THE ART INSTITUTE OF CHICAGO

CATALOGUE
OF A LOAN EXHIBITION OF
JAPANESE COLOUR PRINTS
WITH NOTES EXPLANATORY
AND DESCRIPTIVE AND AN
INTRODUCTORY ESSAY
by
FREDERICK WILLIAM GOOKIN
CHICAGO
March 5 to March 25, 1908
The compiler of this catalogue desires
to acknowledge his indebtedness to Mr.
Ch6y6 for invaluable assistance in its
preparation.
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INTRODUCTION.
Although the names of some of the eminent artists of old
Japan have been made known to the Western world within the
past twenty-five years through books, essays and lectures, the
opportunities for seeing important works by the painters of the
classical schools are so few that the only branch of Japanese art
with which we may ‘be said to be even tolerably familiar is that
of the Popular School, or Ukiyo-é ryu. In the minds of most
of us the colour prints by the artists of that school are represent-
ative of the art of Japan, considered as an entity. As a matter
of fact they represent but one phase of that art, a phase in many
respects noteworthy, though so far from being the most im-
portant that in the estimation of Japanese connoisseurs it has
been almost a negligible quantity. Indeed, it is only through the
medium of Western appreciation that the Japanese are gradually
awakening to a true conception of the intrinsic merit of the finer
works of this school, and of the prints in particular.
To understand the mental attitude of the Japanese critics
toward these works it is necessary to know something of the con-
stitution of the social fabric under the feudal system. At the
upper end of the scale were the Court nobles (Kugé), the Daim-
yo, the hereditary military men (Samurai), priests and scholars.
Between them and the lower classes was an almost immeasur-
able gulf. Highest among the commoners (heimen) were the
farmers. Below them were the artisans, and still lower were
the merchants, innkeepers, servants, and the like; while lowest
of all were the eta, or outcasts, a class comprising scavengers,
butchers, leather workers, and others engaged in what were
considered degrading occupations.
Until the rise of the Ukiyo-é ryu the artists with rare excep-
tions were drawn from the upper classes. Painters of marked
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ability were given honourable titles and were raised to noble
rank on account of their achievements with the brush. The art
of the earlier schools is an art refined, poetic and intensive to
the last degree. It is based upon profound understanding of
aesthetic laws, and in its higher ranges it is imbued with an in-
efi’able spiritual content. Ukiyo-é art, on the contrary, is the art
of the common people. It is flippant, whimsical, comic. Sel-
dom are the things depicted intended to be taken quite seriously;
the chief exceptions being landscapes, birds and flowers, and
portraits of actors. In nearly every picture there is some joke,
open or cleverly hidden, some travesty of popular myth, well-
known tale, or event in history, some sly hit at the vices or follies
of the aristocrats, or else some quaint fantasy to amuse a light—
hearted people. A very large proportion of the subjects deal
with the theatre and the denizens of the Yoshiwara. .To the
Japanese of the upper classes Ukiyo-é art was a synonym for the
art of the Under World. It is not surprising that they failed
to appreciate its merit. To give Ukiyo-é paintings or prints an
honourable place in one’s house was a confession of lack of
taste. Were there no other reason, the subjects for the most
part rendered them unfit if not impossible. They were indeed
amusing, but were looked upon much as we regard the pictures
in our comic periodicals. Even when the art is good it is hard
to disassociate it from the humor and enjoy it for itself alone.
More commonly we fail to appreciate it as art or to consider it
as such. So it was with the prints. To the japanese they ap-
peared little better than children’s toys. In considering this we
should not overlook the important circumstances that when first
printed they were in general far less charming than they are
today. The splendid colour that now makes them so entrancing
has come in large measure through the mellowing influence of
time, and it is difficult to believe in the complete transformation
that in many instances close study reveals.
Even to-day inherited prejudice prevents widespread appre-
ciation of the prints in the land of their origin. Our enthusiastic
._.6..__
admiration is still more or less of a mystery to our neighbors
across the Pacific. Only now that they have parted with nearly
all of their stock are they beginning to understand how it was
that the Western art lover, unhampered by any traditional point
of View, and not disturbed by any associations or meanings there
might be in the subjects, was able to perceive the glories of col-
our, the superb composition, the masterly treatment and rare
beauty to which they have been blind.
The inception of the Ukiyo-é school dates back to the closing
years of the sixteenth century, when a reaction set in against
the Chinese classicism of the Ashikaga period. This manifested
itself in the choice of japanese subjects, treated in a novel way,
combining features of both the Kano and Tosa styles, yet in
many respects breaking away from academic traditions. The
reputed author of the revolt was Iwasa Matahei, son of the
Daimyo of Itami, but other leading artists of the time, notably
Kano Sanraku, also painted pictures in the new manner, which
was not at the time held to constitute a distinct school. The sub-
jects being drawn from the life of the people these pictures were
called Ukiyo-é. E is the japanese term for picture or drawing.
Ukiyo as originally written had a Buddhistic signification and
was applied to the secular as distinguished from the ecclesiastical
world. Literally the word means “the miserable world,” but
as now used it may be more accurately translated as “the passing
(or floating) world of every-day life.”
Perhaps because these themes were not considered quite dig-
nified, the Ukiyo paintings by Matahei and his contemporaries
and successors, though prized and much sought after in court
circles, were seldom signed, and the identification of their
authorship is a matter of extreme difficulty. For more than half
a century works in this manner continued to be produced in
considerable numbers, but the movement did not crystallize into
a school until, in the person of Hishikawa Moronobu, a leader
appeared to give it form and direction. Though he was a painter
of rare distinction, whose works found ready purchasers among
the Daimyos and wealthier Samurai, it was as a designer of
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book illustrations and later of ichi-mai-é, or single sheet prints,
that he gave the impetus to Ukiyo-é. For fifty years or more
prior to his time books with engraved illustrations had been pub—
lished in Japan, but they were comparatively few and the illus-
trations poor and crudely executed. The twelve drawings which
he made for Omza Kagami, a book of instruction for women
in etiquette and hygiene, published in 1659, marked a decided
advance. This, so far as we know, was the first of a long series
“ of books illustrated by him. Their popularity was deservedly
great and by them his fame became widespread. The illustra-
tions were printed in black, from blocks similar to those from
which the text was printed, and were characterized by fine broad
treatment and a rather wiry but strong and expressive outline.
About 1670 Moronobu began to issue larger drawings, print—
ed upon broadsheets which could be affixed to screens, or mount-
ed as kakemono (hanging pictures). These prints, which were
impressions in black from one block only, are known as Sumi-é,
-—sumz' being the Japanese name for Chinese ink (known to us
as India ink). Almost from the first the custom grew up of
colouring a part of the edition of these prints by hand,—-a cus-
tom suggested, no doubt, by a class of cheap paintings extremely
rough in execution, made in editions and sold to the people for a
small price, which were known as Otsu-é, from the place of their
manufacture, a small town near Kyoto. At first the colourings
of Moronobu’s prints were crudely. done, but later the pig-
ments were often applied with care and artistic effect.
Though Moronobu had many pupils, of whom Moroshige
and Morofusa were the ablest, they devoted themselves chiefly
to painting, and after the master’s death the production of prints
fell into the hands of a group of three artists who take rank
among the most talented men of the school. These were .Torii
Kiyonobu, Torii Kiyomasu and Okumura Masanobu. Their
works were broadly treated and there is a largeness in the han-
dling that we miss in the more elaborate and sumptuous works of
the later periods. The finest are impressive from the strength
and suavity of their sweeping brush strokes and majestic com-
__8_
position of mass and line,-—qualities brought into clear relief
through the absence of petty detail.
Early in the eighteenth century the chief pigment used in
colouring prints by hand was tan (red lead). The prints upon
which it appears were therefore designated as tan-é. Up to this
time the subjects had been mostly popular manners and cus-
toms, the amusements of women, and illustrations of historic
incidents. But now the rise of the theatre as a popular form
of entertainment opened a new and most fertile field for the
exercise of the talent of the Ukiyo-é artists. Portraits of actors
in the costumes of their most admired roles appeared in great
numbers and the rage for them spread like wildfire. The passion
of the people for the theatre became a veritable madness that
sorely troubled the Tokugawa rulers, and various expedients
were tried to check it. They only added fuel to the flame. Cer-
tain gross practices were abolished. .This helped to purify the
theatre, and also to perpetuate it by removing the seed of what
must almost inevitably have meant its early decay. Actors of
distinguished ability became popular idols. Their comings and
goings were like royal progresses. Wherever they went, were
it to view the cherry blossoms at Uéno, for a boating party on
the river, or for a visit to the Yoshiwara, they moved in state.
Yet their social station was so low that they were looked upon
as little better than eta. Many of the Ukiyo-é artists felt it a
degradation to make drawings of actors. But the popular de-
mand created a supply, and for more than a century a large pro-
portion of the enormous output of prints consisted of theatrical
scenes and portraits of the performers.
About 1715 a new style of hand colouring, said to have been
devised by Torii Kiyonobu, came into vogue and greatly modified
the style in which the prints were designed. In place of tan he
substituted be'm', a very beautiful but fugitive red, extracted
from the saffron. This was used in combination with a rich
greenish yellow (probably gamboge) and low-toned blues and
purples. Finer details were introduced into the designs and the
colouring in general was more carefully done. .To meet a grow~
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ing demand for less expensive pieces smaller prints became com-
mon, and to give brilliance to the pigments used in colouring
them a little thin lacquer (urns/12') was mixed with them, and
while wet, parts of the design were sprinkled with metallic pow-
der, which was probably applied by blowing it through a small
bamboo tube. These prints were known as w'ushi-é, or lacquer
prints. A little later the custom grew up of painting parts of
the prints with black lacquer.
