 
 Artist’s impression. Publisher’s state. 
 
 Signed: Hiroshige. 
 
 From the de Goncourt collection. 
 
First Afternoon Session 
 
 
 133. Goyu, Tabbito Ryujo. 
 
 Tourists and inn runners; apart from tlie human 4 ''interest of this plate, 
 buxom waitresses hauling tourists to their respective inns, it records on 
 the signboards that the engraver of the series is Jirobei, the printer 
 Heibei, the artist Ichiryusai. On the white circle can be deciphered Take 
 No. T'chi Han, “han” meaning block, used as equivalent to publisher as 
 distinguished from the actual artisans. 
 
 Fine impression. Collector's state. 
 
 Signed : Hiroshige. 
 
 134. The Same. 
 
 A later edition, with inscription in white circle omitted. 
 
 '-7 Late impression. Ordinary state. 
 
 / Signed: Hiroshige. 
 
 * 
 
 135. Akasaka, Ryoslia Slio-fu. 
 
 Dinner guests; the interior of an inn, the guests' dinner is prepared, and 
 in an adjoining room the country geisha are putting finishing touches to 
 JJ. their toilet. The gradation of the grays from top and bottom of this 
 
 print is unusually soft, even, and beautiful. (No. 37.) 
 
 Artist's impression. Publisher's state. 
 
 Signed: Hiroshige. 
 
 From the de Goneourt collection. 
 
 13b. Fuji Rawa, Bo Bana. + 
 
 Village entrance; a daimyo cortege, preceded by runners shouting “Shita-ni- 
 iro'’ (get down), was a familiar highway scene when the Tokaido was at 
 ZL O . the zenith of its fame, and humble villagers promptly bowed to the ground. 
 
 (No. 38.) 
 
 Fine impression. Collector's state. 
 
 Signed : Hiroshige. 
 
 
 137. 
 
 sy 
 
 Okazaki, Ten Shin No Hashi. 
 
 Another long bridge on which an imposing cortege crosses the wide river. 
 The long curve of the bridge across the design is a fine piece of drawing. 
 (No. 39.) 
 
 Fine impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 138. 
 
 7?ua>. (2. 
 
 y. 
 
 d 
 
 > 
 
 
 The Same. A Variation. 
 
 The low hill shown at left of center in preceding print is omitted here. 
 Fine impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 <7 
 
 139. Cliiryu, Shu Ka Uma Iclii. 
 
 Principal summer horse fair. This plate is the one in the two volume 
 standard edition. (No. 40.) 
 
 
 Fine impression. 
 Signed: Hiroshige. 
 
 Publisher’s state. 
 
First Afternoon Session 
 
 140. The Same. A Variation. 
 
 A whaleback hill appears in this block which is omitted in the foregoing. 
 Fine impression. Collector's state. 
 
 Signed : Hiroshige. 
 
 141. Narami, Meibutsu, Arimatsu Sliibori. * + * 
 
 The Shibori, a variegated dyed cloth, made at Arimatsu, a neighboring vil- 
 lage, was the Meibutsu (famed product) for sale in this town. (No. 41.) 
 Artist’s impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 
 /&. 
 
 142. Miya, Atsuta Shin Ji. 
 
 Temple fete, Atsuta temple. The God in the car ps left to the imagination, 
 only the votaries and horses pulling on the long ropes are visible. (No. 42.) 
 Fine impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 143. Kuwana, Shichi Ki Wataslii Guchi. 
 
 Mouth of the Seven-ri ferry, an inlet so called; 
 /<5~ water is marvelously graded. (No. 48.) 
 
 Artist’s impression. Collector's state. 
 
 Signed : Hiroshige. 
 
 From the de Goncourt collection. 
 
 the green and blue of the 
 
 144. Yokkaiclii, San Clio Kawa. * * 
 
 A famous print showing the sweep of the wind across the scene. In soft 
 jy> q printing, with gradation on the man's cloak; the grass and shore in dis¬ 
 
 tance are printed green. (No. 44.) 
 
 Artist’s impression. Collector's stale. 
 
 Signed: Hiroshige. 
 
 145. The Same. 
 
 /, 't 
 
 *r 
 
 Gradation on man's cloak, but grass and shore printed gray; the only copy 
 in this printing to come under my observation. 
 
 Artist’s impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 146. The Same. 
 
 > 7 ' V 
 
 Green grass and shore, without g 
 Artist’s impression. Publisher’s state. 
 Signed : Hiroshige. 
 
 A 7 . 
 
 dation on man’s coat; in brilliant state. 
 
 147. I shiyakushi, 1 shiyakushi Ji. 
 
 
 Temple. In some plates the blue hill in the background is missing. .4 very 
 fine design, delicate in detail. (No. 45.) 
 
 Artist's impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 From the Hayaslii collection. 
 
First Afternoon Session 
 
 Au* (A A. 
 
 
 148. Shono, Haku-ii. 
 
 Rain storm. Tlie most celebrated storm scene ever done by Hiroshige. Note 
 the black characters on tlie umbrella: “Take no Uchi Han. Goju San 
 Tsugi,” which do not appear on later impressions. A superb print in every 
 way. (No. 46.) 
 
 Artist's impression. Publisher's state. 
 
 Signed: Hiroshige. 
 
 From the de Goncourt collection. 
 
 (Illustrated, plate XVI) 
 
 149. The Same. A Variation. 
 
 The later edition, with inscription on umbrella omitted. 
 c/. example of the vast differences in printing. 
 
 Late impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 Another striking 
 
 //S'- 
 
 // 
 
 150. Kameyama, Yuki Hare. a ° 
 
 Clear weather after snow; one of the masterpieces which gives this series 
 its well deserved renown. Note how the master ties the composition to¬ 
 gether with the two trees in the center. A superb copy. (No. 47.) 
 
 Artist's impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 From the de Goncourt collection. 
 
 22 
 
 151. Selti, Ilonjin Sotatsu. 2V ' 
 
 Early start from headquarters; the decorative hangings with the Effective 
 g-# crests are a striking feature. (No. 48.) 
 
 Artist’s impression. Collector's state. 
 
 Signed : Hiroshige. 
 
 /A 
 
 152. Saka-no-shita, Fude Sute Mine. ^ 
 
 Throwing-away-the-brusli-Peak; it was said that the artist in despair threw 
 down his brush (No. 49). 
 
 Artist's impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 From the de Goncourt collection. 
 
 153. Tsuclii Yarna, Haru No Ame. 
 
 e. J’ 
 
 A j. 
 
 Spring shower. The red and green coats and the yellow mushroom hats 
 relieve the gray of a rainy day. A fine soft impression. (No. 50.) 
 
 Artist's impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 vT. 
 
 154. Mizu Kuelii, Meibntsu Kampyo. 
 
 Dried gourds are the “noted product” of this s 
 Fine impression. Publisher's state. 
 
 Signed: Hiroshige. 
 
 (No. 51.) 
 
First Afternoon Session 
 
 
 155. Ishibe, Me Gawa Sato. 
 
 Me River Village. The streaks of mist across the'sky are here in great 
 beauty. A truly marvelous impression; one of the gems of the collection. 
 (No. 52.) 
 
 Artist’s impression. Publisher’s state. 
 
 Signed: Hiroshige. 
 
 (Illustrated, plate XVI) 
 
 156. Kusatsu, Meibutsu Tateba. 
 
 Celebrated products post-house; various styles 
 J (No. 53.) 
 
 Fine impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 of kago or palanquin. 
 
 157. Otsn, Soii Chaya. 
 
 Soii tea house; early issues show the faintly outlined green hill at the 
 /&7 back. (No. 54.) 
 
 Good impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 158. The Same. A Variation. 
 
 
 as: 
 
 The green hill at the back is omitted. 
 Fine impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 Rich in 
 
 color. 
 
 159. Kyoto, Sanjo Ohashi. 6 
 
 Long Bridge, Third Avenue; from tnis bridge the river and surrounding 
 hills of Kyoto formed the favorite view of the dwellers of the Eastern 
 Capital, as Nihon Bashi was the principal view point of Yedo. (No. 55.) 
 Fine impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 KYOTO MEISHO 
 
 Views of Kyoto 
 
 Complete set of ten full size, horizontal plates in fine condition; each signed with 
 stamp of publisher. 
 
 160. Kinkakuji. 7^ 
 
 The gold-plated Temple, with its picturesque^garden, is still one of the 
 favorite sights of the city. Beyond it a mountain rises out of the mist. 
 A remarkably fine copy ivith the mountain top printed a golden brown, which 
 CJ harmonizes beautifully ivith the golden temple. No other copy in this 
 
 printing has come under my observation. 
 
 Artist’s impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
First Afternoon Session 
 
 1(51. The Same. 
 
 /c/T 
 
 The usual printing; the mountain 
 Good impression. Collector's state. 
 Signed: Hiroshige. 
 
 top gray. 
 
 
 1(52. Tsuten Ivyo no Kofn. ^ ^ • 
 
 Red Maples of Tsuten Bridge. A gorge spanned by a covered bridge; 
 flaming maples on each bank: this print is rarely seen nitli the tan in this 
 brilliant state. • - 
 
 Artist's impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 /z 
 
 16,4. The Same. 
 
 A different printing. 
 
 0 Late impression. Collector's 
 Signed: Hiroshige. 
 
 state. 
 
 AT 
 
 
 164. Arashi Varna. 
 
 
 The hillside is covered with cherry blossoms. r l'he smoke from the fire 
 on the raft is distinct only in early proofs. 
 
 Good impression. Good state. 
 
 Signed: Hiroshige. 
 
 
 165. Yatsuse Village. 
 
 The women carry heavy loads on 
 color. 
 
 Fine impression. Collector's state. 
 Signed: Hiroshige. 
 
 
 their heads; a spring landscape of rich 
 
 166. Yodo Gawa. 
 
 
 
 One of the finest in the series; a large boat with oarsmen in the stern. 
 A very beautiful print. 
 
 Artist's impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 
 1 67. <7ion Temple in Snow. 
 
 Often reproduced; note the fine quality of the blue torii; a fine ‘'copy of a 
 noted print. 
 
 6 . Artist's impression. Good state. 
 
 Signed: Hiroshige. 
 
 
 168. The Same. 
 
 A stronger printing. 
 Fine impression. Collector's 
 Signed: Hiroshige. 
 
 state. 
 
 (Illustrated , plate XVI1) 
 
First Afternoon Session 
 
 169. Sliimabara Exit. 
 
 The entrance of the Yoshiwara. 
 y Late impression, (load state. 
 
 Signed: Hiroshige. 
 
 'Y. £. 
 
 
 > 
 
 1 TO. Thunder Storm at Tadashi. 
 
 People are hurrying to seek shelter from a storm. Itiver and footbridge 
 in foreground. Rare in this printing and slate. 
 l ine impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 (Illustrated , plate XVII) 
 
 171. Kiyomidzu Temple. 
 
 •/ZTTc «*,<-'£ XcT. Xi e 
 
 7 
 
 A large wooden temple among cherry blossoms on the side of a hill. 
 Fine impression. Collector's state. 
 
 Signed: Pliroshige. 
 
 
 1 72. Night Scene on the River Red. 
 
 Artist’s impression. Publisher’s state. 
 Signed: Hiroshige. 
 
 
 THE UPRIGHT TOKAIDO SET 
 
 A part of the set; all full size, numbered and seal dated, Hare 7, 1855, and with 
 publisher’s seal, Tsutaya. 
 
 ?y. 
 
 173. Kawasaki. 
 
 Junlc with yellow sail in foreground; Fuji in distance. Delicate in im- 
 pression and color. (No. 3.) 
 
 Artist's impression. Collector’s state. 
 Signed: Hiroshige. 
 
 7Y Jr 
 
 y nJj 
 
 174. Kanagawa. 
 
 Moonlight view. Two women and a man on the balcony of a tea hofose. 
 (No. 4.) 
 
 Good impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 S/ 
 
 
 
 175. Fujisawa. 
 
 Travelers in the foreground among pine trees. Fuji in the distance. Ex- 
 & treme delicacy of printing. (No. 7.) 
 
 Artist's impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 (Illustrated, plate XXI) 
 
 7 
 
 176. Oiso. ^ * '/ *' 
 
 A tine sheet of water stretching to a mountain in the distance. (No. 9.) 
 Artist's impression. Collector's state. 
 
 Signed: Hiroshige. 
 
First Afternoon Session 
 
 3 left. 
 
 177. N urnadzu. 
 
 A fine snow scene. Two figures crossing a small bridge. Fuji at the 
 (No. 13.) 
 
 Z*. Artist's impression. Publisher's state. 
 
 Signed: Hiroshige. 
 
 /Ct. 
 
 178. Hara. 
 
 Fuji dominates the picture, its 
 print; a bold design; exquisitely 
 Artist's impression. Collector's state. 
 Signed: Hiroshige. 
 
 peak extending into the margin of the 
 printed. (No. 14.) 
 
 179. Yoshiwara. 
 
 
 Fuji rising beyond a marsh, where men are fishing. A striking design. 
 (No. 15.) 
 
 Good impression. Good state. 
 
 Signed: Hiroshige. 
 
 7 
 
 jrcf 
 
 180. Yni. 
 
 
 The sea at the right; a path climbing the mountain at the left; Fuji in the 
 distance. Fine greens, grays and yellows. (No. 17.) 
 
 Artist's impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 181. Okabe. 
 
 
 A gray hill towering above clouds and mist in the distance. 
 £ Fine impression. Collector's state. 
 
 Signed: Fliroshige. 
 
 (No. 22.) 
 
 
 182. Fnjieda. 
 
 Travelers crossing a stream near two weeping willows; great delicacy o/ 
 printing and softness of color. (No. 23.) 
 
 Artist's impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 
 183. Futagawa. // -* * 
 
 A tea house in the foreground at the base of a hill studded with small 
 j -0 pines. (No. 34.) 
 
 Artist's impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 /2 
 
 184. Fujikawa. 
 
 
 A fine snow scene; travelers descending to a village on right; a bit of 
 beautiful blue water on left. (No. 38.) 
 
 Artist’s impression. Collector's state. 
 
 Signed: Hiroshige. 
 
First Afternoon Session 
 
 3. 
 
 185. Narami. 
 
 A village street; variegated cloths hanging on poles. 
 in soft colors. (No. 41.) 
 
 Artist’s impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 
 A decorative design 
 
 186. Yokkaichi. 
 
 
 Three coolies crossing a small bridge. Lowlands running down to the 
 sea with sails in the distance. (No. 44.) 
 
 Fine impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 O. 
 
 187. Kameyama. 
 
 sK & 
 
 A rain scene; the sky broken by lightning; a very effective design. (No. 47.) 
 Fine impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 188. Seki. 
 
 £ 
 
 A torii in the center; an exquisite blue mountain in the distance. (No. 48.) 
 Artist's impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 7 
 
 s 
 
 189. Okazaki. 
 
 A man washing a horse under a high bridge 
 Artist’s impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 (No. 39. 
 
 
 190. otsu. ^ /jr 
 
 Travelers standing on a terrace admiring Fuji across the water; a village 
 at the water’s edge below them; a remarkably fine impression. (No. 54.) 
 Artist’s impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 KOKON JORURI TSUKUSHI 
 
 Ancient and modern dramas illustrated; a rare series; all full size upright and 
 signed Hiroshige; all in fine color and dramatic in design. 
 
 7v37~ 
 
 191. Iveisei Ivoi Bigaku. 
 
 Chubei, who has robbed the government to buy out his love Umegawa from 
 the Yoshiwara, has fled to his father’s house to hide; Umegawa seeks him 
 and has just mended his father’s old clog for him. 
 
 Artist’s impression. Publisher’s state. 
 
 Signed: Hiroshige. 
 
First Afternoon Session 
 
 /* 
 
 a Him* fniic 
 
 >^7 / m* / 
 
 192. Some moyo Imose no Kadoinatsu. 
 
 The retainer Hisamatsu, serving in the house of O Some's father, falls in 
 love with her, and kneeling by the torii of a temple in persuading her to 
 S 6 elope with him. 
 
 Artist’s impression. Publisher's state. 
 
 Signed: Hiroshige. 
 
 S0 
 
 193. Ivatsnragawa Renai no Sliigarame. 
 
 Choyemon, a man forty years of age, taking his youthful love, O Han, on 
 his hack to the Katsura river to commit suicide together. A fine moon¬ 
 light scene, in brilliant state. 
 
 Artist's impression. Publisher's state. 
 
 Signed: Hiroshige. 
 
 
 194. Another of the Series. 
 
 Two figures in the foreground; 
 Artist's impression. Publisher's state. 
 Signed: Hiroshige. 
 
 
 Fuji on the right. 
 
 195. Another of the Series. 
 
 A snow scene on the bank of a stream. 
 Artist's impression. Publisher's state. 
 Signed: Hiroshige. 
 
 Ap - V- , 
 
 196. Another of the Series. 
 
 
 A snow scene; man and woman quarreling on a balcony. 
 Artist's impression. Publisher's state. 
 
 Signed: Hiroshige. 
 
 MU TAMA GAWA 
 
 Complete series of six full size upright plates; all signed Hiroshige; issued in 
 1857. Mr. Happer considers this one of Hiroshige’s finest upright sets. 
 
 
 
 197. Settsn. Koromo Uclii. 
 
 Cloth pounding. Two women pounding cloth with mallets in the moon- 
 /£> light; a poetical design. 
 
 Fine impression. Publisher's state. 
 
 Signed: Hiroshige. 
 
 198. Omi Noji. h /, 
 
 A poet with two attendants is watching the reflection of the moon in the 
 water. 
 
 Fine impression. Publisher's state. 
 
 Signed: Hiroshige. 
 
First Afternoon Session 
 
 199. Yamashiro, Ide. 
 
 
 The poet oil a white horse standing in the middle of the river. 
 Good impression. Publisher's state. 
 
 Signed: Hiroshige. 
 
 /c? 
 
 200. Musachi Chofn. 
 
 Women washing clothes by the river side. 
 Artist's impression. Publisher's state. 
 
 Signed: Hiroshige. 
 
 201. Michonnkie Noda 
 
 ♦ ^ 
 
 zsr 
 
 A woman and her servant watching a flight of birds. 
 Fine impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 // 
 
 202. Ivii Kay a. ' 
 
 Pilgrims standing by the river gazing at its swiftly running waters. 
 Illustrated in the “Heritage of Hiroshige.” 
 
 Fine impression. Publisher's state. 
 
 Signed: Hiroshige. 
 
 (Illustrated, plate XXT) 
 
 TWO PRINTS FROM T1IF FISH SERIES 
 
 203. Carp. 
 
 Full size horizontal plate. 
 Fine impression. Collector's state. 
 Signed: Hiroshige. 
 
 
 204. Two Fish. 
 
 Full size horizontal plate. 
 
 Fine impression. Collector's state. 
 Signed: Hiroshige. 
 
 tWxk 
 
 
 NANIWA MEISHO 
 
 Views of Naniwa (poetic name of Osaka). Two full size horizontal plates; pub¬ 
 lisher’s stamp. Yeisendo. Early work. 
 
 205. Jmamiya Toka Ehisn. 
 
 $ /fr' f. C 
 
 
 Festival of Ebisu at Imamiya. A crowd of ]ieople promenading the river 
 bank, carrying branches of bamboo, decorated with luck objects: a joyous 
 print in beautiful color. 
 
 Artist's impression. Publisher's state. 
 
 Signed: Hiroshige. 
 
 (Illustrated, plate XIX) 
 
First Afternoon Session 
 
 /O 
 
 206. Shimmachi Kuken Clio. /*/. 
 
 Kuken street Shimmachi, the courtesan quarter; a procession of the prin¬ 
 cipal women entering one of the houses after a parade, with a line of sight¬ 
 seers drawn up opposite. Beautiful color. 
 
 Artist's impression. Good state. 
 
 Signed: Hiroshige. 
 
 207. Extra Long Horizontal Print. 
 
 17 inches by 12 inches. View of the drapery shop of Taketani Sabei; signed 
 Ichiryusai Hiroshige of Toto (Yedo) with stamp of engraver, Take; Long 
 y *7 & & strips of dyed cloth are hanging out to dry, of the material called Arimatsu 
 
 " (place of manufacture) Shibori. The largest single block of any of this 
 
 artist’s works. Rare. 
 
 Late impression. Publisher’s state. 
 
 Signed: Hiroshige. 
 
 PP. Jh/ m 
 
 YEDO KINKO HAKKEI 
 
 Suburbs of Yedo. 
 
 3JT 
 
 Publisher’s stamp of Kikukado; full size horizontal. Prints of this series 
 are rare in any state. 
 
 208. Ikegami, Vesper Bells. 
 
 
 The temple approached by a steep flight of steps stands in a dense wood 
 of eryptomeria. Trees in blue mist in the background. 
 
 Fine impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 209. Shibaura, Clearing Weather. /, '• 
 
 Two large junks in foreground. Low wooded hills in distance. 
 Cf. Artist’s impression. Ordinary state. 
 
 Signed: Hiroshige. 
 
 MU TAMA GAWA 
 
 Six 
 
 210 . 
 
 Tama Rivers, Six Rivers of the same name in various parts of Japan. Pub¬ 
 lished by Tsutaya, whose seal is on the margin. 
 
 Michi nokn. 
 
 
 Two court ladies and an old man watching a flight of birds; full size 
 horizontal plate. 
 
 A supreme copy in magnificent condition; as fresh as the day it came from the 
 block , yet the colors are soft and beautiful. 
 
 Artist’s impression. Publisher’s state. 
 
 Signed: Hiroshige. 
 
 
 211. Onna Gioretsu Takanawa no dzu. 
 
 
 y 
 
 Procession of women aUTakanawa. One sheet of a rare horizontal triptych : 
 highly decorative. 
 
 Fine impression. Ordinary state. 
 
 Signed: Hiroshige. 
 
First Afternoon Session 
 
 ~7 
 
 212. One Print. 
 
 
 From a lialf plate horizontal Tokaido set published by Tsutaya; Ejiri; a 
 fine rain scene in beautiful color. 
 
 Artist's impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 s_i7. 
 
 213. One Print. 
 
 From a series of half plate set of the thirty-six views of Fuji; Segami; 
 Fuji appears beyond a mountain of wave in the foreground. Soft colors. 
 Artist's impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 EIGHT VIEWS OF LAKE BIWA 
 
 Quarter plate horizontal plates. Four mounted on one sheet. Rich in color. 
 
 f 
 
 (1) Seta, (2) Mt. Ilira, (3) Geese at Kataela, (4) Yaba- 
 slii. Returning Boats. ^ 
 
 Good impressions. Publisher’s state. 
 All signed: Hiroshige. 
 
 Tr.^7 
 
 7 
 
 215. Four more of the Same Set: (5) Ishiyaina, (6) Kara- 
 saki, (7) Owazu, (8) Mii, Vesper Bells. 
 
 Good impression. Publisher’s state. 
 
 All signed: Hiroshige. 
 
 
 NT IT ON MINATO TSUKUSHI 
 
 Harbors of Japan, published by Maruzei; full-size horizontal; all signed Hiro¬ 
 shige; a rare set. 
 
 216. Yetlo Bashi. J^ - 
 
 A sunrise scene; Fuji’s white cone seen above the intervening mis^ 
 
 Good impression. Collector's state. 
 
 ?r?rr. 
 
 sz 
 
 217. Shimizu. 
 
 In Suruga Province; a green spit of land with artistic pines divides the 
 picture; a beautiful impression. 
 
 Artist’s impression. Collector's state. 
 
 £ £ 
 
 218. tlraga. 
 
 A superb snow scene, the finest of the series. 
 Artist’s impression. Collector’s state. 
 
 e. 
 
 7* 
 
 V run d»- 7 
 
 X 219. Shinagawa. ( 
 
 The bay stretches away in the moonligpt: the lanterns are marked with 
 device of publisher and artist. 
 
 Fair impression. Good state. 
 
 ^ . 
 
✓2? 
 
 3 . 
 
 3. 
 
 3. 
 
 £/ 
 
 /* - 
 
 First Afternoon Session 
 
 220. Nakasu. 
 
 One of tlie inlets of Yedo bay; only sails of boats itre seen above the marshy 
 bank. 
 
 Good impression. Collector's state. 
 
 22\. Marugami. 
 
 Sanuki Province. 
 
 Late impression. Collector's state. 
 
 ^T'Fv'-c 
 
 222. Aji Kawa Guchi. 
 
 Large junks at anchor. 
 
 Good impression. Publisher’s state. 
 
 AV.J’ AALp^cZC. 
 
 223. Shimonoseki. /, ^ y ' 
 
 The entrance to the inland sea. 
 
 Late impression. Collector's state. 
 
 224. Muronotsu. /f 
 
 A large junk leaving the harbor. 
 
 Good impression. Collector's state. 
 
 GENJI GOJUSHI KO 
 
 Fifty-four views of Genji. Five full size, horizontal plates; signed and sealed 
 “Pat intercalary,” which fixes the date at 1852, second extra; mounted on five sheets. 
 A very rare set; only these five sheets are known (Ilapper). 
 
 They arc all fine designs, of uniformly wonderful impression, in magnificent con¬ 
 dition and in beautiful color, brilliant and sparkling. In every plate the grain of 
 the block is distinct. Each plate has the signature Hiroshige on a delicate pink 
 ground. 
 
 225A. 
 
 Artist's impression. 
 Signed: Hiroshige. 
 
 Publisher's state 
 
 te. 
 
 T 
 
 225B. 
 
 * Artist's impression. 
 Signed: Hiroshige. 
 
 Publisher's state. 
 
 (Illustrated, plate XIX) 
 
 s. 
 
 One of the finest of the series. Vo te how the grain of the wood on the 
 ground resembles the drifting of sand. 
 
 J t 
 
 Artist's impression. Publishers state. 
 
 Signed: Hiroshige. 
 
 S/ 
 
 (Illustrated, plate XIX) 
 
First Afternoon Session 
 
 225D. 
 
 /a 
 
 4^2 
 
 One of the finest of the series. 
 Artist’s impression. Publisher’s state. 
 Signed: Hiroshige. 
 
 
 
 225E. 
 
 Artist’s impression. 
 Signed: Hiroshige. 
 
 Publisher’s state. 
 
 
 
 CHIUSIIINGURA 
 
 The Drama of the Forty-seven Ronins. A complete series of sixteen full-size hori¬ 
 zontal plates; by making six plates to illustrate the eleventh Dan or Act, the usual 
 number of plates, eleven or twelve, is expanded to sixteen; published by Sen Ichi, 
 whose stamp in black is on the face of each print. A celebrated set, full of dramatic 
 power and picturesque scenes. Middle period. (Happer.) 
 
 226. Act I. 
 
 A dramatic design. 
 
 Artist’s impression. Collector’s state. 
 Signed: Hiroshige. 
 
 227. Act IT. 
 
 / p —^ Fine impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 
 4 e, 
 
 228. Act III. 
 
 &O. Artist’s impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 
 229. Act IV. 
 
 In fine, soft printing. 
 
 Artist’s impression. Collector's state. 
 Signed: Hiroshige. 
 
 230. Act V. 
 
 A toned copy, full of atmosphere. 
 Artist’s impression. Collector's state. 
 Signed: Hiroshige. 
 
 A strong design. 
 
 
 
 
 231. Act VI. 
 
 Artist’s impression. Collector's state. 
 Signed: Hiroshige. 
 
 232. Act VII. 
 
 ~ Good impression. Publisher’s state. 
 
 '7~ Signed: Hiroshige. 4 
 
First Afternoon Session 
 
 /7 
 
 
 233. Act VIII. 
 
 A charming and effective design. 
 Artist's impression. Collector's state. 
 Signed: Hiroshige. 
 
 <2/V- 
 
 
 234. Act IX. 
 
 Artist's impression. 
 Signed: Hiroshige. 
 
 Publisher's state. 
 
 /, 
 
 /7 Cf- 
 
 235. Act X. 
 
 A strong design in low tones. A beautiful piece of printing. 
 Artist's impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 
 /7 
 
 236. Act XI. 
 
 (No. 1.) A night snow scene. The bridge, the Ronins, waiting in the boat. 
 -£7 A famous print; soft grays, blues, greens and yellows; a striking design, 
 
 often reproduced. 
 
 Artist's impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 (Illustrated, plate XIX) 
 
 /7 
 
 237. Act XI. 
 
 (No. 2.) 
 
 Artist's impression. 
 Signed: Hiroshige. 
 
 Collector's state. 
 
 / 7 — 
 
 238. Act XI. 
 
 (No. 3.) 
 
 Artist’s impression. Publisher'.s state. 
 Signed: Hiroshige. 
 
 /7 
 
 239. Act XI. 
 
 (No. 4.) 
 
 Artist’s impression. Collector’s state. 
 Signed: Hiroshige. 
 
 /, 
 
 /7 
 
 240. Act XI. < 
 
 This print is also numbered 4. It probably should be No. 5. this number 
 not appearing on any of the plates. Intensely dramatic design. 
 
 Artist’s impression. Publisher's state. 
 
 Signed: Hiroshige. 
 
 241. Act XI. 
 
 (No. 6.) 
 
 Fine impression. Collector's state. 
 Signed: Hiroshige. 
 
 -7 
 
 
First Afternoon Session 
 
 HIROSHIGE’S BIRDS AND FLOWERS 
 
 "Tlie peacock in his proud repose, 
 
 Wild geese that rush across the moon, 
 
 The sleepy little owl that knows 
 The wiiul-among-the-tree-tops tune. 
 
 The kingfisher that darts and glows 
 Over the reeds of the lagoon.” 
 
 —Arthur Davison Ficke. 
 
 PANELS ABOUT FIVE INCHES BY FOURTEEN AND ONE-HALF INCHES 
 
 242. Parroqnet on Flowering’ Branch. 
 
 A remarkably fine design. 
 
 Artist's impression. Collector's state. 
 
 /^ Signed: Hiroshige. 
 
 From the Wakkai collection. 
 
 (Illustrated, plate XXVI) 
 
 £ 
 
 243. Brilliant Bine Bird and Yellow Flower. 
 
 The bird is standing on a stalk and dipping its beak into a wide open 
 yellow blossom with crimson marks around the corona. 
 
 Z. 0. Artist’s impression. Collector’s state. 
 
 Signed: Hiroshige. v 
 
 244. White Heron and Rushes. 
 
 Extremely simple in design and color; the white feathers of the bird in 
 gauffrage. 
 
 One of the treasures of this or any collection. A noted print. 
 
 Artist’s impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 245. Ducks on Ice. 
 
 Maple leaves falling about them. 
 Artist’s impression. Collector’s state. 
 
 / 
 
 Signed: Hiroshige. 
 
 
 7 ^ 
 
 246. Pheasant on a Snowy Pine. °' 
 
 Simple in design and color, but one of the finest prints in the collection. 
 The brilliant touch of blue in the bird's feathers seems to glow with life. 
 ' £r . Artist’s impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 (Illustrated, plate XXVII) 
 
 
 247. Bamboo and Sparrow. 
 
 A well known print, finely graded at top and bottom; gauffrage. 
 
 
 Artist’s impression. Publisher's state. 
 
 Signed: Hiroshige. 
 
 (Illustrated, plate XXVII) 
 
First Afternoon Session 
 
 248. Convolvulous. 
 
 Flower design on a soft gray background. A superb copy of one of Hiroshige's 
 finest flower designs. 
 
 / Artist's impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 (Illustrated, plate XXIV) 
 
 249. Peacock and Flowering Maple. 
 
 %7 
 
 
 
 A well known print , but rarely seen in the fine impression here shoivn. 
 Artist's impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 From the Hayashi collection. 
 
 77 
 
 250. Wild Geese, Moon and Clouds. 
 
 Three geese in a line flying downward across the half disc of the moon and 
 blue clouds. Baka or “Fool” seal. 
 
 Artist's impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 251. Cuckoo in Rain. & ^ 
 
 The bird flying with the storm above the feathery branches of a tree. A 
 well knorvn print. 
 
 Artist's impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 252. Sparrow and Wild Rose. 
 
 77 
 
 sy 
 
 Printed with gauffrage. 
 
 Artist's impression. Collector’s state. 
 Signed: Hiroshige. 
 
 253. Falcon on a Perch. 
 
 cf ^ 
 
 The bird is watching the flight of a sparrow; narcissus growing beside 
 the perch. Note the beautiful printing of the feathers on the breast of the 
 bird. 
 
 Artist’s impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 254. Owlet and Pine. 
 
 
 The bird sits on a bough blinking and turning its head from the crescent 
 moon. The poem translated: “Owlets may sail in the boat-shaped moon, 
 while their ears catch sounds like a koto tune, played by the breeze passing 
 through the pines.” 
 
 Artist’s impression. Defective state. 
 
 Signed: Hiroshige. 
 
First Afternoon Session 
 
 BIRD AND FLOWER PANELS, FOUR ON A BLOCK 
 
 255. A Spray of Iris. 
 
 Artist’s impression. Publisher’s state. 
 Not signed. 
 
 
 
 /«r 
 
 256. Canary and Red Flower. 
 
 Good impression. Good state. 
 
 Signed: Hiroshige. 
 
 t. f P ^ 
 
 251. Butterfly and Pink. 
 
 Black and white; a very delicate design. 
 /2. Fine impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 
 258. Swallows. /, * 
 
 A branch of drooping blossoms against a yellow ground. 
 / % 'f' a Artist’s impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 V 
 
 
 
 
 
 
 
 
 
 
 
 
 
Evening Session 
 
 At the American Art Galleries 
 8 o’clock 
 
 November 18, 1916 
 
 KIYONOBU I 
 
 (1664-1^29) 
 
 259. An Actor as a Warrior. ^ > 
 
 He is standing on a well-curb, drawing a two-handed svirord. 
 
 A characteristic example of the very early Torii style of actor-painting, 
 /£>. powerful and savage. Hoso-ye. Hand colored, with lacquer. 
 
 KIYONOBU II 
 
 (Worked c. 1740-1756) 
 
 260. Two Actors. TV' 
 
 The actor Nakayama Kumetaro as a woman and the actor Nakamura 
 Gwanzo as a Samurai; in the background, a hilly landscape with the ban¬ 
 ners of a Daimyo procession appearing beyond the crest. 
 
 Size 11x5. Printed in two colors. These so-called “ beniye” (rose and green) arc 
 rare. 
 
 KIYOMASU 
 
 (c. 1679-1768) 
 
 261. Two Actors. 
 
 
 tS-- 
 
 
 The actor Kanto Ivokoru as a woman and the actor Ishikawa Danjuro a 
 man, outside the veranda of a house. A stream in background. 
 
 Horizontal sheet, 11x16. Printed in black-and-white only. Fine design. These 
 early black-and-white prints are of great rarity and importance. 
 
 (Illustrated , plate I) 
 
 /^T 
 
 262. Interior. 
 
 The actor Sawamura Sojuro in the role of a Samurai. 
 Size 12x6. Hand-colored with lacquer and metallic powder. 
 
 y/f. 
 
 In fine condition. 
 
 263. 
 
 SHIGENOBU 
 
 (Worked c. 1720-1740) 
 
 An Actor as a Courtesan Tying Her Girdle. 
 
 
 
 Size 11x6. Hand-colored, with lacquer and metallic powder. 
 
 264 . 
 
 SHIGENAGA 
 
 (1697-1756) 
 
 The Shore of Lake Biwa. 
 
 
 / 0 . 
 
 Four passers-by in the foreground; beyond them, a house built out over the 
 water. 
 
 Size 13x6. Hand-colored with lacquer. 
 
Evening Session 
 
 KIYOTSUNE 
 
 (Worked c. 1750-1770) 
 
 265. Two Actors. 
 
 
 The actor Segawa Kikunojo as a woman and the actor Bando Hikosabu.ro 
 rg +T A as a man, both seated on a pile of sleeping-mats and reading a long scroll. 
 
 , Size 10x5. Printed in three colors. 
 
 266. Early Morning. 
 
 A girl is lighting a lamp in foreground; in background a woman is smok¬ 
 ing and a man is sleeping under a mosquito netting. 
 
 The sentiment of the poem inscribed on the print is similar to Swinburne’s 
 “Ah God, ah God, that day should he so soon.” 
 
 Pillar-print. Printed in four colors. A rare work. 
 
 KIY0HIR0 
 
 (Worked c. 1740-1761)) 
 
 267. The Actor Nakamura Snkegoro as a Man in Flowing 
 Robes. 
 
 He is standing on the bank of a river; a frog crouches at the edge of the 
 water, and from the frog’s mouth rises the vision of a Kakemono. 
 
 Size 9x5. Printed in three colors. In fine condition. 
 
 KORIUSAI 
 
 (Worked c. 1770-1781) 
 
 268. 
 
 “Homing Geese at Sansha Tea Ilonse.” 
 
 
 A courtesan and her two attendants seated before a latticed window; out¬ 
 side, wild geese are flying. 
 
 Size 10x7. In fine condition. From a series, “Furi jinrin Mitate Hakkei,” Eight 
 selected views of human relationships. 
 
 This is one of the •are examples of a full-face portrait drawn by the Japanese, 
 print-designers. 
 
 269. Two Courtesans on a Wharf. 
 
 They are approaching a boat in which a masked gallant awaits them. 
 $s: Size 10x7. In soft color. 
 
 270. Two Women in Flowing Robes Leading a House. 
 
 7 ^ Size 9x7. 
 
 271. A Girl and Her Lover. ^ J/ _ 
 
 They are seated on a bench by a brook, watching the fireflies. 
 
 Size 10x7. One of a series, “Furyu ju-in Setsu.” Refined twelve months. 
 grace of the girl's figure reminds one of Harunobu. 
 
 The 
 
 * 
 
Evening Session 
 
 t.j: 
 
 272. A Courtesan in Robes Decorated with Plum Blossoms. 
 
 She is accompanied by three women and two girls. 
 
 Full-size upright sheet, without background. From the series, “Hinagata Wakana 
 no Hatsumoyo,” Designs of Spring Greenery, to which Kiyonaga also con¬ 
 tributed. 
 
 (Illustrated, plate VIII) 
 
 HARUNOBU 
 
 (c. 1725-1770) 
 
 273. Girl with Umbrella Walking bv a Stream. 
 
 
 She is engaged in watching a jumping frog. 
 
 Pillar-print. 
 
 The subject is a parody on the ancient legend of the great caligrapher, Ono no 
 Tofu, who learned persistence by watching the repeated attempts of a frog 
 to catch an insect on a willow-branch. This is one of Harunobu's earliest 
 prints, and a great rarity. It is printed in four colors. From the Hayashi 
 and Wakai collections. 
 
 ' 274. The Actor Bando Hickasaburo. ^. 
 
 He is in the role of a Kornuso, carrying a basket hat. 
 
 Pillar-print. A very early Harunobu, in the style of the primitives. One of 
 Harunobu’s few actor-desiyns. Printed from three blocks, which by over- 
 
 r a 
 
 printing are combined to produce six tones. Of exceptional rarity, and of 
 great distinction. 
 
 (Illustrated, plate X) 
 
 
 275. A Courtesan in Trailing Robe, with Girl Attendant. 
 
 — 
 
 Pillar-print without background. A notable and unusual composition. 
 
 276. 
 
 a <y 
 
 Shirai Gompaclii with Basket Hat and Elute. 
 
 “From an infinite distance, the ghostly music! 
 
 Few and slender the tones, of delicate silver, 
 
 As stars are broidered on the veil of evening. 
 
 He passes by, the flute and the dreaming player — 
 Slow are his steps, his eyes are gravely downcast; 
 His pale robes sway in long folds with his passing. 
 
 Out of the infinite distance, a ghostly music 
 Returns in slender tones of delicate silver, 
 
 As stars are broidered on the veil of evening." 
 
 —A. D. F. 
 
 Pillar-print. In fine condition. One of the treasures of this or any collection. 
 
 (Illustrated, plate X) 
 
 277. Young Samurai with Falcon. 
 
 j/s „ Pillar-print. A composition of extreme simplicity and dignity. 
 
 (Illustrated, plate X) 
 
 Very soft color. 
 
Evening Session 
 
 ('0^7 
 
 278. Courtesan Burning a Letter. 
 
 She sees a vision of her lover in the smoke. 
 Pillar-print. In marvelous condition. 
 
 279. 
 
 MASUNOBU 
 
 (Worked c. 1764-1770) 
 
 Woman and Child Under a Wind-swept Branch. 
 
 XX. ^ 
 
 ^ 0 Pillar-print. This rare pupil of Harunobu here rivals the master's yrace. In fine 
 yl % * " and soft colors. 
 
 SHUNSHO 
 
 (c. 1726-1792) 
 
 280. Two Actors as Men Fighting. ^ a 
 
 Size 13x6. In beautiful condition and notable color. 
 
 /*: 
 
 281. The Actor Isliikawa Yaozo as a Samurai with Fan. 
 
 Size 13x6. 
 
 r>"' /_ 
 
 
 282. The Actor Okubo Tokugoro as a Man with a Long Sword. 
 
 0 He is standing under a willow on the bank of a stream. 
 
 Size 12x6. In flawless condition. 
 
 2 * 
 
 
 283. The Actor Matsumoto Kosliiro as a Samurai with Two 
 * Swords. , ^ 
 
 Size 12x6. In fine condition and beautiful color . 
 