Not until about the year 1743 did the practice begin of apply—
ing colour by impressions from flat wood blocks. Why the
invention should have been so long delayed, and why after it
was once made, nearly twenty years more should have elapsed
before the number of colour blocks was increased beyond two,
are questions easier to ask than to answer. It seems incredible
that during the fifty years when innumerable hand-coloured
prints were issued, no one should have conceived the idea of
printing the colour as well as the black outline. The proba—
bility would seem to be that some practical difficulty connected
with the printing stood in the way. Possibly the trick of mixing
the colour with rice paste to keep it from running may have been
the thing that awaited discovery. To whom the honour of the
innovation belongs is not known. Not unlikely more than one
of the leading print designers may have had a share in it. Be
that as it may, they all began to take advantage of it at once, and
thus was inaugurated a new era in the history of the art.
For some years only the smaller pieces were printed in colour.
The tall hashim-é or pillar prints, continued to be coloured by
hand, which would seem to indicate that all of the difficulties
connected with the printing process had not been overcome.
During the long period when only two colour blocks were used
in addition to the black outline, the colours almost invariably
applied were beni and green, and hence the name beni-é by which
these prints are known. A happier selection of colours could
not well have been made. By thinning the red and modifying
the hue of the green a really wide range of effects was secured.
Every possible combination and variation was tried during the
seventeen or eighteen years that the beni-é were in vogue. The
world is far richer because of this long period before the number
of colour blocks was increased, since time was afforded to work
out the decorative possibilities resulting from the limitation to
two colours and black and white. .This limitation demanded fine
skill and creative resource in the invention of pattern and the
distribution of the colours employed. The results achieved were
remarkable. It scarcely seems possible that so much life and
vivacity of colouring could be given by impressions from two
flat blocks charged with rose and green. What a lesson for
our artists, “impoverished,” says Mr. Fenollosa, “with all the
resources of the modern palette!”
In many of the beni-é, the red has faded and turned into a
soft yellow. The green is more stable, but that too has in some
instances become a warm citrine or russet. Sometimes the
transformation is only partial, a part of the print being affected
and a part remaining almost unchanged. Very rare are the
specimens in which the original colour has survived without ma-
terial modification.
About I758 either Torii Kiyomitsu or Nishimura Shigenaga
—to each of whom the innovation is accredited—began to use
a third colour block. After this new developments followed
each other in rapid succession. The variety and range of the
colour schemes broadened almost from day to day. The thor-
o’ugh mastery they had attained in dealing with the simpler
means enabled the artists to take full advantage of the wider
resources now at their command. Invention was stimulated.
And now new men come on the scene. The name of Suzuki
Harunobu is familiar to every admirer of Japanese prints. It
is, in large measure, to his genius that the development of full
colour printing is due. By the year 1765 he had come to the
front and distanced all competitors for popular favor. Realizing
the possibilities that now lay before him he proudly exclaimed,
“Why should I degrade myself by the delineation of actors?”
His ambition, he said, was to become “The true successor of the
painters in the department of printing,” that is to say, to design
prints that should be worthy substitutes for paintings. And so
he used as many colour blocks as were needed for the effects he
desired. The Yedo-é or Yedo pictures, as the prints had been
called from the fact that they were produced only at the capital,
were now denominated Nishik-i-é, or brocade pictures from the
number of colours woven together in them. .To the printing
itself, the charging of the blocks with colour, the character and
quality of the pigments and of the paper used, Harunobu gave
careful attention, and these things were greatly improved as a
result of his experiments. Associated with him was a group of
engravers and printers who attained rare skill and no doubt each
one of them made a substantial contribution to the advance.
The art now entered upon the period of its greatest triumphs.
In the eager search for novel subjects scarcely anything was
left untouched. History, mythology and romance, the number-
less fétes and merrymakings of the people and the routine of
their daily lives, representations of celebrated poets and heroes,
scenes from the drama, portraits of popular actors and courte-
sans, the revels of the Yoshiwara, animals and plants, familiar
scenes and famous landscapes, furnished motives for almost end-
less broadsheets and illustrations of books.
The forward movement in print designing at this epoch was
helped along by a number of artists of exceptional power who
seem to have worked together to some extent. Torii Kiyomitsu,
though overshadowed by Harunobu, was no mean rival. His
unsigned nishiki-é are often mistaken for those by Harunobu and
with good reason. Indeed, in one triptych which Harunobu,
Kiyomitsu and Kiyotsune executed jointly, each drawing one
figure, it would be quite impossible without the signatures, to tell
that all three were not by the same hand. Koriusai, too, in his
early works, closely imitated Harunobu, as also did Kitao
Shigemasa, though somewhat less deceptively. Katsukawa
Shunsho and Ippitsusai Buncho, into whose hands the theatrical
branch of print designing gravitated at this time, produced works
upon which every known resource of the art was lavished, and
which for refinement, charm of colour, and pure aesthetic delight
have scarcely been surpassed by those of any other artist.
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For some years after the death of Harunobu, which occurred
in the year I 770, the leading artists of the school vied with one
another in a contest for popular favor, in the course of which the
technique of the art of making coloured woodcuts reached its
utmost possibilities. The guerdon rested for nearly a decade
with Koriusai, a pupil of Harunobu, but in the end he was sur-
passed by Kiyonaga, the last great figure of the Torii line. Al-
though Kiyonaga’s work is less refined and has less charm than
that of Harunobu, and he was not so versatile and perhaps on the
whole not so great an artist as Hokusai, the world-renowned
master of the early nineteenth century, nevertheless the wide
range and plenitude of his powers, the splendid quality of his
brush-work,——especially his line, bold yet varied, plastic, and
wonderfully expressive,-——the richness of his colouring, and the
ripe mastery be displayed over all the resources of his craft,
clearly entitle him to pre-eminence among the artists of the Pop-
ular School. In his day he dominated all those about him, and
all strove to imitate him as closely as they could.
When Kiyonaga passed from the stage the decadence set in.
Still, for a long time afterward many brilliant and splendid works
continued to be produced. Eishi, the first Toyokuni and Uta—
maro were artists of scarcely less ability than the great men who
preceded them. Their finest works rank among the masterpieces
of the school. But the creative force that induced the forward
movement was nearly spent. Thenceforth the tendency was
steadily downward. Even men of genius such as .Toyokuni and
Utamaro were swept along by the current; novelty was sought
at any sacrifice; their styles underwent changes not for the better,
and between the designs of their early and middle periods and
those executed only a few years later there is a difference that
does not show improvement. When the artists of the next gen-
eration came upon the scene, the pace became more rapid. There
was a steady letting down to the level of the popular taste, which
became lowered in consequence. The skill of artists and en-
gravers was often expended in the production of works inter-
esting chiefly as tours de force, more remarkable for technical
than for artistic merit; the tendency toward exaggerated drawing
became more pronounced; colouring grew more crude, raw and
over-vivid. Coincident with this decline in the art of the Popular
School there was a change for the worse in the fashions of the
time. Loud patterns of brocades and other fabrics came into
vogue; garments became showy and elaborate, coiffures, more
especially those of the demi-monde, were often startling in their
extravagance. As the prints were usually accurate mirrors of
contemporary life, in these changed fashions may be found a
partial explanation of the inferiority of the works of the later
men. Toward the middle of the nineteenth century the round
of evolution was completed, careless drawing and cheap printing
became the rule, refinement of line and beauty of composition
and of colour disappeared.
As a light sometimes flares up before it goes out, so was the
darkness of this period of decay illuminated by the genius of two
men of the first rank, Hokusai and Hiroshige. Both of these artists
were extraordinarily prolific. Hokusai, who lived and worked
until he reached the age of eighty-nine, produced a mass of works
which in all probability has never been equalled either in extent
or variety by those of any other man. No other J'apanese artist
ever had so many different manners, or so many pseudonyms, or
essayed so many different themes, or was more daring in his com-
positions, or displayed more originality. Like Shakaru he belongs
in a class by himself. His art, wonderful in its versatility and
masterly qualities, is in many respects sui generis. The per-
sonal equation is always dominant. This was his salvation.
More than any other thing it helped him to steer a straight course
and avoid the rocks upon which so many of his contemporaries
were wrecked. Hiroshige also was an artist of commanding
power. His designs have not the rugged strength that we find
in Hokusai’s, ‘but they possess a sweetness and melting charm
that is all their own. Both of these men are among the greatest
landscape artists the world has ever known. Their numerous
prints of landscapes are a revelation of the possibilities of origi-
nality in composition and variety of interest in this field. Un-
less one has studied them in fine examples it is impossible to
realize how great is their merit. With the Japanese people they
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were exceedingly popular. Edition after edition was called for
until the blocks were worn out; and in some instances they were
re-engraved and the new blocks were also used until no more im-
pressions could be taken from them.
In this sketch of the history of the art of Ukiyo-é colour—
printing only the more salient features have been touched upon.
A comprehensive account of the school would include in its pur-
view many minor print designers and the artists who devoted
themselves exclusively to painting. With few exceptions it was
the ambition of the print designers to become painters, and when
they had arrived at a stage in their careers where they could
afford it they commonly gave up print designing to that end.
Many Ukiyo-é artists attained high rank as painters. Neverthe-
less, the greatest achievements of the school were in the line of
printing. Of these it is not too much to say that they are the
most beautiful specimens of printing that have ever been done in
any land at any time. Yet none but the most primitive methods
—or what from our point of view may seem such—were em-
ployed. The most wonderful among all the prints is but a “rub-
bing” or impression taken by hand from wood blocks. The artist
having drawn the design with the point of a brush in outline
upon thin paper, it was handed over to the engraver, who began
his part of the work by pasting the design face downward upon
a flat block of wood, usually cherry, sawn plank-wise as in the
case of the blocks used by European wood engravers in the
time of Diirer. The paper was then carefully scraped at the
back until the design ‘showed through distinctly in every part.
Next, the wood was carefully cut away, leaving the lines in relief,
care being taken to preserve faithfully every feature of the brush
strokes with which the drawing was executed. A number of
impressions were then taken in Chinese ink from this “key block”
and handed to the artist to fill in with colour. This ingenious
plan, which is manifestly an outgrowth of the early custom
of coloring the ink prints (sumi-é) by hand, and which, perhaps,
would never have been thought of had not the colour itself been an
afterthought, enabled the artist to try many‘experiments in colour
arrangement with a minimum amount of labor. The colour
__15_.
scheme and ornamentation of the surfaces having been deter-
mined,_the engraver made as many subsidiary blocks as were
required, the parts meant to take the colour being left raised and
the rest cut away. Accurate register was secured by the simplest
of devices. A right-angled mark engraved at the lower right-
hand corner of the'original block, and a straight mark in exact
line with its lower arm at the left, were repeated upon each sub-
sequent block, and in printing, the sheets were laid down so that
their lower and right hand edges corresponded with the marks
so made. The defective register which may be observed in many
prints was caused by unequal shrinking or swelling of the blocks.
In consequence of this, late impressions are often inferior to the
early ones, even though printed with the same care, and from
blocks that had worn very little. The alignment will usually be
found to be exact upon one side of the print, but to get further
out of register as the other side is approached.
The printing was done on moist paper with Chinese ink and
colour applied to the blocks with flat brushes. A little rice paste
was usually mixed with the pigments‘ to keep them from running,
and to increase their brightness. Sometimes dry rice flour was
dusted over the blocks after they were charged. To this method
of charging the blocks much of the beauty of the result may be
attributed. The colour could be modified, graded, or changed
at will, the blocks covered entirely or partially. Hard, mechan-
ical accuracy was avoided. Impressions differed even when the
printer’s aim was uniformity. Sometimes in inking the “key
block,” which was usually the last one impressed, some of the
lines would fail to receive the pigment, or would be overcharged.
This was especially liable to happen when the blocks were worn
and the edges of the lines became rounded. A little more or a
little less pigment sometimes made a decided difference in the
tone of the print, and, it may be noted, has not infrequently de-
termined the nature and extent of the discolouration wrought
by time.
In printing, a sheet of paper was laid upon the block and the
printer rubbed off the impression, using for the purpose a kind
of pad called a barren. This was applied to the back of the paper
__16...
and manipulated with a circular movement of the hand. By
varying the degree of pressure the colour could be forced deep
into the paper, or left upon the outer fibres only, so that the
whiteness of those below the surface would shine through giving
the peculiar effect of light which is seen at its best in some of the
surimono (prints designed for distribution at New Year’s or
other particular occasions) by Hokusai. Uninked blocks were
used for embossing portions of the designs. The skill of the
printer was a large factor in producing the best results. Even
the brilliancy of the colour resulted largely from his manipula—
tions of the pigments and various little tricks in their application.
The first impressions were not the best, some forty or fifty having
to be pulled before the blocks would take the colour properly.
Many kinds of paper were used. For the best of the old prints
it was thick, spongy in texture and. of an almost ivory tone.
The finest specimens were printed under the direct personal su-
pervision of the artists who designed them. Every detail was
looked after with the utmost care. No pains were spared in
mixing the tints, in charging the blocks, in laying on the paper
so as to secure perfect register, in' regulating the pressure so
as to get the best possible impressions. Experiments were often
tried by varying the colour schemes. Prints of important series,
as for example Hokusai’s famous “Thirty-six Views of Fuji,” are
met with in widely divergent colourings.
The pigments most frequently used were comparatively few
and different lots of the same pigment seem to have been far
from uniform in hue. As to this and some other points upon
which we should be glad to have light, no very certain informa-
tion exists. We do not know how soon some of the colours
began to fade. Internal evidence indicates that in some instances
the change took place within a comparatively short time. In
many of the prints made between 1760 and 1765 an olive green
was used in combination with and superimposed upon a soft
yellow. This under exposure to light turned into a low-toned
grey of a slightly olive cast. The rarity of its use after this
period points to abandonment because of its fugitive character.
So, too, with the lovely blue used by Harunobu and Shunsho
chiefly as a colour for sky and water. It appears to have been
a compound tint formed of blue mixed with some other colour
to modify its intensity. In the change that followed,—possibly
a chemical one,-—the blue disappeared in whole or in part, leav-
ing in its stead a buff hue having peculiar depth and a soft, vel-
vety texture. Many prints showing this transformation may be
seen in the present exhibition. .To our eyes the modified colour
is often far more beautiful than the original, but the variation,
it may safely be asserted, was not desired by the artist.
The quality of the colour wrought by these changes explains
why it is not possible today to reproduce the prints successfully.
The printing process is still in use, and as the plates in such pub-
lications as “Kokka” attest, very splendid results are still yielded
by it. But some of the old pigments cannot now be obtained,
and if they could we should still have to wait long years for time
to mellow the prints made with them. Indigo can be had, but
it is not the same indigo and its colour is not quite like the old
which was extracted from blue cloth imported from China. Beni
can be made, but the secret of the blue added to it to produce the
divine violet seen in many of the prints has been lost, as has that
of the precious moss green used by Utamaro. (See No. 453
in this exhibition.) Many reproductions have been made during
the last twenty-five years and some of them are extremely clever;
but the printing lacks depth, and when placed beside the old
works they appear dull and lifeless.
Colour prints were made for many purposes. To some ex-
tent they were used as advertisements. Incidentally, they served
as fashion plates. Some were regularly published and sold in
shops. Others were designed expressly upon orders from pa-
trons to whom the entire edition, sometimes a very small one,
was delivered. The number struck from any block or set of
blocks varied widely. Of the more popular prints many editions
were printed, each one, as might be expected, inferior to those
that preceded it. Not infrequently the Tokyo publishers removed
from their out-of—date blocks the marks showing their imprint,
and sold them to publishers in Osaka and Nagoya, by whom poor
and cheap editions were issued. Eiraku-ya, of Nagoya, in par-
ticular, is said to have bought many old blocks, some of which
were revamped in various ways before being reprinted.
Most of the prints were sold at the time of publication for a
few sen. The finer ones brought relatively higher prices, and
such prints as the great triptychs and still larger compositions
by Kiyonaga, Eishi, Toyokuni, Utamaro and other leading artists
could never have been very cheap. In general, however, the
price was small and they were regarded as ephemeral things.
Many were used to ornament the small screens that served to
protect kitchen fires from the wind, and in this use were inevitably
soiled and browned by smoke. Others mounted upon the sliding‘,
partitions of the houses perished in the fires by which the ]ap—
anese cities have been devastated; or if in houses that chanced
safely to run the gauntlet of fires, typhoons, cloudbursts and
other mishaps, their colours faded and their surfaces were rubbed
until little more than dim outlines were left.
Fortunately, though the upper classes did not consider the
prints as works of art, that did not prevent them from buying
them for the amusement they afforded. The samurai, though
forbidden to patronize the theatres, frequently did so in disguise.
And when they returned to their home provinces with their feudal
lords after the six months of every year spent in the capital, they
usually carried with them large quantities of prints. Country
people visiting Yedo rarely returned without taking many of
these cheap souvenirs of the city to distribute among their neigh-
bors. Of course many of these were destroyed, but the Japanese
have always been accustomed to take care of their possessions,
and so many thousands of prints were neatly packed away in
boxes and placed in the kuras or fireproof storehouses. There
they were often spoiled by mildew, the dread foe of the jap-
anese housewife, and eaten by moths. Those pasted in albums,
as were many of the noted series by Hokusai and Hiroshige,
fared better than the loose ones.
Thus it has come about that in spite of the enormous number
printed, really choice specimens are very rare. Even at the time of
their issue the number of those in what may be called the “proof”
state could not have been large. Collections were rarely made.
__19__
Literary men often saved such as were inscribed with odes of
especial merit, or had recondite hidden meanings that appealed
to them, and to their care we are indebted for the preservation
of the majority of those that have survived in perfect or nearly
perfect condition. Perhaps the largest important collections
were those kept by the representatives of old publishing houses.
It is from one of these that a number of the finest works shown
in the present exhibition were obtained.
For those who have learned the elements of their language,
the charm of the prints is very great. In splendor and variety
of colouring they are superb. In the finest of them it is of
transcendent loveliness; quiet it may be almost to dullness, yet
never dull; sometimes rich and glowing; always serene and
mellow, and of such perfect and exquisite harmony that it brings
to the aesthetic sense the tranquil joy—one might almost say
the ecstasy—of complete satisfaction.