 // 
 
 
 
 284. A Man in Flowing Robes Standing at the Edge of the 
 Sea. 
 
 He is looking out across the waves; in background, a strip of reddish cloud 
 and a pine-covered headland. 
 
 Size 16x5. The lower portion of a pillar-print. 
 
 285. The Actor Iwai Hanshiro as a Woman. 
 
 Size 12x6. In fine condition. 
 
 286. The Actor Isliikawa Danjuro. 
 
 He is carrying a maple branch. 
 
 J? 0. Size 12x6. In fine condition. 
 
 ^ £. 
 
Evening Session 
 
 387. The Actor Ishikawa Danjuro as a Samurai. 
 
 £X ^ Size 12x5. In fine condition. 
 
 7 
 
 S~0 
 
 388. The Actor Ishikawa Yaozo. 
 
 lie wears a robe decorated with bamboo leaves. 
 Size 12x5. In good condition. 
 
 
 
 . 
 
 / 
 
 389. The Actor Sawamura Sojuro as a Man with a Fan. 
 
 Size 12x5. In fine condition. 
 
 7 
 
 £TV 
 
 SHUNKO 
 
 (Worked c. 1765-1800) 
 
 390. The Actor Nakamura Tomijuro in Character. 
 
 He is riding a hobby-horse. 
 
 Size 12x6. In fine condition. 
 
 / 7 
 
 391. The Actor Segawa Ivikunojo as a W oman. 
 
 Size 11x5. In good condition. From the Hayashi collection. t 
 
 393. The Actor Yamasliita Kinsaku as a Courtesan. 
 
 02 
 
 s* 
 
 Size 12x0. In beautiful condition. 
 
 (Illustrated, plate I) 
 
 (2 l_z_ 
 
 
 TTfr. 
 
 393. The Actor Sawamura Sojuro as a Courtesan. 
 
 Size 12x6. In flawless condition. From the Hayashi collection. 
 
 ^C7&. 
 
 /o. 
 
 KIY0NAGA 
 
 (1742-1815) 
 
 A: 
 
 394. Two Women Accompanying a Man. 
 
 The man is carrying a little girl to a temple for the Meyamairi ceremony 
 of naming. 
 
 Size 10x7. Retouched. Beautiful color. 
 
 
 395. Three Women Accompanied by a Man with Bows and 
 Arrows - 5^ y S? 
 
 Size 10x7. Retouched. Beautiful color. /. 
 
 From a series, “Furyu Shiki no Tsuki.” Refined views of temple visits 
 the four seasons. 
 
 (Illustrated, plate III) 
 
Evening Session 
 
 
 
 &c. 
 
 310. A Woman Seated on a Veranda Spinnin 
 
 Another woman, accompanied by a child, fetches water 
 Size 8x6. In fine condition. 
 
 311. Scene on a Veranda. </ 
 
 A standing woman adjusts her coiffure while a seated one holds out a hair 
 24' pin to her. In background a screen with a crane and pine branches. 
 
 Size 10x7. Retouched. Beautiful color. 
 
 (Illustrated, plate 1) 
 
 
 J7 2- 
 
 313. A Woman Standing Beside a Screen. f. <7^ 
 
 She dangles a tassel before a cat. ( 
 
 Size 12x6. In flawless condition. A fine, and perhaps an unique, impression of 
 one of this rare artist’s most attractive designs. 
 
 (Illustrated, plate III) 
 
 /7 
 
 
 
 313. The Courtesan Konmrasaki of Kado Tamaya. ^ . 
 
 She is writing on a screen; two girls attend her. 
 
 Pillar-print. Ao other example of this print has come to light. It is interestingly 
 similar to Kitao Masanobu’s style in his famous book. 
 
 314. Two Ladies. 
 
 Pillar-print. Mr. J. S. IIupper sans of another example o 
 Jo. logue, London, 1909: “This is one of the gems of the collection, for the 
 
 quiet dignity of pose in the composition, and the exquisite simplicity and 
 harmony of the colors.” 
 
 (Illustrated, plate XI) 
 
 . 2 
 
 
 315. A Woman Holding Up a Kakemono. 
 
 Behind her appears Ilotei, the God of Good Luck. 
 Pillar-print. Fine condition. 
 
 Pillar-print. A rich composition by this exceedingly rare artist. 
 
 316. Two Lovers Under An Umbrella. 
 
 SHUNCHO 
 
 (Worked c. 1775-1800) 
 
 317. Two Women Standing in a Boat on the Sumida River. 
 
 One holds a green fan. 
 
 Pillar-print. A restrained and subtle composition, distinguished by classical line- 
 work. 
 
 318. Courtesan in Purple Rohe. 
 
 Standing beside a green screen. 
 Pillar-print. A design of peculiar harmony. 
 
 
Evening' Session 
 
 319. Woman with Fan, Beneath a Willow. 'S. 
 
 £7 (j Pillar-print. A gracious figure; one of Shuncho's masterpieces. 
 
 320. Woman Standing by a Torii, Beside the Snmida River. 
 
 ss: Pillar-print. One of Shuncho’s most important prints; in fine condition. From 
 
 the Hayashi and Wakai collections. 
 
 (Illustrated, plate XIII) 
 
 / 
 
 sy 
 
 321. Woman Reading a Letter. 
 
 A man looks in through the window. 
 Pillar-print. Printed in purple, green and gray. 
 
 
 322. The Courtesan Hana-oji. c / 
 
 The Sumida river is seen through the lattice behind her. 
 y % — Pillar-print. A nobly proportioned figure in flowing robes; she carries a fan, and 
 
 a smoking-tray is at her feet. 
 
 323. A Young Man Parting from a Courtesan; Interior. 
 
 
 or* 
 
 Pillar-print. 
 
 
 324. A Young Girl. 
 
 TOYOKtTNI 
 
 (1789-1825) 
 
 
 She is walking in a garden and trailing a tassel before a cat. 
 Full-size upright sheet. In good condition. 
 
 
 325. An Actor and a Courtesan. 
 
 Full-size upright. 
 
 /r'. 
 
 326. A Kneeling Courtesan Arranging Irises in a Vase. 
 
 Full-size upright. 
 
 327. Large Bust Portrait of the Actor Matsumoto Koshiro. 
 
 He appears in the role of Jurobei. 
 
 % y. Full-size upright sheet, with mica background. This is doubtless Toyokuni’s 
 masterpiece in the field of large actor-portraits. The simplicity of the color 
 and the power of the design resemble Sharaku’s Work. 
 
 (Illustrated. plate IV) 
 
 jr 
 
 328. Two Women in a Bamboo Grove. 
 
 They carry shoots which they have pulled up. 
 
 Full-size upright; the left-hand sheet of Toyokuni’s most famous triptych. The 
 subject is a parody on the legend of “The Seven Sages of the Bamboo 
 Grove.” 
 
 4 
 
Evening Session 
 
 
 329. Large Bust Portrait of an Actor in Gorgeous Robes. 
 
 Full-size upright. On a delicate gray ground. In flawless preservation. 
 
 330. A Woman Crouching Before a Veranda. 
 
 %S7 Snow falls around her. )V. 
 
 Full-size upright. In fine condition. 
 
 331. Half-length Portrait of an Actor. 
 
 He appears as a Samurai with fan. 
 
 Full-size upright. In flawless condition. 
 
 o<7 
 
 
 332. A Courtesan in Flowing Robes, Under an Umbrella. 
 
 Pillar-print. An early example of this artist's work. 
 
 T0Y0HIR0 
 
 ( 1773 - 1828 ) 
 
 
 /o. 
 
 A/.AA-u^, 
 
 333. Two Women and a Boy Standing on a Hill. 
 
 Behind them are men and boys engaged in kite-flying. 
 
 Full-size upright; the left-hand sheet of Toyohiro's most famous triptych. 
 
 -7^ 
 
 / 
 
 334. Four Women in a Temple Courtyard. 
 
 Full-size upright sheet; one of a triptych. 
 
 6? O. 
 
 335. Morning Glories Hanging from a Wicker Vase. 
 
 Full-size upright on a delicate gray background. In fine condition. A design of 
 unusual grace. 7 y //' f 7^./ 
 
 (Illustrated , plate XXVI) 
 
 336. Groups of Women in the Courtyard of a Temple. 
 
 In the background, clouds and cryptomeria trees, with a glimpse of the 
 / temple itself. 
 
 A diptych of two full-size upright sheets; being numbers three and four of a 
 
 pentaptych ' t A^ey. 
 
 Soft colors. In fine condition. 
 
 77 
 
 337. A 3Ian with Flute and Basket Hat. 
 
 He stands beside a kneeling woman. 
 
 Size 8x8. A delicate design. 
 
 / o. 
 
 338. The Courtesan Hinazura of Choji-ya. 
 
 She is seated before her black lacquer toilet table. 
 Pillar-print. An unusual example of the use of blacks. 
 
 T 
 
 
Evening Session 
 
 SHIGEMASA 
 
 (Worked c. 1764-1790) 
 
 339. Two Prints, each of a Woman Standing on a Veranda. 
 
 Landscape background. 
 
 Size 8x6 each. From a book. In timeless preservmion. 
 
 ^ 340. A Ceremonial Procession. 
 
 <?• Full-size horizontal sheet. From an album. 
 
 /Y. /. 
 
 ^341. A Falcon with Braided Cord on Its Perch. 
 
 ' S Pillar-print. Shigemasa’s pillar-prints are of almost proverbial scarcity. 
 
 342. The Lovers Sliirai Gompachi and Komurasaki. a/?. 
 
 Pillar-print. Unsigned. This print has sometimes been attributed to Kitao 
 X Masanobu; but a variety of convincing considerations make this attribution 
 
 the more reasonable. A beautiful impression, perhaps the finest known. 
 
 YEKIGHI 
 
 (Date c. 1790-1800) 
 
 343. 
 
 A Woman Reclining at a Table. 
 
 /*: She is looking out through the branches of a plum tree. 
 
 Full-size horizontal from an album. In fine condition. 
 
 
 
 
 344. 
 
 * 
 
 SHUNMAN 
 
 (1757-1820) 
 
 Two Women in a Boat. 
 
 The scene is close to the trestles of the Sumida River bridge. 
 
 Pillar-print. All of Shunman’s work is rare; no other copy of this print has 
 previously come to notice. 
 
 HIROSHIGE 
 
 (1797-1858) 
 
 (See notes preceding Lot No. 81 in the first session) 
 
 HIROSHIGE’S THREE GREAT TRIPTYCHS 
 
 345. Moonlight View of Kanazawa. 
 
 
 Vertical triptych; seal—dated 1857, with seal of publisher, Tsutaya. .4 
 fresh copy of a print difficult to find in this state. 
 
 Artist's impression. Collector's state. 
 
 Signed: Hiroshige. 
 
Evening Session 
 
 340. Kisoji no Yama Kawa. 
 
 Mountains and streams on the Kiso highway. A snow scene. Vertical 
 triptych; seal dated 1857. Publisher’s seal, Tsutaya. A slate blue is the 
 y only color; a magnificent design, cold and mysterious. 
 
 Artist's impression. Collector’s state. 
 
 Signed: Hiroshige 
 
 (Illustrated, plate XX) 
 
 347. The Rapids of Awa no Narnto. 
 
 Vertical triptych; seal dated 1S57; a fine piece of printing in delicate color. 
 This is an impression of great beauty. Seal of publisher, Tsutaya. 
 
 Fine impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 (Illustrated, plate XX) 
 
 348. Triptych. 
 
 A snow scene. The chrysanthemum seal. 
 Artist's impression. Good state. 
 
 Signed: Hiroshige. 
 
 349. Triptych. 
 
 A moonlight scene. Three women on a balcony overlooking tlfe water. 
 
 Fine impression. Collector’s state. 
 Signed: Hiroshige. 
 
 THE SNOW GORGE 
 
 350. Kakemono-ye 
 
 The snow gorge; a magnificent design, touched with the grandeur of Chinese 
 landscape-painting; a well known subject, often reproduced. Fere Hiroshige 
 
 /z&. 
 
 reaches the supreme height of classical beauty. 
 Artist's impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 THE BOW MOON 
 
 351. Ynmi liari Tsuki. 
 
 The Bow Moon. A crescent moon behind cliffs spanned by a rustic bridge. 
 “Where the torrent leaps and falls 
 
 And the hanging cliffs look down ,— 
 Cloven gray and ruddy walls 
 Each with ragged forest crown ,— 
 There across the chasmed deep 
 Spans a gossamer bridge on high; 
 And below, from gulfs of sleep, 
 
 Mounts the How Moon up the ski/." 
 
 -—Arthur Davison Ficke. 
 
 A fine design, in soft color; the most romantic of nil this artist’s creations. 
 Artist’s impression. Good state. 
 
 Signed: Hiroshige. 
 
 (Illustrated, plate XXIV) 
 
Evening 1 Session 
 
 MEISHO YE DO HYAKKE1 
 
 One hundred views of Yedo. A part of the set of 118; full size upright; 
 each print seal dated with various dates between 1850 and 1858. Publisher, Uwoya 
 Yeikichi. Although this series is late ivorlc of the master, it contains many of his finest 
 compositions. Prints from this set are frequently seen, hut rarely in the fine impres¬ 
 sions here shown. The present examples have been culled from thousands passing > 
 through my hands , and I retain in my possession many hundreds of inferior impressions 
 which / do not care to offer as part of my collection. 'Note the absence of the harsh 
 colors usually found in this set. The numbers are as given by Mr. IIupper. 
 
 352 
 
 IIori-Kiri (No. 56). 
 
 View of the Iris garden seen through great blooms in the foreground; seal 
 dated 1857, 1st month. A very decorative design; the green is rich and 
 brilliant. 
 
 Artist’s impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 353. The Same. 
 
 A softer printing. 
 
 Artist’s impression. Collector’s 
 Signed: Hiroshige. 
 
 state. 
 
 354. Kameido Tenjin (No. 57). 
 
 
 Wistaria blooms hanging in the foreground over the pond, and the Drum 
 bridge behind them; seal dated 1856, 7th month. A well known print. 
 
 Fine impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 
 355. The Same. 
 
 - Good impression. Collector's state. 
 
 Signed: 
 
 Hiroshige. 
 
 S/ 
 
 *r 
 
 356. 
 
 Mama no Momiji, Tekona no Yashiro (No. 94). 
 
 
 Maples of Mama, Tekona temple; view through the overhanging bough of a 
 maple tree over the Swamp Mama no Iriye and the plain of Yedo. In the 
 swamp, a beautiful maiden called Mama no Tekona committed suicide; 
 seal dated 1857. 1st month. A striking design in soft colors. 
 
 Artist's impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 357. Kamata, IT me Yashiki (No. 27). 
 
 
 “The Plum Garden at Kamata,” the trees with white blossoms against a 
 pink sky, and an empty Kago at the right hand waiting for a visitor. Seal 
 dated 1857. 2nd month. 
 
 Artist’s impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
Evening Session 
 
 358. 
 
 Ayase-gawa Ivane-ga-fuchi (No. 69). 
 
 A man on a raft between tall reeds, 
 
 'Z 
 
 42 
 
 “The Pool of the Bell. Ayasa River.' 
 and a great branch of the Oelio tree in blossom across the top. 
 1857, Ttli month. 
 
 Fine impression. Collector’s State. 
 
 Signed: Hiroshige. 
 
 Seal dated 
 
 359. 
 
 Sendagi, Dangosake Hana (No. 16). 
 
 “Cherry Gardens at Dangosake,” with people sitting under the blossoming 
 trees by the side of water; in the background, two tea-houses joined by a 
 bridge overlooking the scene; seal dated 1857, 12th month. Another copy of 
 this print in blue on surimouo paper is shown at No. 597 of this sale. 
 
 Fine impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 360. Yatsumi no Haslii (No. 62). 
 
 “The Bridge from Which Eight Bridges May be Seen.” Only the rail of 
 the bridge in the left-hand corner, a great willow tree hanging over the 
 right; swallows flying, and Fuji in the distance; seal dated 1856, 8th month. 
 A striking design. 
 
 Artist’s impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 361. Nippori, Suwa no dai (No. 15). 
 
 Two tall pine trees at the edge of a hill on which people are sitting on low 
 
 # ° 
 
 0) — tables looking at the cherry-blossoms and the stretch of green fields. Seal 
 
 1857, 1st month. Rich in color. 
 
 Artist’s impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 362. Sumidagawa, Snijin no Mori (No. 35). 
 
 
 “The Woods of Suijin, Sumida River.” The trunk of a cherry-tree with 
 great clusters of blossom crossing the scene, two sailing boats on the river, 
 0' and Mount Tsukuba in the distance. Seal dated 1857, 8th month. A well 
 
 known print of fine design. 
 
 Fine impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 363. The Same. 
 
 / 0 . 
 
 A stronger printing. Seal dated 1857, 8th month. 
 Good impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 a,, ed. 
 
Evening Session 
 
 *7 
 
 364. Ukiji, Akiba no Keiilai (No. 91). Tf/V. ^ / 
 
 “In the Garden of Akiba (Temple) Ukiji.” In the left foreground an old 
 priest seated in a booth, and a woman and girl standing looking at the 
 lake and the shadows of the trees on the water. Seal dated 1857, 8th 
 month. 
 
 The three impressions here shown are an excellent example of the different color 
 experiments attempted. Hiroshige's grandson states that this is one of the 
 few prints containing a portrait of the great artist. The yuan sketching 
 in the balcony of the tea-house is supposed to be Hiroshige. 
 
 Artist's impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 (Illustrated, plate XXIII) 
 
 SB 
 
 365. The Same. 
 
 A different printing. Seal dated 1857, Sth month. 
 g Good impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 Jc, 3. 
 
 7 
 
 
 366. The Same . 
 
 A different printing. A brilliant print. Seal dated 1857, Sth month. 
 
 Fine impression. Publishers state. 
 Signed: Hiroshige. 
 
 367. Shinagawa, Gotenyama (No. 28). 
 
 The cherries in blossom on the top of a hill reachetf by a path up a yello" 
 cliff; two people crossing a narrow brook on a plank bridge in the fore 
 ground. Seal dated 1856, 4tli month. 
 
 Artist's impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 
 368. 
 
 th. f 
 
 y? 
 
 The Same. 
 
 The cliff is printed a slate color. Seal dated 1856, 4th month. 
 ^ ^ Fine impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 369. Minowa, Kanasugi Mikawajima (No. 102). 
 
 A crane flying down to its mate standing in a stream beside rice fields, 
 where a solitary peasant is walking with his load. A bold design. Seal 
 ^ — dated 1857, 5th month. 
 
 Artist's impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 Jc. x)■ 
 
 
 370. Sakai no Watashi (No. 58). 
 
 “Sakai Ferry,” seen some little distance up the stream in front of the vil¬ 
 lage; in the foreground, three white egrets wading, and two others flying 
 over the water. Seal dated 1857. 2nd month. 
 
 Artist's impression. Collector's state, 
 signed: Hiroshige. 
 
Evening Session 
 
 371. Tsukinla-jima at the Festival of the Smniyoshi Temple 
 (No. 50). ^ 
 
 A great white flag in (lie center with black characters and dated Ansei 4— 
 1857, and a Shinto procession passing through a reedy piece of marsh land. 
 Seal dated 1857, 7tli month. 
 
 Artist's impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 
 * 72 . 
 
 A 4 
 
 Kanda Koyainaclii, “Dyer’s Street, Kanda” (No. 
 
 75). 
 
 A quantity of blue and white strips of material hanging from wooden staging. 
 Seal dated 1857, lltli month. 
 
 Artist's impression. Collector's stute. 
 
 S ign etl: Hiroshige. 
 
 373. Sliiba lira, Kanasngi baslii (No. 80). 
 
 A holiday crowd at the Fete of Nichiren, on Oct. 13th, pressing over the 
 Kanasngi bridge at Sliiba bay, carrying towels for the temple stamped with 
 Nichiren’s crest, attached to cross sticks on long bamboos, and a great red 
 banner with Nicliiren's spell attached to an open umbrella. Seal dated 
 1857, 7tli month. 
 
 Cine impression. Collector's state. 
 
 S igned: H iroshige. 
 
 374. Masaki no liotori yori Snijin no Mori (No. 36). / 
 
 I chikawa, Sekiya no Sato, “Masaki, from whence may be seen the woods 
 of Suijin, the Fclii river, and the village of Sekiya.” View through an open 
 circular window with the Shoji pushed over to the right side. Seal dated 
 1857. Stli month. A very striking design. 
 
 Artist's impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 (Illustrated, plate XXII) 
 
 r> w r* 
 
 3 <.». 
 