But colour is only one of the qualities to which the prints owe
their charm. They are hardly less remarkable for the majesty
of designing power, the style and spirit, the daringness of con-
ception which they reveal; for grace, beauty, and sweep of line,
for perfect balance of light and dark masses, in short, for excel-
lence in the fundamental quality of composition upon which
everything else, in any work of art, depends. As exercises in
composition they are, in the aggregate, unsurpassed by anything
the world has to show. Their grammar is flawless. Tech-
nically, too, they leave nothing to be desired. They are wrought
throughout in the most workmanlike manner. In detail and
finish they are exquisite. Considered merely as wood engrav-
ings they are of the very first order of excellence. What mat—
ters it, then, that the drawing is sometimes queer, that faces ap-
pear to Western eyes to be stereotyped, expressionless and with-
out individuality (though this is not so in reality, as close inspec-
tion will show), and that now and then we meet with the use
of conventions of incredible effrontery? And what does it
matter that they were sold originally for the merest pittance;
that the function of many of them was not unlike that of our
modern illustrated newspapers; that others were in the nature
of fashion sheets or pictorial advertisements? Ought it not
rather to increase our admiration that such evanescent things
should have such rare artistic qualities; that the men who pro-
duced them, working from day to day to meet a passing demand,
should nevertheless put into their works the full measure of
their strength, the utmost resources of their art; should lavish
upon them such tender care and painstaking effort, such taste
and skill, as assuredly put them in the category of the things
“from which the soul draws nourishment”?
FREDERICK W. GOoKIN.
CATALOGUE.
HISHIKAWA MORONOBU.
This eminent artist, who may be considered as the father of
pictorial printing in Japan, was born at Hoda in the province of
Awa, a small village situated about thirty miles from Yedo, across
the bay. The date of his birth is not certainly known. It was
probably in the year 1625, though it may be that 1638, the year
named by some writers, is correct. He was named Kichibei, by
which appellation he was familiarly known to his family and
friends, and Moronobu, by which name he was known to the
world at large. Here it may be noted that the complicated
structure of Japanese names is a source of much confusion, which
is the more troublesome from the fact that the characters with
which they are written can be read with either Chinese or Jap-
anese pronunciation.
Moronobu’s father, who died in 1662, was Hishikawa Kichi-
zaémon Michishige, known also in his later years as Kochiku
(not Mitsutake, as it may be read), a celebrated embroiderer,
who was also a clever painter and designer. Under his tutelage
Moronobu became proficient in the handicraft and in the art of
designing for it. Before his father’s death he moved to Yedo,
where for a time he is said to have worked as an embroiderer.
It was not long before he began to draw designs for book illus-
trations in the style of the new Popular School, and thencefor-
ward he appears to have devoted himself chiefly to painting and
making designs for wood engraving. His training gave him
remarkable skill in the arrangement of pattern and ability to
secure richness of effect with simple means. This was precisely
what was necessary to develop the art of wood engraving, which,
under his direction, made notable progress during his lifetime.
He designed illustrations for more than thirty books, besides nu-
merous single-sheet prints, and also executed a large number of
paintings. In the year 1694 he “shaved his head,” i. e., assumed
the aspect of a Buddhist priest, and took the name of Yuchiku.
His death occurred early in the following year, as appears from
the preface and appendix (quoted by Barboutau) to “Sugata-é
Hyakunin Isshu,” published in May, 1695, for which he drew
the illustrations. 7 ' '
., g r.
p
__23_
HISHIKAWA MORONOBU.
1. AN INT‘ERRUPTED EMBRACE.
Not signed. About 1678. Sumi-e. Size 10%x15. Lent by Clarence
Buckingham.
A girl coming from behind a screen interrupts a young man
making love to a tsuzumi player. Note with what certainty the
lines of the composition are interwoven without becoming in-
volved at any point. Prints by Moronobu in this condition are
very rare.
2. A PICNIC PARTY.
Not signed. About 1686. Sumi-e. Size llxl6%. Lent by Clarence
Buckingham.
3. LAD-Y STANDING UNDER A CHERRY TREE.
Not signed. About 1790. Hand colored print. Size 22x12%. Lent
by Clarence Buckingham.
An unusually fine example of Moronobu’s single sheet prints.
The colouring is done with freedom yet with great care, perhaps
by Moronobu himself.
KAIGETSUDC YASUTOMO.
Very little is known about the artist who called himself Kai-
getsudo except that his personal name was Genhichi. He was
one of the most brilliant of the group of painters of the branch
of the Ukiyo-e school of which Chosun was the leader. There
is a splendid quality in the sweep of his line and the vivacity of
his pattern that is unsurpassed. Most of his works are paintings
of women, and there is considerable sameness in his compositions.
Having attended a banquet at a tea house attached to one of the
theatres, in company with some ladies of rank, he was during
the Shotoku period (1711-1715) banished to the island of Oshima
for several years, but was afterward pardoned and allowed to
return to Yedo.
It is not entirely clear whether the name Kaigetsudo was
borne by more than one man. The signatures to the few Kaiget-
sudo prints that are known have several variations, but for the
most part bear also other names designated as Mappa (“later
leaves,” that is to say, pupil). We do not know therefore
KAIGETSUDO YASUTOMO .
whether Yasutomo (Anchi), and Takuhan are other names of
Kaigetsudo, or the names of his pupils and followers.
4. BIJIN (BEAUTIFUL WOMAN). -
Signed: Nihon Kyoga Kaigetsudo Mappa (pupil) Yasutomo.
Size 22%x12%. Lent by Clarence Buckingham.
Stamp: Yasutomo. Publisher: Maruhachi. About 1710. Sumi-e.
TORII KIYONOBU.
.This artist, whose personal name was Torii Shobei, was a
son of an Osaka artist named Torii Shokichi Kiyomoto. The
date of his birth is given by the compiler of the Hayashi cata—
logue as 1664, and he is said to have lived for awhile at Kyoto
before he removed to Yedo, sometime during the Genroku period
(1688-1703). He was distinguished for his vigorous designs
and powerful brush work, and soon made himself famous by
painting large pictures of actors upon the kamban or signs, which
were some five or six feet in height and forty or fifty feet, or
even more, in length, for the exteriors of the four leading the-
atres of the Shogun’s capital. He also took up the designing of
single sheet prints and illustrated books, which Moronobu’s suc-
cessors had for the most part abandoned. These gave him wide
celebrity, which was shared by his brother Torii Kiyomasu, who
appears to have occupied a studio with him in Naniwa-cho. Ac-
cording to the compiler of the Hayashi catalogue, Kiyonobu died
in I729 at the age of 66. If this is correct, then a large number
of prints signed “Torii Kiyonobu,” which are clearly of later
date, must be by another hand, perhaps that of a son of the same
name, or, it may be, by Kiyomasu, who is said to have used the
name Kiyonobu after his brother’s death. Kiyonobu was the
elder of the two and was considered the founder of the Torii
school, which made a specialty of theatrical work.
‘k5. THE ACTOR NAKAMURA KIYOS-ABURO AS A
YOUNG WOMAN HOLDING A BOOK.
Signed Torii Kiyonobu. Stamp: Kiyomasu. Publisher: Komatsu—
ya. About 1715. Tan-é. Size 21%x12%. Lent by Clarence Buck-
ingham. '
A splendid specimen of the large tan-e, now extremely rare.
.The circumstance that the stamp reads Kiyomasu, points to
the joint use of the same studio by Kiyonobu and Kiyomasu.
KIYONOBU.
Possibly Kiyonobu impressed his brother's stamp by mistake
instead of his own, upon the original drawing.
The seal char-
acters for the two names differ by one stroke only.
6.
II.
\NOMAN SEATED UPON A CHERRY TREE.
Not signed. About 1715. Small tan-é of the size known as hosoé.
12x5. Lent by I. Clarence Webster.
THE ACTORS SANNOGA\VA ICHIMATSU AND
NAKAMU-RA KIYOSABURO.
Signed Torii Kiyonobu, hitsu. Publisher: Emi-ya. About 1718.
Urushi-é. Size 11%x53/1. Lent by Clarence Buckingham.
An example of the earliest style of urushi-é.
SCENE FROM A DRAMA: SANNOGOVVA ICHI—
MATSU AS MARITA jUN-NO-SUKE, AND SAVVA-
MURA SOJURO AS NAGOYA SANZABURO.
Signed: Torii Kiyonobu hitsu. Publisher: Nakajima-ya.
1743. Beni-é. Size 12%x6. Lent by Frederick W. Gookin.
About
THE ACTORS OTANI HIROZO AND SANNOGAWA
ICHIMATSU: SCENE FROM THE DRAMA “SOGA
NO GORO”.
Signed: Torii Kiyonobu, hitsu. Publisher: Igaya.
Beni-é. Size 12%x6. Lent by Clarence Buckingham.
About 1745.
SCENE FROM A DRAMA: NAKAMURA SUKE-
GORO AS DAID'OJI TAHATA NO SUKE, AND
BANDO HIKOSABURO AS ARAKI SAEMON.
Signed: Terii Kiyonobu, hitsu. Publisher: Nakajima-ya. About
1746. Beni-é. Size 12%x6. Lent by Clarence Buckingham.
SCENE FROM A DRAMA: THE ACTORS SANN'O-
GAWA ICHIMATSU AND SEGEWA KIKUNOJO.
Signed: Torii Kiyonobu, hitsu. About 1748. Beni-é. Size 12I/2x6.
Lent by J. Clarence Webster.
SCENE FROM A DRAMA: ARASHI KOROKU AS
M'AKOMONO MAI AND ICHIMURA UZAEMON
AS TAIRA NO KOREMOCHI.
Signed: Torii Kiyonobu, hitsu. Publisher: Kamimura.
1748. Beni-é. Size 12%x6. Lent by Clarence Buckingham.
About
KIYONOBU.
,13. THE ACTOR ICHIMURA KAMEZO AS SOGA NO
GORO.
Signed: Torii Kiyonobu, hitsu. Publisher: Nakajima-ya. About
1749. Beni-é. Size 12%x6. Lent by Clarence Buckingham.
The softness and brilliance of the colour attests the growing
skill on the part of the printers.
14. THE ACTOR NAKAMURA KIYOSABURO AS TAI—
YU TAKASAGO.
Signed: Torii Kiyonobu, hitsu. Publisher: Maruyama. About
1752. Beni-é. Size 12%x5~%. Lent by J. Clarence Webster.
The object in the actor’s hand is a miniature shrine.
TORII KIYOMASU.
Though it has been supposed that Kiyomasu was a son of
Torii Kiyonobu, it is almost certain that he was his younger
brother, born about 1679. He died at the age of 83 in Horeki
(1762). His work is scarcely distinguishable from that of
Kiyonobu, either in design or in the sweep and force of the brush
strokes.
X45. WOMAN HOLDING BABY BOY AND A TOY LAN-
~ g,_ TERN.
Méfk'c'fi‘ Signed: Torii Kiyomasu. Stamp: Kiyomasu. Publisher: Naka-
jima-ya. About 1710. Sumi-é. Size 221/2x12. Lent by Clarence
Buckingham.
Here the vigorous brush strokes echo those of Kaigetsudo,
but are based upon the work of the Kano masters. It was prints
of this sort that the Yedo samurai regarded as inexpressibly vul-
gar in style from the point of view of artistic merit.
16. BIJIN (BEAUTIFUL WOMAN).
Signed: Torii Kiyomasu. Stamp: Kiyomasu. Publisher: Iga-ya.
About 1710. Tan-é. Size 22%:(12. Lent by Clarence Buckingham.
The style of Kaigetsudo is imitated very closely in this print.
17. THE ACTOR IWAI AS A SAMURAI.
Signed: Torii Kiyomasu, hitsu. Publisher: Ise-ya. About 1720.
Sumi-é with a little hand coloring. Size 13%,x6%. Lent by
Clarence Buckingham.
._27__.
KIYOMASU.
,, ; is. THE ACTOR SANNOGAWA ICHIMATSU IN A FB-
a... matte-(.2, MALE ROLE.
l
. Signed: Torii Kiyomasu, hitsu.
Publisher: Iga—ya.
Size 2%){1234 Lent by Clarence Buckingham.
About 1715.
Tan-é.
.T his print was clearly designed for colouring by hand, as is
I shown by the absence of solid masses in the black.
K19. ACTOR IN A FEMALE ROLE.
Signed: Torii Kiyomasu, hitsu.
Publisher: Iga—ya. About 1718.
Urushi-é.
Size 11%x6V2. Lent by Clarence Buckingham.
The effect obtained by glazing tan with thin lac and blowing
over its sticky surface metallic powder through a small bamboo
tube was often very rich.
20.
21.
PORTRAIT OF AN ACTOR.
Signed: Torii Kiyomasu, hitsu. Publisher: Wurukogata-ya. About
1725. Urushi-é. Size 12%x53/t. Lent by I. Clarence Webster.
SEGAWA KIKUNOJO AS KIYOHIME IN THE
DRAMA “MUSUME DOJOJI”.
Signed: Torii Kiyomasu, hitsu. Publisher: Nakajima-ya.
About
1744. Beni-é. Size 12V2x6. Lent by Frederick W. Gookin.
Here the green and: the beni have been changed to two tones
of bufi’.
22.
23.
THE ACTORS .TOMAZAWA SAIJIRO AND ICHI-
MURA UZAEMON IN THE DRAMA “MYOJIN ON-
NEN FUTAI KAGAMI.”
Signed: Torii Kiyomasu, hitsu. Publisher: Nakajima-ya.
About
1745. Beni-é. Size 12%x6. Lent by Clarence Buckingham.
SCENE FROM A DRAMA: _THE ACTORS TOMA-
ZAWA SAIJIRO, OTANI ONIJI, AND SEGAWA
KIKUNoJo.
Signed: Eshi (painter) Torii Kiyomasu, hitsu.
kogata-ya. About 1747. Beni-é.
Buckingham.
Publisher: Wuru-
Size 12%x6. Lent by Clarence
Here the beni has turned to a low-toned yellow.
_28__
KIYOMASU.
24. SCENE FROM A DRAMA: ARASHI TOMI-NO-SUKE
AS TARUI OSEN AND OTANI HIROJI AS WASHI-
NO-CHOKICHI.
Signed: Torii Kiyomasu, hitsu. Publisher: Iga—ya. About 1747.
Beni-é. Size 121/3x6. Lent by Frederick \V. Gookin.
25. SUSA-NO-MIKOTO KILLING THE EIGHT—HEADED
DRAGON.
Signed: Torii Kiyomasu, hitsu. Publisher: Kamimura Kichiémon.
About 1747. Beni-é. Size 12%x6. Lent by Clarence Buckingham.
To understand this print some knowledge of the lunar cal-
endar in use in old Japan is necessary. The beginning of the
year was determined by astronomical calculation, and New Year’s
day was a festival which might fall at any time between the first
of January and the last of February according to the Gregorian
calendar. The years were grouped in periods or cycles; each had
its zodiacal sign and was also distinguished as positive or nega-
tive. The months, which had no names, being known by num-
b‘ers only, were designated as large or small, according to whether
they consisted of thirty or twenty-nine days. As the sequence of
the large and small months varied from year to year, the neces-
sity for some sort of a calendar will be apparent.
In this print we have a “little calendar” for the year 1748,
probably made to order for some literary man to distribute to
his dilettante friends at New Year's time. An inscription in
beni, now faded to a pale yellow, reads: Enkyé G0 Boshzin
TS’ILChi—HO-G Dai 3/15, that is, the large and small months of the
dragon year, Enkyo fifth (the same as Kan-en first). Then in
black appear a series of combination characters, which only schol-
ars could read, signifying “First small, Second large,” and so on.
There being thirteen moons in this year, there are in consequence
two tenth months, one designated as “uro.”
As appropriate to a dragon year, the artist illustrates the
well-known story of the killing of the eight-headed dragon which
was overcome when it became intoxicated through drinking sake
conveniently placed in eight large jars.
26. THE ACTOR SANNOGAVVA ICHIMATSU AS KUTO
INU FUSAMARU.
Signed: Torii _Kiyomasu, ga. Publisher: Maruyama. About
1750. Beni-é. Size 12%x5~%. Lent by J. Clarence Webster.
_29_.
OKUMURA MASANOBU.
Besides Kiyonobu and Kiyomasu, there was in Yedo in the
early years of the seventeenth century another print designer
of nearly if not quite equal power, and in some qualities their
superior,——Okumura Masanobu. He was a pupil of Kiyonobu,
and was only a few years younger than Kiyomasu, whom he out—
lived more than two decades. His name was Okumura Gen_
pachi Masanobu, besides which he had several studio, or “brush
names,” as Hogetsu-do, .Tanchosai, Bunkaku, and Kanmyo, and
he was commonly known as Honya (bookseller) Genpachi, from
the fact that he was his own publisher and kept a book and print
shop at the sign of the red gourd in Tori-shio ch6. He is reputed
to have been. the first to colour prints with beni, and to have been
the originator of the pillar print which, in the houses of the com-
mon people, took the place of the elaborate hashirakake, or pol-
ished and decorated strips of beautiful wood used to hang upon
the posts in the houses of wealthy people of the upper classes.
Masanobu is said to have been born in 1685 and to have died in
1764, just on the eve of the great revolution in colour printing
inaugurated by Harunobu.
27. GIRL SEATED ON A sHoGI (wooden bench).
Signed: Okumura Masanobu zu. Stamp: Masanobu. Publisher:
Komatsu-ya. About 1715. Tan-é. Size 22x13. Lent by Clarence
Buckingham.
A remarkable example of Masanobu’s early work. The
strokes are clean and supple but not so strong as in his later de—
signs. The round fan in the girl’s left hand has a puzzle picture
upon it, to which she is pointing with a tortoise shell hairpin held
in her right hand.
28. THE BIRD CATCHERS.
Not signed. About 1715. Sumi-é. Size 11x15. Lent by Frederick
W. Gookin.
On the bank of a small stream a samurai and two attendants
are catching birds with bamboo poles tipped with bird lime.
29. THE IWAN’S SHADOW ON THE SHOJI.
Not signed. About 1716. Sumi-é, slightly colored by hand. Size
10%,)(10. Lent by I. Clarence Webster.
30. SIGNING .THE SCREEN.
Signed: Okumura Masanobu, hitsu. About 1717. Sumi-é. Size
10x15. Lent by Frederick W. Gookin.
OKUMURA MASANOBU.
In the figure of the artist signing his name to the screen we
probably have a caricature of Masanobu drawn by himself. At
the right a young man and woman watch the performance. A
touch of humor will be found in the size of the brush, which is
much too small to write such large characters.