 Uyeno Sannai Tsuki no niatsn (No 
 
 . 89). /V. 
 
 “The Moon Fine, Uyeno, with its branch twisted into a circle right across 
 the sheet, the Shinabazu pond, and part of the peninsula with the shrine 
 of Benten on the right.” Seal dated 1857, 8th month. 
 
 Fine impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 376. 
 
 Aznina bashi, Kinryusan okata bata (No. 
 
 90). 
 
 The head of a covered boat lies in the Asakusa river right across the fore¬ 
 ground, in which part of the figure of a girl is seen under the roof on the 
 left; beyond are the buildings of the temple and the five storied pagoda. 
 Seal dated 1857, 8tli month. Beautiful gradation of blue from top and 
 bottom. 
 
 Artist's impression. Collector's state. 
 
 S igned: II iroshige. 
 
Evening Session 
 
 377. Hatsune no baba, Bakuro clio (No. 0). 
 
 “The first racecourse, horse-dealer’s street,’’ with strips of material hung 
 out to dry between the willow trees, and fire tower in the background. 
 
 /Seal dated 1857, 9th month. 
 
 Very rich in color. 
 
 Artist's impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 378. The Same. 
 
 A different color treatment. 
 Fine impression. Collector's state. 
 Signed: H iroshige. 
 
 
 Seal dated 1857, 9th month. 
 
 
 379. Asakusa tampo, Tori no machi (No. 101). , As <c S' 
 
 “Festival of the Cock, Asakusa rice fields.” A white cat seated in the 
 barred window of a house watching the festival procession held on the 
 3 O. “days of the cock” winding its way towards the Asakusa temple. Seal dated 
 
 1857, lltli month. A remarkably fine impression of a famous print. 
 
 Artist's impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 
 y £-° 
 
 380. Suido bashi, Surugadai (No. 63). 
 
 “Surugadai from Suido Bridge,” on the 5th of May, the Boy’s Birthday fes¬ 
 tival, with carp-shaped balloons flying in the air. Seal dated 1857, 5th 
 month. Rarely seen in this fine printing. 
 
 Artist's impression. Collector's state. 
 
 Signed: H iroshige. 
 
 V 
 
 7 
 
 381. Fuka-gawa, Mannen bashi (No. 51). 
 
 View through part of the Mannen bridge from which a great* turtle is sus- 
 •SLF pended by a rope, Fuji in the distance. Seal dated 1857, 11th month. 
 
 Artist's impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 382. Fukagawa, Susaki, Jimian Tsubo (No. 107). 3. 
 
 32 
 
 “The Juman Plain, Susaki, Fukagawa.” Snow-scene with an eagle poised 
 in the air looking at a floating tub on the sea near Susaki, in Yedo bay, and 
 Mount Tsukuba in the distance. Seal dated 1857, 5tli month. An unusually 
 fine impression of a strong, bold design. One of Hiroshige's best known 
 prints. Note the lacquer used on the claws and beak of the bird. 
 
 Artist's impression. Publisher’s state. 
 
 Signed: Hiroshige. 
 
 (Illustrated, plate XXII) 
 
 383. 
 
 /O. 
 
 Yoshiwara, Nihon Tsutsnmi (No. 100). ?fc, 
 
 “The Nihon Embankment, Yoshi-wara.” View of the long road leading from 
 Yedo to the Yoshiwara, with a lot of yellow booths, and wild geese flying 
 across the moon. A fine design. Seal dated 1857, 4th month. 
 
 Artist's impression. Publisher’s state. 
 
 Signed: Hiroshige. 
 
Evening Session 
 
 384. Omi, Shozoku Eno-ki Omisoka kitsunobi (No. 118). 
 
 “Fox-lights on New Year’s Eve under the Eno trees (Celtis willdenowiana y 
 at Oji.” Night scene with stars in the sky and foxes assembling. One of 
 the fluent and hast known designs ever made by Hiroshige. Seal dated 1S57. 
 9th month. 
 
 Artist's impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 (Illustrated, plate XXI11) 
 
 385. The Same. 
 
 \ G. < .1 , ’X X/. 
 
 X 3. 
 
 A lighter printing. Seal dated 1S57, 9th month. 
 Artist's impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 
 386. 
 
 Matsuchiyama, Yoru no Kel (No. 34). 
 
 
 3 *. 
 
 “Night View, MatsucMyama.” A Geisha going home from an engagement 
 following a circular lantern, which lights her along the bank of the Sanya 
 bori; on the far side lighted houses and stars in the sky. Seal dated 1857. 
 4th month. I nusually fine in printing, showing the grain of the block. 
 Artist's impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 (Illustrated, plate XXIII) 
 
 
 387. Eitai Baslii, Tsukiulajima (No. 4). 
 
 
 View through the arch of Eitai bridge on a moonlit night, and of the point 
 of a boat with two fishing flares. Seal dated 1857, 2nd month. 
 
 Fine impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 388. 
 
 Asakusa-gawa, 
 
 54). 
 
 Shiibi no Matsu, Omnia ya Gaslii (No. 
 
 /. ' '/ 
 
 
 “Horse-ford, Pine-tree of Shubi, Asakusa river.” Night scene with stars in 
 the sky, a covered boat under a pine-tree, and the shadow of a woman on 
 the green blind. Seal dated 1850, Stli month. 
 
 Fine impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 389. Yoshiwara Yo-aka (No. 38). 
 
 
 “Daybreak, Yoshiwara.” The Great Gate with hooded revelers coming 
 along the street outward. Seal dated 1S57, 4th month. 
 
 Fine impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 390. Ryogoku, Hanabi, “Fireworks, Ryogoku” (No. 98). 
 
 A rocket and stars in the darkened sky bursting over the bridge. Seal 
 dated 1858, 8tli month. A monochrome in fine soft grays and blues. 
 
 '€Lr Artist’s impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
Evening Session 
 
 <7? J . 
 
 391. Ommaya Gaslii, “The Onimaya Embankment” (No. 105). 
 
 Two women crossing the Sumida river at Asakusa, in a ferry-boat, standing 
 in the bow of the boat looking towards the willow am other trees growing 
 out of a hill on the right. Seal dated 1S57, 12tli month. Collectors differ 
 ^ in their opinions of this print. All concede that in the usual pale printing 
 
 it is a weak and uninteresting design; hut in this strong printing all agree 
 that it is interesting at least; while others, including Mr. Ficlce, regard it as 
 one of Hiroshige's great triumphs. It is rarely seen in this printing. 
 Artist's impression. Publisher's state. 
 
 Signed: Hiroshige. 
 
 (Illustrated, plate XXII) 
 
 392. 
 
 Tora no moil, Soto Aoizaka (No. 113). 
 
 4 . 
 
 “The hilly road outside the Tiger gate.” Night scene with crescent moon 
 above a weir, an almost naked man and boy with lanterns, an insect seller 
 carrying his stall of cages, and other passengers going up the road. This 
 and the two following prints show the different cuttings of the blocks which 
 for various reasons (such as warping of the wood-block) became necessary. 
 Xote the different size and position of the moon in each plate. Seal dated 
 1857, 1st month. 
 
 Artist's impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 393. The Same. 
 
 /V. 
 
 /z ** 
 
 A variation of the preceding. Seal dated 1857, 1st month. 
 Good impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 394. The Same. 
 
 
 Another variation of No. 392. 
 Good impression. Collector's state. 
 Signed: Hiroshige. 
 
 Seal dated 1857 
 
 857, 1st month. ‘ 
 
 395. 
 
 Saruwaka olio, Yoru Shibai, “Theatres by Night” (No. 
 90). 
 
 zz 
 
 “Young Monkey Street.” View of the street in the Asakusa quarter with 
 S* the full moon shining right above, and shadows of the pedestrians thrown 
 on the roadway. Seal dated 1856, 9th month. A brilliant copy of a print 
 famous for its shadows, a feature rarely shown in a Japanese design. 
 Artist's impression. Publisher’s state. 
 
 Signed: Hiroshige. 
 
 yrJ’ 
 
 
 396. The Same. 
 
 A later variation of the preceding print; the moon nearer 
 plate. Seal dated 1S56. 9tli month. 
 
 Fine impression. Publisher’s state. 
 
 Signed: Hiroshige. 
 
 i. «. 
 
 he top of the 
 
Evening Session 
 
 
 7c 
 
 7 
 
 397. Nihon Baslii, Ynki hare (No. 1). /??<*'i~* 
 
 A snow scene. “Clear weather after snow, Nihon bridge^/ with red figures 
 rowing three boats up the stream. Seal dated 1850, 5th month. 
 
 Fine impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 398. 
 
 
 Kanda Myogin, Yushima Tenjin Saina (No. 
 
 /ef 
 
 Snow scene from the height of Yushima at the top of the steps to the 
 temple where a woman, with an umbrella shut, stands admiring the view 
 over the tops of the houses around Hirokoji, and the Shinobazu Pond with 
 the Shrine of Benten in the distance. Seal dated 1850, 4th month. 
 
 Fine impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 /o. 
 
 
 
 399. Meguro, Taiko liaslii, Ynki no oka (No. Ill) 
 
 “Hill of Snow, Drum Bridge, Meguro.” Snow scene, view of the bridge over 
 the Furu river, and people crossing towards the high hill on the left and 
 the temple of Yakuslii Niorai. Seal dated 1857, 2nd month. Note the grain 
 of the block and delicate gray on the hillside. 
 
 Artist's impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 400. 
 
 Asaknsa, Kinryusan (No. 99). 
 
 
 Snow scene viewed through the Nio Mon under which a great circular lan¬ 
 tern is suspended. Seal dated 1850, 7th month. 
 
 A daring composition in soft colors. 
 
 Artist's impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 7 
 
 
 401. Fukagawa, Ki-ba (No. 100). 
 
 “Wood Place, Fukagawa.” Snow scene on one of the canals in the district 
 between the temples of Hacliiman and Benten where timber is stacked; in 
 the foreground two puppies and the top of a yellow umbrella. Seal dated 
 4? 1850, 8th month. In this print one usually finds a streak of harsh blue 
 
 in the center of the stream and yellow umbrella too strong in color. This 
 copy is free from these defects. 
 
 Artist's impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 402. Atagoshita Yabu Koji (No. 112). 
 
 The name of a side street by a canal at Atagoshite in the Shiba district; 
 snow scene with bamboos on one side of the water and sparrows flying over¬ 
 head; the sky a fine delicate blue. Seal dated 1S57, 12th month. 
 
 Artist's impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 (Illustrated, plate XXIIt) 
 
Evening’ Session 
 
 O 
 
 403. The Same. 
 
 In a stronger printing. 
 
 *£2 Fine impression. Collector’s state. 
 Signed: Hiroshige. 
 
 ' (7 
 
 404. 
 
 Imado, Hashiba no Watashi (No. 37). 
 
 Hashiba Ferry at Imado. Famed for its pottery; a great column of smoke 
 drifting across the Sumida river. Seal dated 1857, 4tli month. The water 
 is exquisitcl// printed, shading to a delicate bine hill in the distance. 
 
 Artist’s impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 7 
 
 405. Sliiba no ura ltei (No. 408). f 
 
 “View of Shiba Bay.” A flight of sea-gulls over pine-trees on 
 bank. Seal dated 1858, 2nd month. 
 
 Artist’s impression. Publisher’s state. 
 
 Signed: Hiroshige. 
 
 e walled-up 
 
 400. O Hashi no Yudachi (No. 52). 
 
 “Storin on the Great Bridge.” A pelting rain obscuring the far bank of the 
 Sumida river, on which one raft is seen. One of the great designs of the 
 series. Nothing left to be desired in the printing. 
 
 Artist's impression. Publisher’s state. 
 
 Signed: Hiroshige. 
 
 (Illustrated, plate XXII) 
 
 7 
 
 407. 
 
 
 72T 
 
 Minami Fukagawa, Saniezn gislii (No. 109). 
 
 “Samezu Embankment in the Minami Fukagawa district.” Row boats with 
 men fishing among the reeds which here fringe the Yedo bay; Mount 
 Tsukuba in the distance. Seal dated 1857, 2nd month. 
 
 A fine rendering of the low, marshy stretches greatly loved by the Japanese. 
 A rare copy. 
 
 Artist’s impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 
 408. Ryogokn Kara Asakusa en Ivei (No. 53). /K 
 
 “View of Asakusa from Ryogoku.” The heads of people seen, crossing the 
 bridge, carrying a great Shinto emblem at the left corner, and a similar 
 emblem on a boat filled with people crossing the river. Seal dated 1S57, 
 7th month. 
 
 Artist’s impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 409. 
 
 
 Sekiguclii, I>aslio An (No. 40). XL 
 
 The House of Baslio (the poet) at Sekuguchi, on a hillside to the right, with 
 pine and cherry trees by the roofed porch at the bottom of the garden 
 steps, and a winding stream in front. Seal dated 1S57, 4th month. 
 
 Artist’s impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
Evening Session 
 
 410. View of the Kiribata Trees at Akasaka. 
 
 This plate is not in the original volume of complete 118 views, nor is it 
 listed in the contents plate; in later editions it is included; signed Hiro- 
 ^ shige 2d, seal date Ram 6, 1859. This is one of the best prints known 
 
 with the second Hiroshige’s signature; a very sharp impression in perfect 
 condition. 
 
 Fine impression. Publisher’s state. 
 
 Signed: Hiroshige. 
 
 411. Konagi-gawa, Go hon Matsu (No. 97). 
 
 
 “The five-branch pine, Konagi river.” A great branch of pine supported 
 on poles, overhanging a canal in which a party of pleasure-seekers are 
 passing along in a boat. Seal dated 1856, 7th month. 
 
 Fine impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 412. 
 
 Konodai, Tonegawa; Konadai (No. 95). 
 
 
 The bluff on the left bank of the Tone river which commands a good view 
 of the river with its sailing-barges, the plain of Yedo, and Fuji in the dis¬ 
 tance. Seal dated 1856, 5th month. 
 
 The fine gradation of blue from top and bottom makes this a rare impression. 
 
 The oxidization of the trees adds to its beauty. 
 
 Artist’s impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 
 
 413. Meguro, Choi ga Ike (No. 23). 
 
 View of the pond and a cascade of five leaps adjoining "the temple of Fudo; 
 •£_& the cherry trees reflected in the water. Seal dated 1856, 7th month. A 
 
 remarkable impression in yellowish green. 
 
 Artist’s impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 /X 
 
 414. Asukayama (No. 17). 
 
 
 
 People sitting on red mats on the hilltop looking over the plain of Hitachi 
 to the double-peaked Mount Tsukuba. Seal dated 1857. 2nd month. Rarely 
 seen in this beautiful state. 
 
 Artist's impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 ?fr a ^4 
 
 415. Ki no Kuni zaka, Akasaka Tame ike (No. 8o). 
 
 "Irrigation Pond, Akasaka.” The head of a Daimyo’s procession coming 
 along the high bank, in single file, and a group of houses in a hollow 
 £* beyond the pond. Seal dated 1S57, 9th month. 
 
 / Artist's impression. Publisher's state. 
 
 Signed: Hiroshige. 
 
Evening Session 
 
 416. 
 
 Tamagawa, Dote no Hana (No. 42). 
 
 
 “The Cherry Embankment, Tama River.” A row of blossoming trees fol¬ 
 lowing the winding of a dyke, with a tea-house on the right behind fencing. 
 Seal dated 1856, 2nd month. A rare impression. The water is usually so 
 over-printed as to spoil the picture. 
 
 A?-tist’s impression. Publisher's state. 
 
 Signed: Hiroshige. 
 
 417. Snna-mnra, Moto Ilachiman (No. 29). ^ * « 
 
 “The Original Hachiman Temple at Suna mura.” Only the Torii is seen, 
 near cherry trees in the foregound, beside a path leading out to a reedy 
 marsh and the sea beyond. Seal dated 1856, 4tli month. A print of great 
 V beauty. 
 
 Artist's impression. Publisher's state. 
 
 Signed: Hiroshige. 
 
 418. 
 
 I-no-Kasliira no Ike Benten (No. 87). 
 
 
 “The Pond (a lake) at 1-no-Kasliira,” with a shrine of Benten on a little 
 island on the left, and live herons flying. Seal dated 1856, 4tli month. 
 
 Artist's impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 419. Meguro, Shin Fuji, “New Fuji Meguro’’ (No. 24). 
 
 An artificial mound with a zig-zag path to its flat top, on which people are 
 viewing a mountain in the distance. Seal dated 1857, 4th month. 
 
 Artist's impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 420. Shohei baslii, Kanda-Rawa (No. 46). 
 
 
 “The Kanda river from Shohei bridge,” only the railings of which show. The 
 bridge crosses the river beside a high green bank; on the further side a 
 road up-hill leads to the Confucian Temple Seido, with its scattered build¬ 
 ings, in a shower of rain. Seal dated 1857, 9tli month. 
 
 Artist's impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 421 Meguro, Jiji ga Chaya (No. 84) 
 
 “The Old Man’s Tea-house Meguro.” A little b6oth and thatched hut seen 
 by the path through a break in the hills; in the foreground a wide plain 
 with a solitary man leading a horse, and Fuji far away. Seal dated 1857. 
 4th month. 
 
 Fine impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 422. Go-hyaku Rakan, Sazaido (No. 70). 
 
 “The Hall of the Five-Hundred Rakan at Sazaido.” A corner of the temple 
 
 on the right with five people on the balcony looking over the flat rice fields. 
 Seal dated 1857, Sth month. 
 
 Artist's impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
Evening Session 
 
 423. Koume no dote (No. 104). 
 
 7 
 
 
 7TJ 
 
 “The Koume Dyke.” Two women crossing a Dobashi m the foreground, and 
 two children playing with puppies under some tall trees; on the left of the 
 dyke a long stretch of yellow rice-fields. Seal dated 1857. 2nd month. 
 
 Fine impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 424. Nihon baslii, Itclioine (No. 44). 7 ' 
 
 Street, scene outside Shiroki-ya, the silk mercers. In 
 of five people going along under one great umbrella, 
 playing a Samisen. Seal dated 1S5S, 8th month. 
 
 Fine impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 •t 
 
 the center a group 
 followed by a girl 
 
 425. Uyeno, Hirokoji (No. 13). " * 
 
 A procession of Geisha under red umbrellas with white centres, going up 
 the street past the shop of the silk mercer, Matsuzaka-ya. Seal dated 1856, 
 9th month. Rare in this printing. 
 
 Artist’s impression. Publisher’s state. 
 
 Signed: Hiroshige. 
 
 y 
 
 426. Surnga clio (No. 8). 4 * 4 
 
 A street scene looking straight down towards Fuji, in the l 
 Suruga, between the great establishments of Mitsui, the draper. 
 tinted mist strikes across the roofs. Seal dated 1S56, 9tli month. 
 Artist’s impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 trovinee of 
 A brightly 
 
 /2 €o 
 
 ar 
 
 427. Sliiba, Atago jama Bishamon no tsukai (No. 21). 
 
 “A Messenger to Bishamon, Atago Hill, Shiba.” A man in fanciful costume, 
 with fern leaves around his hat and a great rice ladle in his hand, arriving 
 at the top of the “male steps” to the temple; white sails on the sea in the 
 distance. On the board at the left-hand top corner is the date, Ansei 4— 
 1857. Seal dated 1857, 2nd month. Rare in this printing. 
 
 Fine impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 Takanawa, Uslii Machi (No. 8). ^ 
 
 “Ox Street, Takanawa.” A rainbow in the sky, its colors duplicated in 
 slices of melon lying beside an empty cart. Seal dated 1857, 4th month. 
 Artist's impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 428. 
 
 429. Oji, Inari no Jinja (No. 18). £ 
 
 A corner of the temple on the right, looking out towards Mount Tsukuba ; 
 people coming up the steps and path towards it. Seal dated 1857, 9th 
 month. 
 
 Artist's impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 -A 
 
Evening Session 
 
 Zo. 
 
 /£>. 
 
 430. Kawaguchi no Watashi (No. 20). 
 
 “The Ferry at Kawaguchi,” near the Zenkoji temple; the bdat crossing and 
 six rafts floating down the stream. Seal dated 1857, 2nd month. Rarely 
 seen without a disfiguring streak of blue in the water. 
 
 Fine impression. Collector's state. 
 
 Sign ed: Hiroshige. 
 
 - 
 
 431. Kojimachi Itchome, Sanno Matsuri Neri Komi (No. 05) 
 
 “The Sanno Festival Going through Kojimachi Itchome” on the 15th day 
 of August; in the foreground the Hanagasa or flower hats of the people 
 in the procession are seen going around a lake with a great Shinto emblem, 
 surmounted by a white cock on a drum above a purple sheet; and similar 
 figures wend their way along the further side of the pond. Seal dated 1S56, 
 7th month. 
 