31. GEISHA ENTERTAINING TOSHITOKU (FUKURO—
KU-JU) AND DAIKOKU.
Not signed. About 1717. Sumi-é. Size 10x15. Lent by Frederick
\rV. Gookin.
Upon the balcony of a tea house by the sea a geisha sits play-
ing upon a samisen, while before her are two of the so-called
“Gods” of good fortune (Shichi fuku jin) drunk with sake.
Daikoku leaning forward, permits a maid to stand upon his
back in order to place a small lacquer table with sake bottles on
Toshitoku’s tall head. '
32. WOMAN ENTERTAINING .TWO SHOJO.
Not signed. About 1720. Sumi-é. Size 10x15. Lent by Frederick
W. Gookin.
Shojo are mythical red-haired men, supposed to live on the
sea-shore. Their one weakness is uncontrollable fondness for
sake (rice beer). In this print a woman is shown plying them
with that beverage, from a huge jar beside which she sits.
33. ACTOR OF THE NAKAYAMA LINE.
Signed: Nihon Gako Okumura Masanobu, hitsu. About 1725.
Urushi-é. Size 1372x614. Lent by Frederick W. Gookin.
_ This is an advertisement of Okumura’s shop in Tori-Shio cho,
where at the sign of the red gourd, “beni-é and esagashi-é (puz-
zle pictures) may be had at wholesale.”
34. .TWO ACTORS UNDER A \VISTARIA ARBOR,
PLAYING UPON SAMISEN.
The signature at the bottom of the print has been trimmed off.
About 1720. Urushi-é. Size 12%:(6. Lent by John H. Wrenn.
In this exquisite composition Masonobu displays skill of the
highest order. It must be classed among his finest works.
_._31_
OKUMURA MASANOBU.
35. A SUDDEN SHowER AT A MAPLE PICNIC.
Not signed. About 1722. Urushi-é. Size 13x16%. Lent by Clar-
, 5g‘; ence Buckingham.
7“ A young man shields a girl with a cloak raised upon his sword
hilt. This is an exceptionally beautiful example of the so-called
lacquer print.
36. USHIVVAKA BEGUILING THE PRINCESS JORURI-
HIME.
The signature, which was on the margin, has been trimmed off.
About 1730. Hand—colored print. Size ll%xl6%>. Lent by J. Clar—
ence Webster.
The story of how Ushiwaka (afterward known as Yoshi-
tsune) captivated the Princess Jorurihime, by standing outside
the palace gate and playing upon the flute with marvelous skill,
is familiar to every Japanese. At the right the shaft (sliding
shutters) are pushed aside, disclosing a vista of several rooms
and in one of them a group of women. A wing of the building
extends across the upper part of the picture; at the left is a
glimpse of the garden; and below is the gate, before which stands
a man playing upon a flute while an attendant kneels before him,
holding one of his swords.
X37. PORTRAIT OF THE ACTOR S-ANNOGAVVA ICHI-
-. MATSU.
Signed: Ho Getsudo, Tanchosai, Okumura Bunkaku Masanobu sho
/ hitsu, Hashira e kongen. Stamp: Tanchosai. About 1740. Very
we tall hashira-e (pillar print). Size 421/2x6%. Lent by Clarence Buck-
in gh am.
This is one of Masanobu’s most important works. He signs
as the originator of the haShira-e, but whether in this statement
he should be considered as author or publisher is not entirely
clear. Probably for the reason that they were mounted as kake-
mono, and kept hanging until entirely discoloured, Masanobu’s
prints in this form are of extreme rarity.
1(38. WOMAN READING A BOOK.
(153525724 Signed: H0 Getsudé Hashira-é Okumura Bungaku Masanobu sho
‘_. _ ‘ Q '_ hitsu. Stamp: Tanchosai. About 1740. Hand-colored print. Size
554511.461, 27x9-3/4. Lent by Clarence Buckingham.
7:; J “32—
OKUMURA MASANOBU
39. THE ACTOR ONOE KIKUGORO AS GOMPACHI.
Signed: H6 Getsudo H'ashira-é Okumura Bungaku Masanobu sho
(genuine) hitsu (brush). Stamp: Tanchosai. About 1743. Hand-
colored print. Size 25%x10%,. Lent by Clarence Buckingham.
These large hand—coloured prints continued to be made for
several years after the invention of colour printing, which was
used at first for smaller pieces only.
40. OIRAN READING A LOVE LETTER.
Not signed. About 1744. Beni-é. Size 13%x53/4. Lent by Clarence
Buckingham.
4I. WOMAN HOLDING A BATTLEDORE AND A LET—
TER.
Signed: Ho Getsudo Shomyo Okumura Bunkaku Masanobu hitsu.
Stamp: Tanchosai. About 1744. Hand-colored print. Size 28%):
10%,. Lent by Clarence Buckingham.
.The patterns upon the woman’s kimono is composed of a
blossoming cherry tree, and several curtains are inscribed with
actor’s mon (badges) and names of patrons of the theatre.
42. WOMAN STANDING AND GIRL SEATED AT HER
FEET READING A LETTER.
Signed: Ho Getsudo Shomyo Kongen Okumura Bunkaku Masa-
nobu, Sho hitsu. Stamp: Tanchosai. About 1745. Hand-colored
print. Size 25%,x8é4. Lent by Clarence Buckingham.
43. YOUNG MAN ON HORSEBACK BEFORE TWO
GIRLS AT A WINDOW.
Signed: H6 Getsudo Shomyo Okumura Bungaku Masanobu sho
hitsu. Stamp: T anchosai. About 1747. Hand-colored print. Size
25x9%. Lent by J. Clarence Webster.
44. THE ACTORS ONOE KIKUGORO AND NAKAMU-
RA KIYOS-ABURO AS MUSICIANS IN A KYO-
GEN.
Signed: Ho Getsudo. Tanch osai, Okumura Bunkaku Masanobu
sho hitsu. Stamp: Tanchosai. About 1750. Beni—é. Size 16x11%.
Lent by J. Clarence Webster.
This print is interesting not only for its beauty, but because it
bears an inscription probably contemporary or nearly so, giving
the date “Kanyen san” I750, and because it affords an extremely
OKUMURA M ASANOBU
early instance of a tint produced by printing green over the beni.
This appears in the stem of the kokyu, the musical instrument
played with a how.
45. DANCING GIRL WITH A .TOY HORSE’S HEAD.
Signed: H6 Getsudé Okumura Bungaku Masanobu, ga. Stamp:
'(Iganfiho. About 1750. Beni~é. Size 12x5%. Lent by Frederick W.
00 1n.
OKUMURA TOSHINOBU
This artist was a son of Okumura Masanobu and was asso-
ciated with his father in the shop in Tori-shio-chc'). In all prob-
ability he died young. His work, as far as known, consists
chiefly of small urushi-é, which show skillful draughtsmanship.
46 ACTOR WEARING STRAVV HAT.
Signed: Yamato Gako, Okumura Toshinobu hitsu. Publisher :.
Soshu-ya. About 1732. Urushi-é. Size 13x6. Lent by Clarence
Buckingham.
47. THE ACTOR HAGI-NO HANZABURO AS KEVVAI—
ZAKA SHOJO.
Signed: Yamato Gako, Okumura Toshinobu hitsu. Publisher:
Komatsuya. About 1733. Urishi-é. Size 13/26%. Lent by J. Clar-
ence Webster.
The large sake cup in the actor's hand symbolizes the Shojo’s
fondness for rice beer.
HANEKAVVA CHINCHO
This artist, beloved by the Japanese for the esoteric quality
of his works, was a samurai of Kawaguchi, near Yedo, who be-
came a ronin and entered the studio of Kiyonobu. He was an
erratic person, worked. when. he felt like it, and scorned a pub-
lisher's offer of permanent support, saying that poverty was the
common lot of the samurai. He was that rare thing in Japan,
a bachelor. As an ode maker he had high repute. His paintings
were sometimes signed Chincho Motonobu. His prints were few
in number and‘ are now extremely rare. He died on the 22nd
day of the 7th month of Horeki 4 (1754), aged about 70.
__34_
HA NEKAWA CHINCHO
48. ACTOR SEATED UPON A LION.
Signed: I-Ianekawa Chincho Motonobu. About 1731. Urushi-é.
Size 13%x6%. Lent by Frank Lloyd \Vright.
In placing the actor upon a lion (drawn in pronounced Chi-
nese style) Chincho parodies the Bodhisatva Monju, who is al-
ways represented riding upon an elephant.
Upon a jar in the foreground appear the marks of the pub—
lishing houses, \Nurukogata-ya and Tsuru-ya.
YOSENDO YASUNOBU (oR ANSHIN)
Nothing is known about this artist. The signature may be
an unusual studio name of some artist of repute. The few prints
bearing it are of such quality as to lend plausibility to this sup-
position.
49. ACTOR As A FAGGOT GATHERER LEADING A
cARABoU.
Signed: Yosendo Yasunobu (or Anshin). About 1730. Urushi-é.
Size 13V2x6%. Lent by J. Clarence Webster.
NISHIMURA SHIGENAGA
Nishimura l\Iagosabur6 Shigenaga, known also by the studio
name Senkad'o, was the son, born in 1697, of an eccentric artist
named Nishimura Shigenobu. Though Shigenaga was a man of
decided ability and must be counted as one of the foremost
Ukiyo-é artists of his time, his designs are for the most part
more complicated and have less dignity and grandeur of line
than those of the Torii artists. He is said to have kept a tea
house in Tori—Abura-cho, and‘ afterward to have moved to the
part of Yedo known as Kanda, where he became a publisher.