 Fine impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 432. Horiye Nekozane (No. 96). ‘ 
 
 Fuji rising white beyond the O-yame range, cut with pink mists; and a 
 cluster of orange and yellow roofed houses around a narrow central stream 
 /running out to the sea. 
 
 Fine impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 7 
 
 433. Senji, () Hashi (No. 103). ^ ^ 
 
 “The Long Bridge” over the Senji river, with a man on horseback and a 
 & j woman in a kago crossing : three white sails. Seal dated 1856, 2nd month. 
 
 Fine impression. Publisher's state. 
 
 Signed: Hiroshige. 
 
 434. Title Page of the Set. 
 
 List of plates arranged in the four seasons. 
 Artist's impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 
 135. 
 
 
 Marvelously bUm water in the fore- 
 
 7 
 
 
 Vertical Lake Biwa Series. 
 
 Conventional clouds at top of print, 
 ground, green hills running down to the water’s edge and gray hills in 
 background. 
 
 Artist's impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 436. Full Size Vertical Tokaido Set. 
 
 
 
 v: 
 
 The picture covers the lower part of plate. Wtonan ascending from the 
 water in a cloud of smoke. Fuji in the distance. 
 
 Fine impression. Collector's state. 
 
 Signed: Hiroshige. 
 
Evening Session 
 
 7 
 
 437. 
 
 jTJ' 
 
 Sliislii and Cub. 
 
 A rare print. 
 
 Fine impression. Collector's state. 
 Signed: Hiroshige. 
 
 
 438. Full Size Vertical Print. 
 
 A poem in upper right corner. A snow scene, a single boat on a stream 
 "J running between snowy wooded banks. 
 
 / Artist's impression. Collector's state. 
 
 Signed: Ilirosliige. 
 
 XT 
 
 439. A Snow Scene. 
 
 Done in collaboration with Ivunisada and signed by both. Man and two 
 women in a boat crossing a stream in a snow storm. Exceedingly decorative 
 design. 
 
 Fine impression. Collector's state. 
 
 440. Evening Rain, Gion Temple Wood. 
 
 // — 
 
 Right sheet of a triptych; full size, upright 
 Artist’s impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 >7>r 
 
 YEDO MEISHO 
 
 Thirty-seven full size horizontal prints, from several sets, showing various views 
 of Yedo. 
 
 441. Nilion baslii. 
 
 A rain scene; the bridge in the foreground; Fuji in the distance. 
 Fine impression. Ordinary state. 
 
 Signed: Hiroshige. 
 
 TF.x/. 
 
 7 
 
 442. Gotenyania. 
 
 Parties of picknickers on the shore of the bay. Fine color. 
 3 "^ Fine impression. Publisher's state. 
 
 Signed: Hiroshige. 
 
 7 
 
 443. Asukayama. 
 
 Road leading to a village by the water; three sails in the middle distance; 
 S'* very rich in color. 
 
 Fine impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 J 
 
 444. Zojioji Temple. f 
 
 Women entering the temple between two la^ge pink columns. 
 Fine impression. Publisher’s state. 
 
 Signed: Flirosliige. 
 
Evening Session 
 
 
 445. A Temple. 
 
 
 Steps leading to a temple; trees on each side; a pool of water in the lower 
 left-hand corner; a line design, full of mystery. 
 
 Fine impression. Good state. 
 
 Signed: Hiroshige. 
 
 446. Asakusa Kinruysan Temple. 
 
 
 Only the heads of. people in a crowded street are seen: an effective compo¬ 
 sition. 
 
 Artist's impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 
 * 
 
 tro 
 
 447. Yoshiwara. 
 
 Cherry blossoms at night; a moonlight scene; a print of great beauty in this 
 impression and state; the grays are usually overprinted. 
 
 Artist's impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 Sliiba Atago San. 
 
 448. 
 
 A rainbow crosses the print near the center 
 in brilliant state. 
 
 Good impression. Collector’s state 
 Signed: Hiroshige. 
 
 fat,. 
 
 Two sails in tl 1 
 
 distance; 
 
 449. Kameido Temple Grounds in Snow. 
 
 
 
 Two drum bridges, water, and a grove of trees beyond. 
 
 A print of rare quality and great beauty; one of the gems of the collection. 
 Artist’s impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 ^ <y. 
 
 450. Asakusa Temple in Snow. 
 
 Crowds entering the temple in a snow-storm 
 A comparatively few impressions as fine as this 
 been brought to light. 
 
 Artist’s impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 I 
 
 / 
 
 with umbrellas raise 
 and the preceding print have 
 
 451. Masaki settsu jo. 
 
 A snow scene. Two men polling a raft and boat in foreground; two Torii 
 in the distance. 
 
 Artist's impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 452. Go Hyakkei Raken Sazaido. 
 
 
 The temple of the Five Hundred Raken. surrounded by trees at the end of 
 a zig-zag path through rice-fields. Rich in color. 
 
 Artist’s impression. Publisher's state. 
 
 Signed: Hiroshige. 
 
 (Illustrated, plate XYIII) 
 
Evening Session 
 
 453. Asuka Yama. 
 
 View of the hillside covered with cherry trees in blossom; a procession and 
 two horsemen in foreground. 
 
 Fine impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 
 
 sC 
 
 
 jr 
 
 454. Kanda Myoji. 
 
 A Shinto shrine. The torii never marked the approach to a Buddhist 
 temple. 
 
 Good impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 3 . 
 
 455. Atago Yama. A 
 
 The sea is seen through a covered way at the head of a flight of stairs. 
 Good impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 456. Yanagi Shima. 
 
 A Buddhist temple. 
 
 Good impression. Collector's state. 
 Signed: Hiroshige. 
 
 
 
 
 A 
 
 457. Kasumyga se kei. 
 
 The name of a street; kites flying and sails in the distance; a fine design 
 in good color. 
 
 Fine impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 458. Sano Temple. 
 
 
 
 
 A torii in the foreground. Figures aivproaching the temple from a distant 
 village by the sea. 
 
 Good impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 459. Uyeno Toyozan. 
 
 Buddhist temple. 
 
 <5~ Good impression. Collector's state. 
 Signed: Hiroshige. 
 
 460. Ny po ri. 
 
 3 
 
 A suburb of Yedo. 
 
 Good impression. Collector's state. 
 Signed: Hiroshige. 
 
 
Evening Session 
 
 461. Susaki Ben ten. 
 
 A Shinto shrine. 
 
 3 Fine impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 
 462. Uyeno, Sliinobazu Pond. 
 
 Fine impression. Collector's state. 
 Signed: Hiroshige. 
 
 
 
 & 
 
 463. Tsukudajima. 
 
 An island near Yedo; boats with large sails. 
 Good impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 464. Yoshiwara. 
 
 
 
 A gay street scene; skillful use of the umbrellas in the composition. 
 A sparkling print. 
 
 Fine impression. Publisher's state. 
 
 Signefi: Hiroshige. 
 
 y 
 
 465. Ryokokn Bridge. ' --* 
 
 A near view of the bridge; a large pleasure boat in center; fireworks in 
 p> ' i CJ distance. 
 
 Good impression. Collector's state. 
 
 466. A Rocket Bursting Above the Siimida River. 
 
 Colors as when printed. 
 
 "7 CT(J 
 
 / —- A fine impression. Publisher's state. 
 
 Signed: Hiroshige. 
 
 467. Gotenyama. 
 
 Picknickers on a hill overlooking town and water. Sails in the distance. 
 XZ A) ■tist's impression. Publisher's state. 
 
 Signed: Hiroshige. 
 
 
 ^UtoSld ToFUu. 
 
 
 7 ^ 
 
 YESAKI (YETATSU) TOKAIDO SET 
 
 Twenty-one plates of the set; horizontal, considerably less than full size; a set 
 little known, but containing many plates of great beauty; quite different in treat¬ 
 ment from most of Hiroshige's work; detail seems to have been brushed aside and more 
 reliance placed upon the use of strong, broad color treatment. 
 
 468. Shinagawa (No. 2). 
 
 Fine color and design. 
 
 Fine impression. Publisher’s state. 
 
 Signed: Hiroshige. 
 
 
Evening Session 
 
 469. Yoshiwara (No. 15). 
 
 Unusual for its sketchy effect. 
 Fine impression. Collector's state. 
 Signed: Hiroshige. 
 
 
 470. Ejiri (No. 19). 
 
 A fine snow scene. 
 
 Ac. Artist's impression. Collector's state. 
 Signed: Hiroshige. 
 
 471. Mariko (No. 21). 
 
 An attractive design. 
 
 Fine impression. Publisher’s state. 
 Signed: Hiroshige. 
 
 
 472. Fukuroi (No. 28). 
 
 Fine impression. Collector’s state. 
 Signed: Hiroshige. 
 
 J 0 . 
 
 473. Mitzuki (No. 29). 
 
 i <f- One of the finest composition of the set. (/ 
 
 Fine impression. Publisher's state. 
 
 Signed: Hiroshige. 
 
 474. Hamamatsu (No. 30). 
 
 Fine impression. Collector's state. 
 Signed: Hiroshige. 
 
 475. Maizaka (No. 31). 
 
 A sparkling print. 
 
 J. Artist's impression. Publisher’s state. 
 
 Signed: Hiroshige. 
 
 
 476. Arai (No. 32). 
 
 Fine impression. Publisher’s state. 
 Signed: Hiroshige. 
 
 ftf ft. f 
 
 477. Shiraiki (No. 33). 
 
 Unusually fine in design and color. ftft 
 
 / ~7 Fine impression. Publisher’s state. 
 
 Signed: Hiroshige. 
 
 (Illustrated, plate XXV) 
 
 478. Yoshida (No. 35). 
 
 Artist’s impression. Publisher’s state. 
 t^T' Signed: Hiroshige. 
 
Evening Session 
 
 479. Goyu (No. 36). 
 
 
 Fine impression. Collector's state. 
 Signed: Hiroshige. 
 
 480. Okazaki (No. 37). 
 
 7 
 
 
 Fine impression. Publisher's state. 
 Sigtied: Hiroshige. 
 
 Tirj, 
 
 481. Fujikawa (No. 38). 
 
 Fine impression. Collector's state. 
 Signed: Hiroshige. 
 
 7 
 
 s & 
 
 482. Okazaki (No. 39). 
 
 Fine impression. Publisher's state. 
 Signed: Hiroshige. 
 
 <z 
 
 483. Miwa (No. 42). 
 
 Artist’s impression. Collector's state. 
 Signed: Hiroshige. 
 
 
 /7 
 
 484. Kara (No. 45). 
 
 ap o a very fine sno w scene. 
 
 Artist’s impression. Collector’s state. 
 Signed: Hiroshige. 
 
 485. Sliono (No. 46). 
 
 Artist’s impression. Publisher’s state. 
 Signed: Hiroshige. 
 
 
 486. Tsuchiyama (No. 50). 
 
 A rain scene. 
 
 Fine impression. Collector’s state. 
 Signed: Hiroshige. 
 
 cl? 
 
 487. The Same. 
 
 The rain block omitted. 
 
 Fine impression. Collector’s state. 
 Signed: Hiroshige. 
 
 488. Kusatsu (No. 53). 
 
 A fine design, in beautiful color 
 Artists impression. Publisher's state. 
 Signed: Hiroshige. 
 
 £ 7 7 ^ 1 ^ 
 
Evening Session 
 
 HIROSHIGE’S BIRDS AND FLOWERS 
 
 as: 
 
 Panels about 6% inches by 14 y 2 inches. 
 
 489. Peacock on a Flowering Tree. 
 
 Remarkable printing of the bird's feathers; 
 color blocks is very unusual. 
 
 Artist’s impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 he use of g duff rage over the 
 
 do. 
 
 490. Parroqnette and Cherry. 
 
 Good impression. Collector's state. 
 Signed: Hiroshige. 
 
 27 
 
 SO 
 
 491. White Heron Alighting Among Iris. 
 
 A famous print; the bird looks like a wraith among 
 fine color. 
 
 Artist’s impression. Good state. 
 
 Signed: Hiroshige. 
 
 the flowers; gauffrag 
 
 /2 
 
 492. Kingfisher and Hydrangea. 
 
 Fine impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 493. Gray Bird on a Flowering Branch. 
 
 Petals of flowers in gauffrage. 
 
 Artist’s impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 
 494. Peacock and Peonies. 
 
 A marvelous impression, in exquisite color; gauffrage. 
 Artist’s impression. Good state. 
 
 Signed: Hiroshige. 
 
 
 495. Sliirim and White Plum. 
 
 Artist’s impression. Good state. 
 Signed: Hiroshige. 
 
 MISCELLANEOUS BIRDS AND FLOWERS 
 
 49(». Small Bird on a Flowering Maple. 
 
 7 
 
 A square print in flue color. 
 Good impression. Publisher’s state. 
 Signed: Hiroshige. 
 
 
 C? js 
 
Evening Session 
 
 
 497. Green Bird on a Flowering Branch. 
 
 A square print in fine color. ^7? /4C < 2 - 
 
 *£U?- Fine impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 /z 
 
 498. Sparrow. /r , t ,, 
 
 The bird is fiying above a spray of yellow flowers; a square print in fine 
 :i color. 
 
 Fine impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 499. A Bine Bird. 
 
 A drooping branch of yellow flowers. 
 Fine impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 A square print. 
 
 
 So 
 
 500. Peacock and Snowy Pines. 
 
 Half plate horizontal. 
 
 _ A beautiful design and very rare; exquisite in the delicacy of printing of pinks 
 
 *• and grays; one of the treasures of the collection. 
 
 Artist's impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 (Illustrated, plate XXV) 
 
 501. Parroquet and Pine. 
 
 A fine design and a rare print. 
 Fine impression. Publisher's state. 
 Signed: Hiroshige. 
 
 (Illustrated, plate XXV) 
 
 502. Triptych. /r '• *• 
 
 Three small upright bird and flower designs printed on a single sheet, the 
 
 _ three never having been separated; rare for this reason. 
 
 ^ Fine impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
Second Afternoon Session 
 
 At the American Art Galleries 
 2:30 o’clock 
 November If, 1916 
 
 503. 
 
 /7 
 
 jr 
 
 SHUNYEI 
 
 ( 1769 - 1819 ) 
 
 The Actor Ishikawa Dan jure. 
 
 He appears in the role of a man holding a lantern, at the edge of a river. 
 Size 12x6. A night-scene, with black background. From the Hayaslii collection. 
 In fine condition. 
 
 (Illustrated, idate IV) 
 
 Z2 
 
 504. A Bust Portrait of an Actor, 
 
 In the robes and ceremonial hat of a Daimyo. /v 
 
 -f u Size 13x8. No other copy of this print, has come under observation; and in spite 
 of its faded condition it remains one of Sliunyei's masterpieces. No one 
 but Sharaku has achieved such savagery and such decoration. 
 
 (Illustrated, plate IV) 
 
 505. 
 
 /7-z* 
 
 The Actor Ishikawa Yaozo in Female Bole. ° 
 
 He holds a ceremonial hat: against a snowy rustic background. 
 
 Every line in this intricate composition plays a part in the total effect of tragic 
 intensity. Hosoye. In superb condition. 
 
 /Alt' 
 
 506. The Actor Ishikawa Danjuro. 
 
 7^ He appears in the role of a warrior with a two-handed sword. Sizef 11x5. 
 
 507. The Actor Ivosagawa Tsuneyo as a Woman. 
 
 Size 12x5. In good condition, soft colors. 
 
 From the Wakai collection. 
 
 508. An Actor with Two Swords. 
 
 £ £T6 Full-size upright sheet. 
 
 In fine condition. Rare and important. 
 
 
 
 jro 
 
 KORIUSAI 
 
 (Worked c. 1770-1781) 
 
 509. A Courtesan and Her Attendant. 
 
 
 
 Pillar-print. One of Koriusai’s characteristic and graceful portraits of women. 
 
 
 510. Young Man with a Falcon. 
 
 Fuji in background. 
 
 Pillar-print. A vigorous and dignified design. 
 
 
Second Afternoon Session 
 
 511. Girl Standing on Boy’s Back to Reach Blossoms/ • 
 
 Both figures are drawn with a suavity equal to Harunobu’s; and the color is of 
 an unsurpassed loveliness. 
 
 Pillar-print. In notable condition. 
 
 (Illustrated, plate XIII) 
 
 512. A Courtesan Reading a Letter Under a Spray of Wis- 
 / taria. yy yy y yy 
 
 (O t/. Pillnv-nrint ~\Tntahlp. in. color and. condition. '!• / r » / _ 
 
 Pillar-print. Notable in color and condition. 
 
 (Illustrated, plate XIV) 
 
 513. A Courtesan on a Veranda Reads a Letter. 
 
 On the balcony above a young man also reads it by means of a mirror: 
 under the veranda an old man peers up at it. 
 
 Pillar-print. A parody on the Ronin story. 
 
 
 514. Same Subject as Preceding Number. 
 
 y^ ~~ These two prints, printed in wholly different colors, are an interesting example of 
 the variations so often employed by these artists. 
 
 
 
 515. Girl Standing on Veranda Tasting the Bud of a Morning 
 
 Glory - ?r ?r AP. . - 
 
 Pillar-print. 'r. - . 
 
 One of Koriusai’s most graceful figures. Fenollosa writes of this design — “He&f 
 perfection of conception, coloring and printing seems to be reached. Woman¬ 
 hood and Nature's flowers seem to grow together, in a common mood of 
 innocence and siveetness." 
 
 516. 
 
 Girl on Horseback Fording a Stream. 
 
 A young man leads the horse. In background, the moon rises behind clouds. 
 Pillar-print. In fiatvless condition. Of this design Fenollosa ivrites—“Here 
 is another superb originality in two-figured composition. How fine the tint 
 of the orange horse! The girl droops Wee a beautiful flower: she feels the 
 sentimental spell of the barred moon . . . Perhaps Koriusai’s most 
 
 charming style.” 
 
 517. A Girl Leans Over a Fence to Return a Kite. 
 
 2 * 
 
 Pillar-print. 
 
 A fine impression of a well-Tcnoirn print. 
 
 (Illustrated, plate XIV) 
 
 
 TOYOHARU 
 
 (Worked c. 1760-1780) 
 
 518. Man Reading a Letter. *' 
 
 On the balcony above, a Courtesan looks down to read it; and at the man’s 
 6 \ feet a large crab is also busily perusing it. 
 
 Pillar-print. A parody on an episode in the story of the Forty-Seven Ronin. 
 
 519. A Girl Leans Over a Fence to Return a Kite. 
 
 ^ Pillar-pnnt. 
 
Second Afternoon Session 
 
 HARUMITSU 
 
 (Worked c. 1180-90) ^^ 
 
 520. A Woman Carrying An Umbrella, on the Sea Shore. 
 
 ^ Pillar-print. This is perhaps the sole known work of this admirable and unrecorded 
 artist. A fine composition, in the style of Kiyonaga. 
 
 (Illustrated, plate XI) 
 
 YUMISHO 
 
 (Worked c. 1780-90) 
 
 521. A Girl Climbing Steps. ^ ^ . 
 
 On the balcony above sits another girl: the shadow of a man appears on 
 XU the screen. 
 
 Pillar-print. An unusual print, by a wholly unknown artist. This is the only work 
 of his that has come to notice. Vigorous in line. 
 
 /<57 
 
 YEISHI 
 
 (Worked c. 1780-1805) 
 
 522. A Woman and Two Little Girls. C . 
 
 They stand before a railing that encloses peonies : another woman sits Heal¬ 
 th em. 
 
 Size 12x8. The right-hand sheet of a triptych representing the amusements of 
 Prince Genji. 
 
 
 523. A Kneeling Woman. 
 
 Full-size upright sheet. Yellow background. Portions of the design are printed 
 / 0. with mica. In beautiful condition. One of Yeishi’s fine and characteristic 
 
 prints. 
 
 (Illustrated, plate VII) 
 
 524. Three Women Grouped Around a Transparent Screen. 
 
 Full-size upright. In beautiful condition, with an animation of color unusual in 
 
 /& 0 
 
 Yeishi's work. It sings! 
 
 (Illustrated, plate VI) 
 
 
 /6o 
 
 525. The Courtesan Konmrasaki of Kado Tama-ya and Three 
 Attendants Walking Under a Cherry Tree. 
 
 Three tall figures and a girl, drawn in the majestic Kiyonaga manner: in 
 color, a monotone of grays and blacks, lighted up with touches of yellow and 
 terra-cotta. Pale yellow background. 
 
 Full-size upright sheet. One of Yeishi’s most important and famous prints. A 
 superb impression, in admirable condition: one of the most notable prints 
 of the collection. 
 
 (Illustrated, plate VII) 
 
Second Afternoon Session 
 
 
 </* 
 
 520. A Woman in a Black Robe Seated Beside a Tabourette. 
 
 0 Size 13x9. In flawless condition. Printed with yellow background. A characteristic 
 and beautiful design. 
 
 527. A Poetess, with Flowing Antique Robes and Streaming 
 , Hair. 
 
 , 6 
 
 J A ^ Size 10x7. From “The thirty-six Poetesses, Onna saiijin rokkasen, ’ 1798. In 
 beautiful condition. 
 
 jT2 
 
 fo 
 
 528. A Woman Kneeling. 
 
 Size 13x9. 
 
 Z. ^/'efc^/Ccyty. 
 
 Printed on a yellow background. A figure of peculiar grace. 
 (Illustrated, plate III) 
 
 529. Six Women in a Garden. 
 
 
 Two are walking, two are feeding a crane, two more are playing musical 
 instruments. 
 
 Conventional clouds fill the top of the picture: the remainder of the background is 
 a delicate gray. A triptych, of three full-size upright sheets. “Ryaku 
 Tsure-zure Gusa.” 
 
 
 530. A Group of Six AVomen. 
 
 2 ? £ ^ 
 
 
 The scene is the court-yard of a palace; three of the women are playing 
 musical instruments; one on the right carries a tray; two on the left are 
 conversing. 
 
 Two full-size upright sheets, being the middle and left-hand portion of a triptych 
 from the famous “Prince Genji” series. Colored in Yeishi’s characteristic 
 scheme of gray, yellow, violet, blue, and black. 
 
 From the Fenollosa collection. 
 
 531. A Woman and Her Lover Walking in the Fields. 
 
 Pillar-print. A notable print. Few pillar-prints by Yeishi have been discovered. 
 This is a striking design in perfect condition. 
 
 (Illustrated, plate XIII) 
 
 * 
 
 YEISHO 
 
 (Worked c. 1790-1805) 
 
 
 j~#532. A Courtesan Attended by Two Women. 
 
 J "7 They are walking under cherry trees. 
 
 Full-size upright. The left-hand sheet of a triptych. A fine print in flawless 
 condition: rare. 
 
 
 
 533. Two Women Walking by the Sea Under Cherry Trees. 
 
 Size 13x9. A fine print, in flawless condition. 
 
 (Illustrated, plate III) 
 
 
 2 / 
 
Second Afternoon Session 
 
 534. The Courtesan Kiseigawa of Matsuba-ya. 
 
 Pillar-print. Unsigned: but attributable to Yeisho on grounds of style. Opinions 
 AT may, hoivever, differ: this print was attributed to Shuncho in a Paris 
 
 catalogue a feu ; years ago. 
 
 /3 
 
 UTAMARO 
 
 ( 1758 - 1806 ) 
 
 535. Woman Holding a Basket. 
 
 — At her feet kneels another woman whose hands are concealed in her sleeves. 
 
 Size 12x9. 
 
 
 536. The Courtesan Nigi-oi of Matsuba-ya. 
 
 She stands under a cherry tree: beside her, smoking, £its the great Yedo 
 merchant Mitsui. 
 
 Full-size upright sheet; the middle sheet of a triptych. Printed in delicate tones 
 of grey, violet, green and yellow. A famous print, in good condition. 
 
 From the Fenollosa collection. 
 
 (Illustrated, plate V) 
 
 537. A Man with the Basket Hat and /Flute of a Komuso. 
 
 He is standing beside a plum tree: a young girl stands behind him. Without 
 background. 
 
 Size 13x9. In good condition, and soft color. 
 
 
 
 538. Double Bust Portrait of Two Women. 
 
 One is arranging the hair of the other. 
 
 Full-size upright sheet. An exceptionally fine impression, in soft colors. 
 
 (Illustrated, plate VI) 
 
 
 & 
 
 539. A Woman and Two Girls on the Sea Shore. 
 
 Full-size upright. A striking design, in good condition. 
 
 (Illustrated, plate V) 
 
 
 540. The Courtesan Midorigi of Waka-Matsu-ya. 
 
 She is walking with her four attendants under a cherry tree. " / 
 
 Full-size upright sheet. Printed in pale colors and gauffrage. A very early work, 
 under the influence of Kiyonaga: of extreme rarity, and in fine condition. 
 
 A6 
 
 541. Woman and Boy Watching Butterflies Through a Win- 
 
 — Behind them stands another woman holding a child. 
 
 Full-size upright sheet, in fine condition. One of Utamaro’s famous “Silkworm 
 Series.” “Jo-shoku kaiko tewaza kusa.” From the earliest edition, charac¬ 
 terized by yellow, green and violet color-scheme. 
 
Second Afternoon Session 
 
 yf7 — 
 
 
 
 542. The Goddess Benten With Her Chinese Lute. 
 
 She is seated on a veranda: before her sits a man in a grey robe, while a 
 courtesan stands at her side and a girl stands behind her. 
 
 Full-size upright sheet. An early work. 
 
 The theory is advanced by Dr. Kurth that this print is Utamaro's representation 
 of himself, overwhelmed with surprise by the aparition of the Goddess as 
 he dallies in one of the houses of the Yoshiwara. This hypothesis, of great 
 interest, cannot be vouched for: nevertheless, it adds a personal interest to 
 the print. 
 
 
 543. Woman with Naked Breast Sitting on a Bench Under 
 the Crescent Moon. 
 
 Reside her stands a girl with a fan. /f 
 
 Full-size upright. In good condition. The ski/, graded from black into white, is 
 noteworthy. Mr. Gookin has suggested that this print may be by Utamaro 11; 
 but the writer of this portion of the catalog (A. D. F.) reserves his opinion, 
 being unconvinced. 
 
 (Illustrated, plate V) 
 
 
 /7 
 
 544. Half-length Portrait of the Courtesan Myabito of 
 
 Ogi-ya. ^ 
 
 Full-size upright sheet. Mica background. No color: printed from a key-bloc 
 only. This beautiful hut doubtful print, differs in line from the key-block 
 of a famous similar print by Utamaro. Its exact character is difficult to 
 determine. Caveat emptor! 
 
 (Illustrated, plate VII) 
 
 545. A Woman Making Paper Flowers. ^ 
 
 Rehind her stands a man who is examining one of her productions. 
 
 Full-size upright. In good condition. 
 
 
 546. Two Women on the Bank of the Snmida River. 
 
 One is seated, the other holds a battledore in her hand. 
 
 3 ? 0 . Full-size upright sheet. In marvelous condition, with colors at full original bril¬ 
 liance. 
 
 547. Woman Filtering a Room Where Two Other Women 
 
 77 
 
 sjt 
 
 and a Child Are Seated. 
 
 Size 12x9. In fine condition. Early work. 
 
 
 U2^ 
 
 548. Woman With An Umbrella. ^ 
 
 She is receiving an article of clothing from another woman who is washing 
 //-F clothes. 
 
 Full-size upright. In fine condition. The standing figure is of extreme grace. 
 
 (Illustrated, plate V) 
 
 7 
 
 549. Two Hanging Baskets of Flowers. /P/P 
 
 & Size 12x8. Printed in black and grey only. 
 
Second Afternoon Session 
 
 to. 
 
 550. A Pine on the Sea Shore. 
 
 Beneath it two legendary figures, a man and a woman, stand with rake and 
 broom. 
 
 Size 8x17. Printed on surimono paper, in soft colors. 
 
 551. Group of Women on a Balcony. 
 
 „ They are feeding a caged bird. In the centre of the room behind them is a 
 
 2-7 screen bearing a painting of Fuji. 
 
 Full-size horizontal sheet. In superb condition. One of a series of album-sheets, 
 “Otoko Toka,” 1798. 
 
 
 552. A Snowy Landscape. 
 
 In the background, a brook and a house out<fef which a woman is peering: 
 sy in the foreground, the figures of several passers. 
 
 Full-size horizontal sheet. One of an album-series of five entitled “Yehon waka 
 Ebisu,” scenes of New Year’s Day. Date 1786. Dr. Kurth calls this series 
 “ein walires jewel an Farbenschonheit und Technik." In fine condition. 
 
 77 
 
 553. A Girl With a Fan. ^ 
 
 ^ Pillar-print. An early and. notable example of Utamaro's freshest period, c. 1790. 
 
 554. Two Courtesans; Half-length Portraits. ^Z. - 
 
 Pillar-print. A very rich composition. 
 
 555. A Woman Standing Under a Willow. ^ . 
 
 /^7 ^ Pillar-print. 
 
 556. Two Courtesans in Robes of Rich Color. c - 2. 
 
 7 5T Pillar-print. 
 
 SHUCHO 
 
 (Worked c. 1790-1810) 
 
 557. Woman With a Pipe; a Man Beside Her. /f 
 
 ^ Pillar-print. A rare artist. 
 
 7A 
 
 BANKI 
 
 (Worked c. 1795-1810) 
 
 558. Woman Looking Into a Small Mirror. 
 
 __ A man bends over her. 
 
 Pillar-print. A fine and rare work. 
 
 
Second Afternoon Session 
 
 SEKIJO 
 
 (worud. o. mo-mo) £ £ JU'c^V. 
 559. Woman With a Battledore and Ulan With a Fan. 
 
 Pillar-print. 
 
 >7 
 
 YEIZAN 
 
 (Worked c. .1800-1825) 
 
 SJL 560. Seated Woman Holding a Cricket Cage. 
 
 Full-size upright sheet. 
 
 ■?0Cc*- J?, 
 
 
 - 561. Woman Walking Under Cherry Bonglis oh a Windy 
 
 ’ Full-size upright sheet. 
 
 I 1 562. Woman Reading a Letter. ^ ^ . 
 
 Behind her, irises in a vase. 
 
 Full-size upright. 
 
 563. A Mail Carrying a Basket and a Woman Carrying Salt 
 /*£ Water Buckets on the Sea Shore. £ ^^ 
 
 Full-size upright sheet. 
 
 3 % 
 
 YEISHIN 
 
 (Worked c. 1800) 
 
 (? 
 
 
 564. Two Women. 
 
 
 
 One is playing a flute and the other a stringed^instrument. 
 Full-size upright. In fine condition. 
 
 (Illustrated , plate VI) 
 
 TORIN 
 
 (Worked c. 1800) 
 
 
 3* 
 
 565. A Rain Scene. 
 
 jr* The scene shows the inside of a house where two men are playing “Go”, 
 
 and the misty landscape outside. 
 
 Full-size horizontal. From “Otoka Toka”, a book of poems, 1798. In flawless 
 condition: beautifully printed. 
 
 SADANOBU 
 
 (Worked c. tSSO) 'Y ^ 
 
 da. 
 
 566. The Actor Onoye Kikugoro in the Roje of a Female 
 Ghost. 
 
 Full-size upright sheet; background of finely printed gray shading into black. 
 In superb color and condition. Perhaps the best of the works of the Osaka 
 
 School. 
 
Second Afternoon Session 
 
 KIYOMINE 
 
 (1786-1868) 
 
 j j d Double Bust Portrait of a Woman and a Girl. 
 
 / Full-size upright. Grey background: the draperies touched with mica. In won¬ 
 
 derful condition. 
 
 KUNISADA 
 
 (1786-ms) ^ y ^ 
 
 3 0. 568. Woman Emerging from Mosquito Netting. 
 
 Full-size upright. 
 
 
 569. Moonlight Dramatic Scene. ^^ ^ 
 
 A man and a woman on opposite sides of a flaming brazier: a river enci 
 them. 
 
 Diptych, of two full-size vertical sheets. Kunisada produced few works of this 
 quality. Hoc , indeed , he achieves beauty. 
 
 J&. 
 
 
 KUNIYOSHI 
 
 (1798-1861) 
 
 570. Nissaka on the Tokaido Road. 
 
 A landscape with mountains: five travelers in the foreground are ga the row 
 around a stone which marks the spot where a murder occurred. 
 
 Full-size horizontal sheet. A fine impression. 
 
 571. A Tiger Surprising Two Men. 
 
 jrjf The older flees, the younger attempts to frighten the beast away. 
 
 Full-size horizontal. A fine copy. From a series—“Examples of Filial Piety.” 
 
 T'?' 
 
 572. Man with An Adze Hurrying Through Snow, w y* ^ 
 
 SJ? Full-size horizontal sheet. A fine copy. From the same series. /V' ^ ■ 
 
 
 573. The Night Attack by the Forty-Seven Ronin. 
 
 Under the winter moon, the armed band are seen climbing the snowy outer 
 ^ wall of the palace of their enemy. ^ 
 
 Triptych, of three full-size upright sheets. Fine impression. 
 
 SHTJNSEN 
 
 (Worked c. 1740-60) 
 
 574. Three Women Dipping l T p Salt Water on the Sea Shore. 
 
 £ Full-size horizontal sheet. 
 
Second Afternoon Session 
 
 
 / 
 
 
 GAKUTEI 
 
 (Worked c. 1730-1760) 
 
 575. A Fleet of Fishing; Boats. 
 
 The sails are sweeping into the harbo/ of Osaka under the rays of the 
 setting sun. 
 
 Full-size horizontal sheet. 
 
 /7 
 
 GOSOTEI TOYOKUNI 
 
 (c. 1777-mo) n 
 
 576. Evening Rain at Oyama. 
 
 g-p A precipitous mountain, slashed by torrents of rain, appears in the fore¬ 
 
 ground : far off to the left. Fuji is dimly visible. 
 
 Full-size horizontal sheet. Marvelous printing and flawless condition. From the 
 series “Meisho Hakkei, 1S30.” 
 
 577. Evening Bell at Kamakura, ^ sr ' - 
 
 Across the temple-roofs and court-yard the sea is visible and the mountains 
 beyond. 
 
 Full-size horizontal sheet. In flawless condition. This print is an extraordinary 
 triumph of delicate gradation in printing. From the same series. 
 
 HOKUJU 
 
 (Worked c. 1835) 
 
 C - . 
 
 
 /7 
 
 *T0 
 
 578. The Roman Forum. 
 
 Full-size horizontal sheet. In fine condition. A curious design, derived from a 
 European illustration. Designed in almost exact imitation of an earlier 
 print by Toyoharu of the same subject, inscribed “A Tower in France, after 
 the Dutch.” Attributed to Ilokuju with some hesitation. (?) 
 
 HOKUSAI 
 
 (1760-1849) 
 
 Prints from the famous “Thirty Six Views of Fuji.” 1823-29. All full-size 
 horizontal sheets. 
 
 27 
 
 jc), 579. The Tama River in the Province of Musashi 
 
 £ O. 
 
 
 Fuji seen across the stream on which a boat is struggling. 
 
 580. Mishima in the Province of Kai. 
 
 7f77r.^ 
 
 Three men are trying to measure a gigantic pine tree, beyond which rises 
 the peak of Fuji. 
 
 (Illustrated, plate VIII) 
 
 The Great Wave of Kanazawa. 
 
 The wave is rising as if to engulf two boats that swim in its trough; Fuji 
 seen in the distance. 
 
 (Illustrated, plate VIII) 
 
Second Afternoon Session 
 
 7 ^ 
 
 js: 
 
 3s. 
 
 582. Ascent of Fuji. 7^" 7 
 
 Pilgrims are climbing tlie tawny rocks, with white mist curling pnout 
 
 them. 
 
 In marvelous condition. 
 
 /* 
 
 77 
 
 583. Fuji Seen Through the Piers of the Manners Bridge 
 
 Across the Fuku River. 
 
 584. Fuji Seen at Tago on the Tokaido. 
 
 In the foreground, the sea with two large junks struggling with the waves. 
 
 585. Fuji Seen Across the Roof of the Hongwanji Temple at 
 Asakusa. 
 
 
 
 586. Ejiri, in the Province of Sunshu. e ~ ^ 
 
 Fuji is seen across rice-fields, where travelers are struggling with the 
 antics of the wind. 
 
 Pt: pt^. 
 
 587. Fuji Seen from Gotenyama, Across the Sumida Rrv 
 
 In the foreground are masses of cherry blossoms, with people picknicking 
 beneath them. A fine copy. 
 
 588. Ushibori in the Province of Hitati. P^c<r , 7^3 
 
 / 7 ^ Fuji appears beyond a great junk which is moored among the water re^ds. 
 
 0*. 
 
 589. Fuji Seen from the Pagoda of the Five Hundred Italian 
 at Yedo. s77 77 
 
 Visitors leaning on the balcony are looking at it across a lake. 
 
 590. Portion of a Daimyo’s Procession Crossing a Bridge. 
 
 / Full-size horizontal sheet. From an album. 
 
 / 
 
 591. Group of Women and Children Beside a Stream. ^ ^ 
 
 & Full-size horizontal sheet. From an album. 
 
 592. Yoshitsune Serenading Jorurihime. y 
 
 The Prince with two attendants stands outside the garden; withinTfhe 
 
 P7 
 
 
 en¬ 
 closure appears the palace, and several ladies with lanterns are coming 
 to scrutinize the intruder. 
 
 Full-size horizontal sheet, signed “Shunro.” A rare, curious and early design by 
 Holcusai; in good condition. 
 
 593. The Yahagi Bridge of Okazaki, on the Tokaido. ' 
 
 A high curved span that crosses an almost dried-up river bed where 
 archers are practicing. 
 
 Full-size horizontal sheet in fine condition. From the series, “Shokoku Meikio 
 Kiran,” the famous bridges, 1729-30. 
 
Second Afternoon Session 
 
 594. The God Darnma Seated. 
 
 Size 8x7. Printed in red. green and grays. A Snrimono. 
 
 -(Muntrated, p l a t e XYI1-) 
 
 595. Two Birds Flying Under a Branch of Wistaria. t 
 
 ^ <, Full-size horizontal. 
 
 Though signed “Hokusai,” this is not by him; it is a design drawn from Taito's 
 “Kwacho Gwaden,” Osaka, 1848. 
 
 — (lUustratt ' d, plait: -X-V !I -)— 
 
 HIROSHIGE 
 
 (1797-1858) 
 
 (See notes preceding Lot No. 81 in the first session.) 
 
 596. Memorial Portrait of Icliirynsai Hiroshige, Drawn 
 Toyoknni (Knnisada). 
 
 The portrait was issued in the month in which he died. The inscription, 
 which is most interesting, translated, reads: 
 
 Ryusai Hiroshige is a distinguished follower of Toyohiro, who was a follower of 
 Toyoliaru, the founder of the Utugawa School. At the present time, Hiroshige, Toyo- 
 kuni (KuniSada) and Kuniyoshi are considered the three great masters of Ukioye — 
 no others equal them. Hiroshige was especially noted for landscape. In the Ansei era 
 (1854-59) he published the Yedo Hyakkei (100 views) which vividly present the scenery 
 of Yedo to the multitude of admirers. About this time also appeared a magazine, en¬ 
 titled Kyoka Yedo Meisho Dzuye (sonnets on Yedo scenes), a monthly, illustrated by 
 Hiroshige, and displaying his wonderful skill with the brush to the admiration of the 
 world. He passed away to the world beyond on the 6th day of the 9th month of this 
 year, at the ripe age of 62. He left behind a farewell sonnet: “Azuma Ji Ni Fude 
 ITo Nokoshite Tabi A'o 8ora; Nishi No Mikuni No Meisho Wo Mimu.” 
 
 Translation: “Dropping my brush at Azuma (eastern capital) I go the long jour¬ 
 ney to the western country (Buddhist heaven is west) to view the wonderful sceneries 
 there.” 
 
 This is by Temmei Rojin. 
 
 Over the signature Toyokuni are the few characters in a running hand reading. 
 
 “Omoi kiya ralcurui nagara ”—- 
 (“While thinking of him we shed tears.”) 
 
 Seal date: Horse year 9, i. e., the accepted date of his death. Ansie 5 (1858). The 
 publisher’s seal is that of Uwoyei, who published the 100 views of Yedo; the engraver 
 Yokokawa Take. The seal following the signature of Toyokuni reads: Ki En Ikku, 
 a Buddhist phrase meaning life is a mere puff of smoke, so short. Hiroshige is rep¬ 
 resented in a priestly garb of green with a thin black gauze over-garment. Note the 
 crest on the robe—a device equivalent to a monogram, composed of the two syllables 
 Hi and Ro combined in diamond shape, used often by the artist as a seal. (Happer 
 catalogue.) 
 
 Artist's impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 (Musirated, plate XV) 
 
Second Afternoon Session 
 
 EIGHT BLUE PRINTS 
 
 There have occasionally turned up in Japan a few Hiroshiges printed on surimono 
 paper, blue having been used where the usual printing was in green. Evidently very 
 few were thus printed. Until about four years ago less than half a dozen were in 
 the known American collections. At that time Mr. C. H. Chandler, of Evanston, the 
 most industrious collector of Hiroshiges in this country, acquired about forty at one 
 time, only a part of which were in fine condition. The blue prints here shown came 
 from this lot. During the last three years only three or four prints of this kind are 
 known to have come out of Japan. The wonderful quality of the blue makes these 
 prints distinguished. It is rich and delicate, deep and glowing and altogether lovely. 
 