Through his many pupils, several of whom were among the most
important figures in Ukiyo-é, he exercised marked influence upon
the development of the school. His death is said to have oc-
curred in I756.
50. YOUNG SAMURAI AND A GIRL WITH AN UM-
BRELLA.
Signed: Nishimura Shigenaga, hitsu. Publisher: Iga-ya. About
1725. Urushi—é. Size llI/2x6V2. Lent by Clarence Buckingham.
_35__
NISHIMURA SHIGENAGA
51. THE BIJIN KINKo.
Signed: Nishimura Shigenaga, hitsu. Publisher: Iga-ya. About
1725. Urushi-é. Size 1112x6V2. Lent by Clarence Buckingham.
Kinko (in Chinese, Kinkao), one of the Rishis, or sages, of
the Taoists, having long absented himself from the haunts of
men, reappeared riding upon the back of a huge carp as it leaped
from the water. The substitution of b-ijz'n (beautiful women) for
sages was a form of pleasantry much indulged in by the artists
of the Popular School.
52. DANCING GIRL WITH A MONKEY.
Not signed. Probably 1728. Hand-coloured print. Size 12%)(6.
Lent by Frank Lloyd Wright.
The Chinese characters upon the girl's clothing are those for
the signs of the zodiac.
53. FUKUROKUJU.
Signed: Nishimura Shigenaga, hitsu. About 1731. Urushi-é. Size
12%x6. Lent by I. Clarence Webster.
Fukurokuju, one of the group known as the Seven House-
hold Gods, stands for wisdom, but also symbolizes longevity. His
attributes are a preternaturally tall head, a crane (one of the
symbols of longevity), a staff and a makimono. His identity
is hopelessly confused with that of Juro or Jurojin (Toshitoku).
54. ACTOR HOLDING A FAN.
Signed: Nihon Gako Nishimura Shigenaga, hitsu. Stamp: Shi-_
genega. About 1732. Urushi-é. Size 1112x614. Lent by Frank
Lloyd Wright.
Especially in the patterns upon draperies Shigenaga shows
marked individuality. This is a fine example of his work.
ISHIKAWA TOYONOBU
Foremost among the Ukiyo-é artists of the middle of the
seventeenth century was Ishikawa Toyonobu. He was born in
the year 1711, and is said to have been a remarkably handsome
man. While a pupil in the studio of Nishimura Shigenaga he
was so greatly admired by the daughter of the proprietor of an
inn called Kasuya, in Kodenma-chc'), that a marriage was arranged
ISHIKAWA TOYONOBU
between them. (See note to No. 137). Having thus become
the inn-keeper’s son-in-daw, Toyonobu, whose personal name was
Hichibei, became known locally as Kasuya Hichibei. .To his
ability as an artist the prints shown in this exhibition bear wit-
ness. .Though he lived to the age of 75', dying on the 25th of
the 5th month of 1785, his work as a print designer did not long
continue after the advent of the new style brought in by Haru-
nobu.
55. WOMAN COMING FROM THE BATH.
Signed: Tanjodo, Ishikawa Shuha Toyonobu zu. Stamps: Ishikawa
and Toyonobu. Publisher: Murata. About 1743. Hand-coloured
print. Size 26%x6%. Lent by Clarence Buckingham.
The grace and serenity of the brush strokes in this print
should be noted particularly.
56. \VOMAN WRITING A LETTER.
Signed: Tanjodo, Ishikawa Shuha Toyonobu zu. Stamps: Ishikawa
and Toyonobu. Publisher: Wurukogata-ya. About 1744. Hand-
coloured print. Size 28%x6V2. Lent by J. Clarence Webster.
The long sleeves of the woman’s kimono, three garments
worn one over the other, are so treated as to make a most effect-
ive note in the composition. No other artist is more restful
in his line arrangements than Toyonobu.
57. WOMAN OPENING AN UMBRELLA.
Signed: Tanjodo, Ishikawa Shuha Toyonobu zu. Stamps: Ishikawa
and Toyonobu. Publisher: \Vurukogata-ya. About 1743. Hand-
coloured print. Size 27%x614. Lent by Clarence Buckingham.
58. WOMAN HOLDING A LONG PIPE.
Signed: Tanjodo, Ishikawa Shuha Toyonobu zu. Stamps: Ishikawa
and Toyonobu. Publisher: Wurukogata-ya. About 1745. Hashira-é.
Size 28%x6%. Lent by Clarence Buckingham.
59. WOMAN HOLDING IN HER RIGHT HAND A
ROUND FAN BEARING THE MON OF SANNO-
GAWA ICHIMATSU, AND IN HER LEFT A
SMALL LANTERN.
Signed: Tanjodo, Ishikawa Shuha Toyonobu zu. Stamps: Ishi-
kawa and Toyonobu. Publisher: Wurukogata-ya. About 1745.
Hashira-é. Size~28%x6%. Lent by Clarence Buckingham.
__37__
ISHIKAWA TOYONOBU
.The grammar of the line arrangement in this delightful com-
position is flawless.
X60.
(half/‘f '
0m, )fkmaw and Toyonobu.
’\ Z4, [Lavina
THE ACTOR SEGAWA KIKUNO'JO AS A WOMAN
READING A LETTER.
, Signed: Tanjodo, Ishikawa Shuha Toyonobu zu. Stamps: Ishikawa
Publisher: VVurukogata-ya. About 1747. Hand—
coloured print. Size 27%.x10. Lent by Clarence Buckingham.
Here also the composition is masterly, and worthy of most
careful study.
Toyonobu’s tall figures have a sweetness and
charm that are peculiarly their own.
if 61.
.992‘! 31'?“ (AN
BIJIN (BEAUTY) WITH A TABLET AND A BACHI
IMPLEMENT USED IN PLAYING THE
sAMIsEN) ‘
‘fign’rfisignedz Tanj0d5, Ishikawa Shuha Toyonobu Zu' Stamps: Ishikawa
62.
63.
64.
65.
and Toyonobu. About 1748. Hand-coloured print. Size 26x9%.
Lent by Clarence Buckingham.
THE ACTOR SANN'OGAWA ICHIMATSU AS A
YOUNG GIRL WITH A DOLL.
Signed: Tanjodo Ishikawa Shuha Toyonobu zu. Stamp: Toyonobu.
Publisher: Wurukogata—ya. About 1750. Beni-é. Size 12%x9.
Lent by Clarence Buckingham.
YOUNG LOVERS.
Signed: Ishikawa Toyonobu, hitsu. Publisher: Wurukogata-ya.
About 1751. Beni-é. Size 12%x5%,. Lent by Clarence Buckingham.
SCENE FROM A DRAMA: SANNOGAW'A ICHI-
MATSU AS AKEHA NO CHOKICHI AND TSUCHI
M'ONZO AS IZUMI NO JIRO.
Signed: Ishikawa Toyonobu, hitsu. Publisher: Sakai-ya.
1753. Beni-é. Size 12%x5%. Lent by Frederick W. Gookin.
About
THE ACTORS SANNOGAWA ICHIMATSU AND
ONOE KIKUGORO.
Signed: Tanjodo Ishikawa Shuha Toyonobu zu. Stamp: Toyonobu.
About 1755. Beni-é. Size 18x10%. Lent by Frederick W. Gookin.
.T he basket hats carried by the actors came down to the shoul-
ders when worn, and were for the purpose of disguise.
_38_
ISHIKAYVA TOYONOBU
66. YOUNG LOVERS CARRYING AN UMBRELLA.
Signed: Tanjodo, Ishikawa Shuha Toyonobu zu. Stamps: Ishikawa
and Toyonobu. Publisher: \Vurukogata—ya. About 1757. Beni—é.
Size 181x12. Lent by Clarence Buckingham.
67. WOMAN READING A LETTER.
Signed: Tanjodo, Ishikawa Shuha Toyonobu zu. Stamps: Ishikawa
and Toyonobu. Publisher: \Vurukogata-ya. About 1762. Print
from three-color blocks. Size 18x12. Lent by Clarence Buckingham.
The woman stands in a zashiki (parlor) before the tokonoma
(recess) in which hangs a kakemono signed “Ishikawa Toyo-
nobu,” showing Hotei gazing at the full moon.
The print designers are now experimenting with new colours.
68. YOUNG MAN CARRYING A GIRL ON HIS BACK.
Signed: Tanjodo Ishikawa Shuha ga. Publisher: Wurukogata-ya.
About 1763. Hashira-é; from three-color blocks. Size 28x4. Lent by
Frank Lloyd W'right.
Toyonobu adopted‘ the new manner but he did not design
many prints after this time.
69. WOMAN DRESSING.
Signed: Ishikawa Toyonobu, hitsu. About 1765. Size 13%x53A.
Lent by J. Clarence Webster.
Nude figures are seldom met with in Japanese art. Toyo—
nobu seems to have made more use of such subjects than any
other of the Ukiyoeshi.
TORII KIYOHIRO
Kiyohiro was probably a son of Kiyomasu. He is one of the
prominent figures of the period from about 1745 to 1765, after
which year he ceased to produce. No details about his life are
known.
70. S-U'GOROKU PLAYERS.
Signed: Torii Kiyohiro, hitsu. Stamp: Kiyohiro. Publisher:
Wurukogata—ya. About 1754. Beni-é. Size 18x12. Lent by Clar-
ence Buckingham.