 597. Sundangi Dangoznka. 
 
 
 77 ^' 
 
 No. 16 of the Hundred Mews of Yedo. 
 
 Cherry gardens at Dango Zuka. Cherry trees in the foreground. Two tea¬ 
 houses joined by a bridge overlooking the scene. A blue-print rich in 
 color. 
 
 Artist's impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 598. Go hyakii Rakan Sazaido. 
 
 The hall of the Five Hundred Rakan at Sazaido. No. 70 of the Hundred 
 Views of Yedo. A corner of the temple on the right with five people on the 
 balcony looking over the flat rice fields. A blue-print soft in color. 
 
 Artist's impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 . 
 
 7 
 
 599. Miya. 
 
 No. 42 of the full size vertical Tokaido set. A blue-print rich in color. 
 Good impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 600. Ilammamatsu. 
 
 7 ^ 
 
 
 4 ? 
 
 
 
 37 
 
 No. 30 of the full size vertical Tokaido set. A blue-pmit, soft in color. 
 sy Artist's impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 601. Hakone. y 
 
 No. 11 of the full size vertical Tokaido set. A blue-print soft in color. 
 •XO Artist's impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 602. Takata, Siigatami no haslii, omoka^i no liashi, Jariba. 
 
 “The deposit place for small stones used in mending roads, between the 
 Sugatami and Omakagi bridges.” View of a field between a Dobaslii over 
 which four people are passing and another away over among the trees. 
 No. 116 of the Hundred Views of Yedo. A blue-print in brilliant state. 
 Artist's impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 (Illustrated , plate XXIV) 
 
 \ 
 
Second Afternoon Session 
 
 / 0 0 . 
 
 
 
 
 21 
 
 
 603. Yosuki dori, you sui Hikifune. Jf'/f 
 
 ‘•The water business of hauling boats on the canal atf Yosuki.” Men Valk- 
 ing along a yellow bank towing boats. Fine in design. A blue-print, soft 
 in color. A remarkable impression in its sketchy effects. No. 33 of the 
 Hundred Views of Yedo. 
 
 Artist's impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 (Illustrated, plate XXIV) 
 
 
 604. Kuwana. 
 
 
 - V 
 
 No. 43 of the full size vertical Tokaido set. A blue-print, rich in color. 
 Fine impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 FUJI SAN RAKKEI 
 
 Thirty-sir views of Fuji. Full-size vertical plates; a part of the set. 
 
 The preface to this set states that the illustrations were received “last spring” 
 (1858) ; that the artist died in (he 9th month “last year,” and the plates were care¬ 
 fully published as “an offering of sincere respect to my deceased friend.” 
 
 605. Shoshiyu. 7 // 
 
 A man on a raft with smoke ascending. White heron alighting in fore¬ 
 ground. 
 
 A sparkling print. 
 
 Artist’s impression. Publisher's state. 
 
 Signed: Hiroshige. 
 
 (Illustrated, plate XXI) 
 
 606. Sui'uga Satta ato Kaijo. 
 
 
 The sea coast at Satta Point with a great wave rising on the right. 
 Fine impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 / 
 
 // 
 
 607. Asukayama. '' 4 
 
 Cherry trees on a green sloping field, a group of five people looking at them 
 ^ 2 ? and two men advancing toward them. 
 
 Artist's impression. Publisher's state. 
 
 Signed: Hiroshige. 
 
 608. Musashi Koganei. 
 
 Fuji seen through a hole in the trunk of a cherry tree by the side of a 
 stream. 
 
 A well known design in a beautiful printing. 
 
 Fine impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
Second Afternoon Session 
 
 609. Meguro. 
 
 cZ. V . 
 
 $7 
 
 Fuji seen between two maples on a yellow hillside. The grass a rich, bril¬ 
 liant yellow, the maple leaves a delicate pink. 
 rfA' A rare printing. One of the gems of the collection. 
 
 Artist's impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 (Illustrated, plate XXI) 
 
 610. 
 
 
 
 
 
 Soshn Hakone no Kusui. 
 
 The Lake of Hakone surrounded by green-topped, yellow-fat:ed cliffs and 
 Fuji beyond with a white cloud round its sides. Exquisite shades of green 
 and yelloiv. 
 
 Artist's impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 611. 
 
 
 612. 
 
 /&. 
 
 Ise Fntaini ga ura. 
 
 The Husband and Wife Rocks lashed together with straw ropes. The 
 shading in the rocks is a fine piece of printing. 
 
 Artist's impression. Collector's state. 
 
 Signed: Hiroshige. / 
 
 /) 
 
 Musashi Noge Yokohama. ^' 
 
 A strip of pine-covered land stretching out to sea from the village'formerly 
 named Noge, and six junks sailing. 
 
 Vine impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 613. 
 
 jTo> 
 
 
 Tokaido Yoshiwara. * •, 
 
 An old priest and a woman under great pine trees and peasants working in 
 a rice field. Note delicacy of printing in the foreground. 
 
 Artist’s impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 614. Snkiya Gashi. 
 
 
 
 
 
 
 The moat around Yedo castle in snow with boats moored and the castle 
 Aj 5 ' wall on the right. 3 
 
 Fine impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 VIEWS OF THE SIXTY-ODD PROVINCES 
 
 Vertical full-size plates; publisher Koshimuraya Heisuke; on each plate are 
 stamps of date, publisher and engravers, five in all. 
 
 615. Isliiiiiy. 
 
 i. X 
 
 Three water carriers and two clam gatherers on a beach with hills on the 
 left. 
 
 Fine impression. Collector's state. 
 
 Signed: Hiroshige. 
 
Second Afternoon' Session 
 
 
 616. Slii mo osa. 
 
 
 Five figures on the shore of a body of water with Fuji in tlie distance. 
 Fine impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 A rain scene. The rain falls in ribbons; a man’s hat flying in the air. An 
 
 /£>• 
 
 unusual rendering of a rain storm. 
 Fine impression. Collector's state. 
 Signed: Hiroshige. 
 
 618. Idznino 
 
 Three women in the foreground. Two figures disappearing in a misty 
 
 
 forest. 
 
 Good impression. Collector's state. 
 S igned: H i roshige. 
 
 619. Mariko. 
 
 A low shore with scraggly pines. T famous print. 
 Artist's impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 / 
 
 620. Ivai sarnhashi. 
 
 Monkey bridge. A fine copy of a well lenown print. 
 0 . Fine impression. Collector's state. 
 
 Signed: H iroshige. 
 
 621. Yamato. 
 
 Boatman on a raft in a river. A cliff at the right with reu leaves partly 
 oxidized. 
 
 Fine impression. Collector's state. 
 Signed: Fliroshige. 
 
 622. Tsushima 
 
 A low promontory in center foreground. A number of boats and hills in 
 the distance. A fine rainbow crosses the upper part of the print. Th( 
 three rainbow prints shown in this collection arc the only ones that have 
 come under our observation. A plate of great beauty. 
 
 Artist's impression. Publisher's state. 
 
 Signed: Hiroshige. 
 
 623. Oki Takibi Yashiro. 
 
 Fire temple, Province of Oki. Two large junks with their prows facing the 
 shore where is a pathway leading to a Shinto shrine. The water is a fine 
 piece of printing. 
 
 Artist's impression. Collector's state. 
 
 Signed: Hiroshige. 
 
Second Afternoon Session 
 
 (324. Io yo. 
 
 
 
 A large furled sail in the foreground; a startling flight of geese across 
 sky above it. A very decorative design. 
 
 Fine impression. Collectors state. 
 
 Signed: Hiroshige. 
 
 the 
 
 625. Awa no narnto. 
 
 £ r 
 
 
 The whirlpool of Awa on the south shore circuit. A bold design. 
 Fine impression.. Collector's state. 
 
 Signed: Hiroshige. 
 
 ✓ 
 
 
 626. 
 
 S’# 
 
 
 Yedo. 
 
 A night scene. A crowded street before Akasuka Temple. 
 fused design, but soft and beautiful in color. 
 
 Artist's impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 UPRIGHT PANEL PRINTS ABOUT 5 INCHES BY 14% INCITES 
 
 627. The Four Seasons in Yedo. ^ 
 
 Spring, cherry blossoms at Gotenyama. Mother and child undew a cherry 
 tree with junks in the distance. 
 
 Fine impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 628. 
 
 /> ^ 
 
 Asnkayama. 
 
 Spring view. A small canal at the base of a hill. 
 Fine impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 
 629. The Four Seasons in Yedo. 
 
 Summer. Ryokoku bridge. 
 
 — Good impression. Publisher's state. 
 Signed: Hiroshige. 
 
 
 *MU TAMA GAWA—PANEL SERIES ABOUT 5 IN. BY 14% IN. 
 
 630. Settsn. 
 
 
 Two women pounding clothing with mallets in the moonlight. 
 Fine impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 (Illustrated, plate XXIV) 
 
 631. Omi. 
 
 A poet gazing at 
 "7 Fine impression. Good 
 
 / Signed: Hiroshige. 
 
 the reflection of the moon in the water. 
 state. 
 
Second Afternoon Session 
 
 632. Yama sliiro. 
 
 The poet on a horse fording the river. 
 Good impression. Ordinary state. 
 
 Signed: Hiroshige. 
 
 
 /J7 
 
 633. Musachi. 
 
 
 A woman standing on a rock washing clothes. 
 Fine impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 /V. 
 
 634. Kii Koga. 
 
 Go. 
 
 Poet crossing a foot-bridge gazing at a waterfall. 
 Good impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 635. Michinokii, Noda. 
 
 
 /JT 
 
 A poetess stands gazing at a liock of sanderlings. 
 Fine impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 MARUZEI TOKAIDO 
 
 Full-size horizontal plates. Each one is numbered and stamped or signed with 
 the publisher’s name Maruzei. This set contains many fine designs. Fine impressions 
 and generally fine condition. 
 
 636. Shinagawa (No. 2 ). 
 
 Tea house on the shore of the bay. 
 decorated with Hiroshige’s diamond seal. 
 
 Fine impression. Good state. 
 
 Signed: Hiroshige. 
 
 Junksfat anchor; at the left a lantern 
 
 637. Kawasaki (No. 3). 
 
 0/(y „ /f/- , 
 
 Two heavily loaded ferries in the foreground. A junk in full sail beyond. 
 Fine impression. Good state. 
 
 Signed: Hiroshige. 
 
 638. Hodogaya (No. 5). 
 
 / 1 '. ^' 
 
 A snow scene. A bridge crossing a stream with houses at each end. Note 
 the grain of the wood in the ski/ and water. 
 
 Fine impression. Publisher's state. 
 
 Signed: Hiroshige. 
 
 639. Totsuka (No. 6). 
 
 A road with travelers on the left. 
 Good impression. Good state. 
 
 Signed: Hiroshige. 
 
 
Second Afternoon Session 
 
 
 7 
 
 /> 
 
 640. Mishima (No. 12). 
 
 A village street. Trees, torii and open shops. The grain of the wood is 
 '£7 ? ’ noticeable. 
 
 Good impression. Collector's state. 
 
 Signed: H iroshige. 
 
 641. Numadzu (No. 13). 
 
 Houses in a grove of trees, in the foregrounds Fuji towering above a range 
 
 
 of hills in the distance. 
 
 Fine impression. Collector's state. 
 Signed: Hiroshige. 
 
 /> 
 
 
 642. I-Iara (No. 14). : 
 
 Three travelers and a horse on a yellow road. Fuji covers half the plate. 
 
 Fine impression. Collector's state. 
 Signed: H iroshige. 
 
 C/ts, _ 
 
 > 
 
 v7 
 
 77 
 
 643. Yoshiwara (No. 15). 
 
 A group of travelers, one on a horse. Fuji in the distance. Hiroshige’s 
 diamond seal. 
 
 Artist's impression. Publisher's state. 
 
 Signed: Hiroshige. 
 
 644. Okitsu (No. 18). ^ 
 
 j-p. Junks under full sale. Fuji on the left. Hiroshige’s Qitfmoud seal. 
 
 Good impression. Good state. 
 
 Signed: Hiroshige. 
 
 045. Mariko (No. 31). // 
 
 A snow scene. A village in a valley. Hiroshige's diamond seal. 
 
 Good impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 646. Fujieda (No. 23). ^ ^ AZ*^f&***^*^. 
 
 Four travelers endeavoring to protect themselves from the rain. Two large 
 trees and a small stack of yellow straw. 
 
 Fine impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 ^7 
 
 647. Shimada (No. 24). 
 
 Travelers fording a river. 
 Fine impression. Publisher's state. 
 Signed: Hiroshige. 
 
 
 648. Nissaka (No. 26). 
 
 A large stone and three large trees in the foreground. 
 JZ C? Ai'tist's impression. Publisher’s state. 
 
 Signed: Hiroshige. 
 
 < 7 ^ / 
 
Second Afternoon Session 
 
 649. Fuji Kawa (No. 38). 
 
 A daimyo’s procession between two green hills. 
 Good impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 650. Hamamatsu (No. 30). 
 
 
 Two men and a woman near two crooked pines on the sea shore. Boats 
 ■yS' 0 tossing on the rough waters beyond. A noted print. 
 
 Late impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 651. Miya (No. 42). 
 
 £ x?. , 
 
 
 A group of boats at anchor near a pier on the right. Five boats under 
 full sail coining into the picture on the left. 
 
 Fine impression. Publisher’s state. 
 
 Signed: Hiroshige. 
 
 <^d. 
 
 652. Kuwana (No. 43). 
 
 A large ferry boat tills the plate. 
 
 
 
 Fine impression. Collector’s state. 
 Signed: Hiroshige. 
 
 
 / 
 
 7n^>. 
 
 653. Isliiyaknshi (No. 45). y 
 
 A street scene. Every one is busily engaged, especially one of the men in 
 — the near foreground who appears to be speaking in great earnestness. 
 
 Fine impression. Publisher’s state. 
 
 Signed: Hiroshige. 
 
 654. Shono (No. 46). 
 
 A bontire built bet\ two leafless trees. A village in tne distance. 
 fresh impression. The i Lite paper fairly glistens. 
 
 Artist’s impression. Publisher’s state. 
 
 Signed: Hiroshige. 
 
 (Illustrated, plate XXV) 
 
 A 
 
 
 
 <D . 
 
 655. Kameyama (No. 47). ' 
 
 A moat before a castle. Travelers and pine trees on a yellow ground. 
 Fine impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 
 656. Held (No. 48). 
 
 A snow scene. A Torii with stone lanterns on each side. Hiroshige’s dia- 
 
 
 
 mond seal. 
 
 Fine impression. Publisher’s state. 
 Signed: Hiroshige. 
 
Second Afternoon Session 
 
 /> 
 
 657. 
 
 Sj 
 
 Mizn Knchi (No. 51). 
 
 A narrow road between green hills, 
 clouds beyond. An attractive design. 
 
 A man leading an ox; white, fluffy 
 
 Fine impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 658. Ishibe (No. 52). 
 
 The interior of an inn. A tree and stone lantern. 
 Artist’s impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 
 HIROSHIGE AND YE [SEN 
 
 The Sixty-nine Stations of the KisoJcaido, the inland route between Yedo and 
 Kyoto. An important series of masterpieces, some plates by Hiroshige and some by 
 Keisai Yeisen. Full-size horizontal plates. Fine impressions of the original edition 
 are rare. 
 
 The descriptions follow the Happer catalogue. 
 
 /> 
 
 659. 
 
 .c e 
 
 A 
 
 TJrawa Station. ^ ^ r 
 
 By Yeisen. In the foreground a peasant leads'a pack horse, while a 
 traveler with an attendant porter leisurely plods along. In the background 
 is the volcanic Mount Asama, with smoke issuing from its crater; by 
 Yeisen, sealed Taki-TJchi-Hoyeido. (No. 4.) Rich in color, 
 rtist’s impression. Collector's state. 
 
 660. Omiya Station. 
 
 
 /-y 
 
 By l^eisen. Fuji appears in the background; in the foreground a traveler, 
 carried in a Kago, journeys comfortably. Cherry trees are in full bloom : 
 sealed Hoyeido, no signature. (No. 5.) 
 
 Artist’s impression. Collector's state. 
 
 661. Hon jo Station. 
 
 
 By Yeisen. Crossing of the Shinryu River. Part of the river is spanned 
 bv a plank and post bridge, over which a Pnimyo cortege is passing; the 
 deeper section of tlm stream requires ferry boats. Yellow, orange and blue 
 hills fill the horizon; no signature, no seal, except the plate number in 
 red. (No. 11.) 
 
 Fine impression. Collector’s state. 
 
 662. 
 
 A 
 
 A 
 
 Itabana Station. 
 
 By Yeisen. A snow scene. The rosy horizon accentuates its snowy lust 
 Yeisen, when at his best, was capable of grand work, and is the peer of 
 Hiroshige: sealed Ikenaka Tseiri: not signed. (No. 15.) 
 peculiar feature of the plate is that the title is in Hiroshige's script; this , with 
 the absence of any signature, might cause confusion were the style not un¬ 
 mistakably Yeisen. 
 rtist's impression. Collector's state. 
 
Second Afternoon Session 
 
 663. Matsuida Station. 
 
 a,. J. 
 
 7 
 
 By Hiroshige. A print in which blue and spring-green are the prevailing 
 5^Ji- colors. Along a hillside are travelers and pack horses; a tiny wayside 
 
 shrine with its votive dags stands beneath an old tree; an orange glow 
 lights up the background; signed Hiroshige and Ichiryusai in seal, Kin- 
 judo seal (No. 17). A striking composition. 
 
 Artist's impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 664. Sakamoto Station. 
 
 By Hiroshige. (?) Along the side of a narrow rapid stream, probably an 
 artificial channel to bring water to the village, is a row of small houses 
 • with blue, yellow and slate roofs; at the back a sugar-loaf hill, green 
 
 streaked with brown, covers the greater part of the block; sealed Iseiri 
 (No. 18). 
 
 In the absence of signature it is difficult to rightly determine the artist. Like 
 No. 16, the title is Hiroshige script, arid while the picture may be Yrisen, we 
 place it as Hiroshige, (llapper.) Mr. llappcr attributes this plate to Hiroshige. It 
 strikes me that it should be Yeisen. 
 
 Good impression. Collector's state. 
 
 665. Kutsu Kake Station. 
 
 By Yeisen. Yeisen’s best rain storm, a fit companion to any of Hiroshige’s 
 rain scenes; (No. 20). 
 
 Good impression. Collector's state. 
 
 A 
 
 C 
 
 
 666. Shionada Station. 
 
 By Hiroshige. A perfect landscape, hills, streafn 7 and trees, the sky suf¬ 
 fused with the after-glow of a summer’s sxinset, while darkness falls heavily 
 on the distant hills; in a thatched house coolies nearly nude are resting, 
 '• a group of three chat together as they walk; signed Hiroshige, sealed 
 
 Ichiryusai Kinjudo (No. 24). Exceedingly rare and beautiful in this 
 printing; a great treasure. 
 
 Artist's impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 (Illustrated, plate XVfH) < 
 
 667. Mochiznki Station. 
 
 /] 
 
 CK 
 
 0 . 
 
 By Hiroshige. A row of rugged gnarled pines line the road, and are dimly 
 visible in the valley beyond, the full moon lights up the scene except in 
 the deep blue at the oase of thfe hills; signed Hiroshige, sealed Kinjudo 
 Ichiryusai (No. 20). 
 
 Artist's impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
Second Afternoon Session 
 
 / . 
 
 __ ^ L^. £<-<^Le _ 
 
 668. Ashida Station. 
 
 By Hiroshige. A very odd plate; the green, blue and red-brown blocks are 
 in continuous sheets, except where the grey road cuts into the green block, 
 y^" resembling stage scenery as it projects in successive planes from the wings; 
 
 the effect, however, is not unpleasing; signed Hiroshige, sealed Ichiryusai, 
 Kinjudo (No. 27). A daring and effective design. 
 
 Fine impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 669. Nagakubo Station. 
 
 
 By Hiroshige. Moonlight and 
 Ichiryusai (No. 28). 
 
 Fine impression. Collector's state. 
 Signed: Hiroshige. 
 
 mist; 
 
 Jf x? 
 
 signed Hiroshige, seals Kinjudo. 
 
 670. Shiojiri Toge. 
 
 
 By Yeisen. This is a pass leading away from Kuwa Lake depicted covered 
 with ice; in the foreground travelers are admiring the unusual sight of 
 men and horses crossing the ice, the surrounding hills are snow-covered, 
 and Fuji appears in the background. (No. 31.) 
 
 Fine impression. Publisher’s state. 
 
 -<sc 
 
 671. Semba Station. ^ 
 
 By Hiroshige. A delicate summer scene. (No. 32.) A supreme print. One 
 X/o. of Hiroshige’s finest designs in exquisite greens, grays, yellows, pinks and 
 
 blues. 
 
 Artist’s impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 (Illustrated, plate XV111) 
 
 672. Motoyama Station. 
 
 
 yy 
 
 By Hiroshige. In a gap between two hills a huge tree has fallen across 
 Ike road, the wreckage of a typhoon, temporarily propped up; under it sit 
 two sawyers, smoking; signed Hiroshige Gwa, seals Ichiryusai, Kinjudo 
 (No. 33). 
 
 Fine impression. Collector’s state. 
 
 yy 
 
 673. Atsukawa Station. 
 
 
 
 Bv Hiroshige. Again a comfortable inn is found after the mountain climb; 
 
 here are the various travelers resting; interesting in itself, it is most valu¬ 
 able for the bits of information on the sign-boards; signed Hiroshige, seals 
 Kinjudo, Ichiryusai (No. 34). 
 
 On the sign-boards are the names of the engraver Matsushima Fusajiro and 
 printers Matsumura Yasugoro and Kameta Ichitaro; there is no date. The number 
 of the plate, instead of being in a red seai, as on all other plates, is on the horse 
 
 cloth. 
 
 Fine impression. Collector’s state. 
 Signed: Hiroshige. 
 
Second Afternoon Session 
 
 674. Miyanokoshi Station. 
 
 
 By Hiroshige. The finest picture of mist and moonlight of any known print: 
 the poetry of calm moonlight softened by the mists of the valley is faith- 
 fully represented, only an artist-poet could thus fix indelibly the evanescent 
 scene; signed Hiroshige, seal Iehiryusai. (No. 37). 
 
 Fine impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 675. Fnknsliima Station. 
 
 Bv Hiroshige. A place of some importance; the picture shows the entrance 
 to the town between green banks through a barrier gate and a guard house; 
 the blue and green are rich colors, grand old trees project on either side 
 of the road: seals Kinjudo, Iehiryusai (No. 38). 
 
 Fine impression. Publisher's state. 
 
 Signed: Hiroshige. 
 
 
 676. Suwara Station. 
 
 
 
 By Hiroshige. A sudden shower, coolies rush to the tea house for shelter: 
 in the misty background a horseman and attendant pull straw mats over 
 their heads as protection from the rain; in the tea house one of the 
 travelers takes the opportunity to write on the smooth wooden post; seals 
 Iehiryusai, Kinjudo (No. 40). 
 
 Fine impression. Publisher's state. 
 
 Signed: Hiroshige. 
 
 677. Santono Station. 
 
 
 By Hiroshige. A foreground of golden Suzuki grass, beyond a rounded 
 green hillock crowned with flowering plum-trees, and two wooden Torii 
 over the path to a shrine; seals Iehiryusai, Kinjudo (No. 421. In brilliant 
 state. 
 
 Fine impression. Publisher's state. 
 
 Signed: Hiroshige. 
 
 //O. 
 
 . y. y? u .t .= ,7 <■ < y. 
 
 678. Oi Station. 
 
 By Hiroshige. While snow does not last long in tne part of Japan covered 
 by the Kiso Kaido, yet heavy snowfalls are not uncommon during January 
 to March; there is no finer representation of falling snow in any of his 
 other series; sealed Iehiryusai (No. 47). 
 
 Artist's impression. Publisher's state. 
 
 Signed: Hiroshige. 
 
 (579. Ontake Station. 
 
 Jy/. 
 
 
 By Hiroshige. A mountain tea-house at the top of the pass with charac¬ 
 teristic groups of peasants and travelers; in the distance are lofty peaks: 
 perfect condition, fine color; sealed Iehiryusai (No. 50). 
 
 Artist's impression. Publisher’s state. 
 
 Signed: Hiroshige. 
 
Second Afternoon Session 
 
 680. Unuma Station. 
 
 By Yeisen. On the right a hne castle and tower with its huge stone 
 battlements overlook the river and surrounding country; in the left distance 
 loom up the peaks of Inu Yama; not signed, sealed Hoyeido (No. 53). 
 Artist’s impression. Publisher’s state. 
 
 681. Akasaka Station. 
 
 By Hiroshige. Against a graded, slate-grey sky the leafless trees stand 
 ^ sharply limned; the yellow roofs contrast strongly with the green cloak 
 
 of the traveler crossing a rustic bridge; a tine composition with striking 
 color (No. 57). 
 
 Fine impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 682. Tarui Station. 
 
 
 
 CP. 
 
 By Hiroshige. Up and out of an avenue of lofty trees comes the noble with 
 his retinue; stone faced walls indicate the importance of the town. On 
 either side are comfortable tea-houses. It is raining hard, and straw rain¬ 
 coats are plentiful; seal Ichiryusai (No. 58). 
 
 Note the prints in the tea-houses; prints pasted on lime-plastered walls soon 
 lose their color. 
 
 Artist’s impression. Publisher's state. 
 
 Signed: Hiroshige 
 
 683. Echigawa Station. 
 
 
 By Hiroshige. The bridge over the Echi river is intact, and travelers 
 are crossing it. On the bank two pilgrims in white, with huge green hats, 
 are most effective; distant hills are streaked with mist, and daybrefili 
 lights up the blue sky; sealed Ichiryusai (No. 66). 
 
 Fine impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 
 684. Busa Station. 
 
 By Hiroshige. Numerous and varied are the bridge^/shown in this series; 
 here is a bridge of boats over a narrow but rapid stream; on either shore 
 bamboo-grass waves gracefully in the wind; in the background is a small 
 house where toll is taken for crossing, and varied types of humanity 
 appear on the bridge (No. 67). This plate, like the foregoing, is number 
 66. It should be as here. 
 
 Fine impression. Publisher’s state. 
 
 Signed: Hiroshige. 
 
Second Afternoon Session 
 
 OMI HAKKEI 
 
 Eight views of Lake Biwa 
 
 A complete set of eight full-size horizontal plates. Illuminated poem in a square; 
 publisher, Yeisendo. “Eight Views.” The Eight Vie tvs, originally subjects of Chinese 
 poetry, were eagerly adopted and ascribed to various picturesque scenes in Japan. 
 Wherever the locality, the themes were: Evening Snow; Autumn Twilight Moon; 
 Evening Rain; Vesper Bells; Boats Returning to Their Berths; Ceese Flying to Rest 
 in the Marshes; the, Sun Setting in Splendour; Clearing Skies After a Day of Storm. 
 Kyoto praised the appropriate setting afforded by Lake Biiva, called Omi Hakkei, 
 Omi being the name of the province; Yedo claimed equally beautiful scenes in its 
 vicinity; while both admired Kanazawa, the land-locked inlet in Yedo Bay. 
 
 085. Seta, Sunset. 
 
 The long bridge afforded a magnificent outlook. 
 Artist's impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 r. 
 
 686. Geese at Katada. 
 
 
 
 A 
 
 The title theme is a mere suggestion of geese; here are a golden sky, 
 picturesque boats. 
 
 Artist's impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 (Illustrated, plate XVIII) 
 
 'V 
 
 37 
 
 7K 
 
 687. Ishiyama, Moon. 
 
 Rocky wooded cliffs tower on the left; far in the distance roundecf hills, 
 partly veiled in mist, encircle the lake; a sheen of light is just tinged with 
 blue in the shadows, its broad surface divided by a mere hint of the long 
 bridge of Seta; the sky shades from light to dark blue, out of which the 
 full moon shines. 
 
 Artist’s impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 688. Karasaki, Evening Rain. 
 
 JO. 
 
 The famous old pine tree, its wide-spreading limbs supported by a forest 
 of posts, is surrounded by deep blue water, and veiled in a tropical downpour. 
 The sea wall is in blue, the usual printing. 
 
 Artist’s impression. Collectoi-'s state. 
 
 Signed: Hiroshige. 
 
 ytf 
 
 689. The Same. 
 
 The sea wall is printed gray—a rare print. 
 Artist’s impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
Second Afternoon Session 
 
 690. Mt. Hira, Snow. 
 
 
 JfcC 
 
 The grand slopes of Ilira are thickly covered with snow; the blue of an arm 
 of the lake is the only color. 
 
 Artist’s impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 
 691. Mii, Vesper Bells. 
 
 
 
 On a densely wooded hill stands Mii Temple; the mists of evening hang 
 over the valleys; a spot dearly loved by Fenollosa. He was buried here. 
 Artist’s impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 692 
 
 Yabashi, Returning Boats. 
 
 
 Boats are coming to their anchorage, some dropping their sails, others 
 headed for the far shore; belated ones are mere blocks of white on the 
 striated water; over all a golden cloud-streaked sky; deep blue hills stand 
 sharply outlined against the vapor rising almost to the summit of the 
 mountain. A brilliant print. 
 
 Artist’s impression. Publisher’s state. 
 
 Signed: Hiroshige. 
 
 693. Clearing' Weather at Awazn. 
 
 
 jr* 
 
 ■* ” V....., , ... .. - ^ 
 
 White sails, blue water, curving shore line, streaks of mist, and hills 
 against a last lingering glow of light. 
 
 Artist’s impression. Good state. 
 
 Signed: Hiroshige. 
 
 crey 
 
 YOSHITSUNE ICH1DAIKI 
 
 “Biography of Yoshitsune” 
 
 Complete series of ten full-size horizontal plates: published by Sano ya Kihei, 
 with the stamp Sen Kakudo: each signed Hiroshige; some plates are numbered and 
 some are not. The numbering is not in chronological order and has been disregarded 
 in the following arrangement. This set is rare, especially in the impressions shown 
 here. It is one of the finest seme* issued. The story of Yoshitsune is full of romance 
 and historical interest. 
 
 694. Tokiwa’s Flight With Her Children. 
 
 After the murder of their father. Yoshitomo, pursued by Kiyomoi. A snow 
 scene with beautiful bamboos bending over under the weight of snow, 
 c(No. i.) 
 
 Artist’s impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 (Illustrated, plate XVII) 
 
Second Afternoon Session 
 
 
 695. Ushiwaka Learning to Fence. 
 
 Under tlie instructions of Sojobo, the king of the Tengus at KuramayanG; 
 a forest scene at night (No. 2). A superb print of strong dramatic design 
 and fine color. 
 
 Artist's impression. Publisher's state. 
 
 Signed: Hiroshige. 
 
 (Illustrated, plate XVII) 
 
 696. Visiting Ise no Sabnro by Night 
 
 (No. 3.) 
 
 cT Artist's impression. Collector's state. 
 
 ' Signed: Hiroshige. 
 
 /i/. ^ ■ 
 
 
 /> 
 
 (>97. Ushiwaka With Jornri Hime. 
 
 He persuaded the daughter of the great Taira tactician Kiiclii Hogen to 
 let him see her father’s books on war. A fine moonlight scene (No. 4). 
 Artist's impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 7T , 
 
 / 
 
 7 
 
 698. Combat With the Priest Sliirawaka No Tankai. 
 
 On the steps of the Gojo Temple. A moonlight scene of great dramatic 
 S~7* power (No. 5). 
 
 Artist's impression. Good state. 
 
 Signed: Hiroshige. 
 
 /> 
 
 699. The Defeat of Benkai on Gojo Bridge .d T^*^^*^** 
 
 A night scene with the moon half hidden by a hill. 
 ject of the print artist. (No. 6.) 
 
 Artist's impression. Ordinary state. 
 
 This is a favorite sub 
 
 
 700. Killing Yoiclii at Keage toge. 
 
 A mountain scene by a water fall. 
 /design. 
 
 Artist's impression. Collector's state. 
 Signed: Hiroshige. 
 
 
 (No. 7.) A brilliant plate of strong 
 
 e/r 
 
 /#■ 
 
 701. The Battle of Misukayama. 
 
 Yoshitsune defeating the Taira by a night attack in 1184. 
 unusual and effective composition. 
 
 Artist's impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 (No. 8.) An 
 
 
 702. Scaling the Cliffs at Hiyodori Goye. 
 
 Surprising the castle of Ichi no tani. (No. 9.) 
 ing one of Hokusai in the treatment of the rocks. 
 Artist's impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 
 A daring design remind- 
 
Second Afternoon Session 
 
 703. The Sakoatoshi at I chi no tani. 
 
 
 37 
 
 
 “The Slipping Down” on the castle where the Taira were defeated in 
 1184. (No. 10.) 
 
 Artist's impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 BIRDS AND FLOWERS 
 
 Panels about 1/ inches by 13 inches. 
 
 / 7 
 
 704. 
 
 Kingfisher. 
 
 A perfect print. Hiroshige seal. 
 
 Artist's impression. Publisher’s state. 
 
 
 T). Su - ~ • 
 
 (Illustrated , plate XXVII) 
 
 /<srr 
 
 705. Kingfisher and Wild Iris. 
 
 Good impression. Collector's state. 
 Signed: Hiroshige. 
 
 
 
 /O- 
 
 706. Kingfisher on a Flowering Branch. 
 
 Fine impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 
 707. Bine Bird and Passion Flower. ,y/r~ Mr^7?^ f l 
 
 Fine impression. Publishers state. // 
 
 3*. Signed: Hiroshige. 
 
 708. Long-tailed Bird Poised Above a Flowering Maple. 
 
 / -p SjA Good impression. Good state. 
 
 S Signed: Hiroshige. 
 
 709. A Gray Bird and Morning Glories. 
 
 — Late impression. Collector’s state. 
 
 / Signed: Hiroshige. 
 
 
 ?7 
 
 710. Gray Bird and Spray of Pink Blossoms ; 
 
 A fine design. 7T.Tr. 
 
 So 
 
 Fine impression. Publisher’s state. 
 Signed: Hiroshige. 
 
 *7 
 
 711. A Small Green and Gray Bird and Poppy. 
 
 A rare and fine design, in colors as when printed, y, ,, 
 — Artist's impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 (Illustrated , plate XXVII) 
 
Second Afternoon Session 
 
 712. Quail and Poppy. 
 
 A noted print in soft color. 
 
 Artist's impression. Collector's state. 
 
 Signed: Hiroshige. 
 
 (Illustrated, plate XXVI) 
 
 
 713. Sparrows and Poppy. 
 
 A fascinating design. 
 
 Artist’s impression. Collector's state. 
 Signed: Hiroshige. 
 
 ‘T 
 
 714. The Same. 
 
 /> 
 
 
 A stronger printing. 
 
 Fine impression. Collector’s state. 
 Signed: Hiroshige. 
 
 
 715. A Green Bird and Peach Blossoms. 
 
 
 A delicate blue ground. A fascinating stud!/ in lines. A rare print. 
 Artist’s impression. Publisher’s state. 
 
 Signed: Hiroshige. 
 
 (Illustrated , XXVI) 
 
 716. Green Bird and Peach Blossoms. 
 
 S° 
 
 Note the grain of the wood. 
 Ai'tist’s impression. Collector’s state. 
 Signed: Hiroshige. 
 
 7T. sr 
 
 717. Snow Birds. 
 
 
 A gray background. 
 
 Fine impression. Collector's state. 
 Signed: Hiroshige. 
 
 
 
 718. Duck and Bamboo in Snow. 
 
 Prints are rarely seen in this brilliant sparkling state. One of the gems 
 of the collection. 
 
 Artist's impression. Publisher’s state. 
 
 Signed: Hiroshige. 
 
 (Illustrated, plate XXVII) 
 
 719. Two Ducks Swimming. / a * 
 
 Snow flakes falling around them: the water a heavenly blue. An exquisite 
 piece of color. 
 
 Artist's impression. Publisher’s state. 
 
 Signed: Hiroshige. 
 
Second Afternoon Session 
 
 720. Two Dncks. 
 
 Fine impression. Collector’s state. 
 Signed: Hiroshige. 
 
 a. 
 
 721. Sanderlings. 
 
 “Sanderlings that on moonlit eves 
 Over the wave crest swoop and play.” 
 Two sanderlings flying before the moon. 
 Good impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 A striking design. 
 
 /> 
 
 722. Snow Birds and Bamboo. s'* 
 
 STO A deep blue background flecked with snow flakes. 
 
 Good impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 723. Geese. 
 
 “Wild geese that rush across the moon.” 
 Good impression. Good state. 
 
 Signed: Hiroshige. 
 
 * 
 
 
 
 724. Canary and Rose. 
 
 The grag and white mottled background is both unuskhl and effective 
 ^ Fine impression. Collector’s state. 
 
 Signed: Hiroshige. 
 
 (Illustrated, plate XXVII) 
 
 A 7 
 
 725. Canary and Wild Rose. 
 
 S'* Fine impression. Collector's state. 
 Signed: Hiroshige. 
 
 726. Sprays of Wild Rose Without Birds. 
 
 
 Good impression. Publisher’s state. 
 Signed: Hiroshige. 
 
 
 
 727. Rooster and Hydrangea. 
 
 Good impression. Collector's state. 
 Signed: Hiroshige. 
 
 ?r ?r- 
 
 be. 
 
 728. Long-tailed Gray Bird. 
 
 A red flower. 
 
 Fine impression. Collector’s state. 
 Signed: Hiroshige. 
 
 
Second Afternoon Session 
 
 /> 
 
 729. Ducks and Rushes. 
 
 Good impression. Collector's state. 
 Signed: Hiroshige. 
 
 
 20. 
 
 730. Long-tailed Bird. 
 
 Fine impression. Collector's state. 
 Signed: Hiroshige. 
 
 7^t^CJ^A***/ 
 
 
 3z 
 
 731. Bird and Flowering Maple. 
 
 Late impression. Collector's state. 
 Signed: Hiroshige. 
 
 
 /o. 
 
 732. Gray Bird. 
 
 It is clinging to a flowering branch. 
 . Good impression. Publisher's state. 
 Signed: Hiroshige. 
 
 
 733. Two Swallows and Wistaria. 
 
 2^ 
 
 Artist's impression. Publisher's state. 
 Signed: Hiroshige. 
 
 '7 rJ - 
 
 734. Brown Bird and Passion Flower. 
 
 Good impression. Publisher's state. 
 Signed: Hiroshige. 
 
 6 
 
 735. Two Brown Birds. 
 
 Fine impression. Publisher's state. 
 Signed: Hiroshige. 
 
 
 736. Green Bird on a Flowering Branch. 
 
 
 A fine bold design. 
 
 Good impression. Publisher’s state. 
 Signed: Hiroshige. 
 
 Ayr) 36" 
 
 737. Green Bird on a Flowering Branch. 
 
 Fine impression. Collector’s state. 
 Signed: Hiroshige. 
 
 Jt 
 
 6~ f/"3 
 
 7* 
 
 / f *> 40 
 
Plate I 
 
 I 
 

Plate II 
 
 300 
 
Plate 111 
 
 43 
 
 295 
 
 312 
 
Plate IV 
 
 52 
 
 503 
 
 51 
 
Plate V 
 
 543 
 
 
 
 
 ■ ■ 
 
 
 539 
 
 548 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Plate VI 
 
 564 
 
 538 
 
 

Plate VII 
 
 523 
 
 544 
 
Plate VIII 
 
 272 
 
 580 
 
 
Plate IX 
 
 804 
 
Plate X 
 
 274 
 
 276 
 
 277 
 
Plate XI 
 
 520 
 
 314 
 
 56 
 
Plate XII 
 
 63 
 
 54 
 
 60 
 
f r\' 
 
 Plate XIII 
 
 320 
 
 531 
 
 511 
 

 Plate XIV 
 
 37 
 
 512 
 
 517 
 
 5 .' 
 
Plate XF 
 
 
 596 
 
Plate XVI 
 
 Mx. ><• 
 "«s, & -V 
 
 'h 
 
 K 
 
 
 * ■" % 
 
 
 f? r ■ 
 
Plate XVII 
 
Plate XVIII 
 
Plate XIX 
 
Plate XX 
 
 346 
 
Plate XXI 
 
 175 
 
 202 
 

 Plate XXII 
 
 391 
 
 382 
 

 
 
Plate XXIII 
 
 « 
 
 ■? 
 
 402 
 
 364 
 
Plate XXIV 
 
 351 
 
 248 
 
 /} iK 4- ' V 
 
 k * " 
 
 % 
 
 tr 
 
 / ' 
 
 
 630 
 
 - v 
 
 602 
 
 603 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Plate XXF 
 
 654 477 
 
Plate XXVI 
 
 712 242 715 335 
 
Plate XXVII 
 
 724 
 
 246 
 
 711