A young woman with a pipe in her hand is watching another
woman and a young man playing the game of sugoroku (See
No. 109).
__39__
TORII KIYOHIRO
71. .THREE ACTORS IN FEMALE ROLES.
Signed: Torii Kiyohiro, hitsu. Publisher: Maruyam'a. About 1755.
Beni-é. Uncut tryptich. Size 12x18. Lent by Clarence Buckingham.
Actor prints of the size known as hosoé were usually printed
as triptychs, but were seldom kept in that condition and uncut
triptychs are now extremely rare. The subject here is a play
upon words. Sannogawa Ichimatsu, the actor at the right, is
compared with the blossoming plum—tree; Nakamura Tomijuré
is likened to the graceful willow, and Nakamura Kumetaro is
matched with the beauty of the cherry flowers.
72. THE ACTOR SANNOGAVVA ICHIMATSU AS MA-
SAKO NO MAI.
Signed: Torii Kiyohiro, hitsu. Publisher: Yamanari ya. About
1755. Beni~é. Size 12%x5%. Lent by J. Clarence Webster.
In his hand Ichimatsu holds an actor’s wig.
The conventional drawing of the faces by the print designers
is sometimes taken to indicate that the actors wore masks. .That
was not the case. Masks were worn in the ancient N 5 perform-
ances but not in the theatre unless an actor happened to have the
role of a N6 dancer.
TORII KIYOMITSU
Torii Hanzo Kiyomitsu, the third great master of the .Torii
Line, is said to have been the son, born in 1735, of Kiyomasu,
but it would seem more probable that he was a grandson. Be
that as it may, he was recognized in his day as the head of
the Torii line. His merit as an artist has as yet hardly been
appreciated at its true worth. He was not only the most dis-
tinguished of the print designers, with the possible exception of
Toyonobu, during the decade from 1755 to 1765, but he shares
with Harunobu the honor of perfecting the art of full colour
printing. Though he was overshadowed by the genius of Haru—
nobu, and in his later years imitated his style, it is not improb-
able that some unsigned prints usually attributed to Harunobu
are from his hand.
73. SCENE FROM A DRAMA: ICHIKAWA YAOZO AS
TOKOBEI AND SEGAWA KIKUNOJO AS OHATSU.
Signed: Torii Kiyomitsu, ga. Publisher: Eijudo. About 1760.
Beni-é. Size 12%x5%. Lent by Clarence Buckingham.
__4Q__
TORII KIYOMITSU
SCENE FROM A DRAh/IA: BANDO HIKOSABURO
AS OMI NO GENGORO, AND MATSUMOTO MAT-
SUZO AS CHOZO.
Signed: Torii Kiyomitsu, ga. Publisher: Eijudo. About 1761.
Print from three-colour blocks. Size 12%x5%. Lent by J. Clarence
Webster.
Here the green printed over yellow has changed to an olive
gray.
75-
77'
78.
SCENE FROM THE DRAMA SOGA NO GORO:
ICHIKAWA RAIZO AS SOGA NO GORO TOKI-
MUNE, AND BANDO AIZO AS SHOJO.
Signed: Torii Kiyomitsu, ga. Publisher: Eijudo. About 1761.
Print from three-colour blocks. Size 12%x5%. Lent by Clarence
Buckingham.
THE ACTORS ICHIKAVVA RAIZO AND NAKA-
MURA MATSUE.
Signed: Torii Kiyomitsu, ga.
Print from three-colour blocks.
Buckingham.
Publisher: Eijudo. About 1761.
Size 12%;x5%. Lent by Clarence
BANDO HIKOSABURO IN .THE ROLE OF ONO NO
YORIKAGE.
Signed: Torii Kiyomitsu, ga.
About 1761. Print from three
colour blocks.
Size 12%x5%. Lent by Clarence Buckingham.
Two reds and a blue are effective, but the range is limited.
THE ACTOR ICHIKAWA HICHIZO IN THE ROLE
OF .TERUTE NO HIME.
Signed: Torii Kiyomitsu, ga. Publisher: Eijudo. About 1761.
Print from three—colour blocks. Size 12%x5%. Lent by Clarence
Buckingham.
Here the colours are red, blue and yellow, the blue being
printed over yellow, and in places, over the beni red, to pro-
duce a purple.
79~
SCENE FROM A DRAMA: ICHIMURA HAZAI-
MON AS NAGOYA SANZABURO AND ICHIMURA
KAMEZO AS A BOY ATTENDANT. _ -
Signed: Torii Kiyomitsu, ga. Publisher: Enami. About 1762.
Print from three~colour blocks. Size 12%x5%. Lent by Clarence
Buckingham.
_4 1__
TORII KIYOMITSU
.Though richer effects are now secured from superimposed
tints, the limitations are becoming obvious.
80. SCENE FROM THE POPULAR TRAGEDY “YAOYA
O-SHICHI”: SEGAWA KIKUNOJO‘ AS O-SHI-
CHI, DAUGHTER OF YAOYA THE GRO'CER, AND
SAKAHIYAMA SANGORO AS THE KOSHO (PAGE)
KICHISABURO.
Signed: Torii Kiyomitsu, ga. Publisher: Wurukagata-ya. About
1762. Print from three colour blocks. Size 121/51 x5%. Lent by Clar-
ence Buckingham.
81. VVOM'AN IN A GAUZE KIMONO.
Signed: Torii Kiyomitsu, ga. Stamp: Kiyomitsu. About 1763.
Hashira—é. Size 26%x33fl. Lent by J. Clarence Webster.
This may be regarded as one of Kiyomitsu’s triumphs, and
one of the most beautiful prints produced by superposed tints.
The drawing resembles that of Toyonobu.
82. SCENE FROM A DRAMA: THE ACTORS ICHI-
KAVVA KOMAZO AND NAKAlVIURA MATSUE.
Signed: Torii Kiyomitsu, ga. Publisher: Eijudo. 1764. Size
11%,x8%. Lent by Clarence Buckingham.
This is a very important print. It shows one of Kiyomitsu’s
early efforts in the new manner devised by Harunobu. How like,
yet how different is Kiyomitsu’s treatment! The embossing to
imitate crepe and the red plum blossoms printed under the blue
upon the man’s kimono, are unlike anything used by Harunobu.
The publisher, desirous of being known in connection with these
novel prints, appends his name instead of merely the usual pub-
ilsher’s mark.
83. INK PROOF FROM THE KEY BLOCK OF THE
PRECEDING.
Lent by Clarence Buckingham.
This shows an experiment in colouring which was rejected
as unsatisfactory, and not carried very far.
‘84. SCENE FROM A DRAMA: THE ACTORS ICHI-
KAWA KOMAZO AND BANDO AIZO.
Not signed. 1764. Size 11%x8%. Lent by Clarence Buckingham.
-42__
TORII 'KIYoMI'rsU
)(85. GEISHA WALKING IN THE RAIN CARRYING A
TOY sAIL BOAT AND FOLLOWED BY A SERVANT
HOLDING AN UMBRELLA ovER HER.
Not signed. Late in 1764. Size 11x7. Lent by Clarence Buck-
ingham.
This is a little calendar for Meiwa ni (I765) made, without
doubt, toward the end of the preceding year. The numbers of
the months of I765 appear in white upon the servant’s kimono.
86. THE ACTOR ICHIKANVA YAOZO.
Signed: Torii Kiyomitsu, ga. About 1765. Size 121/1-X5%. Lent
by Clarence Buckingham.
)87. GIRL TYING HER OBI.
Not signed. 1765. Size 11x8%. Lent by Clarence Buckingham.
Kiyomitsu has now so fully mastered the Harunobu manner
that this print and its companion might easily be taken for works
by the latter artist. If Harunobu thought it unnecessary to sign
his prints in the new style, why should Kiyomitsu sign his?
88. GIRL SEATED UPON A BENCH BY A STREAM.
Not signed. 1765. Size llx8%,. Lent by Clarence Buckingham.
Another of the same series as the preceding number.
89. THE ACTOR SEGAW'A KIKUNOJO CARRYING A
LARGE HAT.
Signed: Torii Kiyomitsu, ga. 1767 or 1768. Size 121/ix5%. Lent
by Frederick W. Gookin.
90. YOUNG MAN WALKING \IVITH AN UMBRELLA
AND A LANTERN.
Signed: Torii Kiyomitsu, ga. About 1768. Hashira-é. Size 28x5.
Lent by Clarence Buckingham.
' So far as known this is Kiyomitsu’s finest print in the Haru-
nobu manner. The many hues into which the purple of the ha-ori
(coat) has changed furnish an instructive object lesson for de—
termining such transformations in other prints.
SUZUKI HARUNOBU
The date of the birth of this eminent artist, who should per—
haps, be considered the central figure in Ukiyo-é, has not been
ascertained. It is known that he died on the 15th day of the 6th
month of Meiwa 7 (1770) and his age at his death in variously
stated as sixty~seven, about fifty-two, and about forty years.
There is reason to believe that the latter is correct. It accords
more nearly with the probabilities as indicated by his published
work. He was a pupil of Nishimura Shigenaga, and at first
seems to have devoted himself chiefly to drawing designs in black
and white for book illustration. As with all artists of marked
force, his individual characteristics asserted themselves early, but
it was not until about 1763 that he began to attract especial at-
tention. From that time on until his untimely death he held the
center of the stage against all rivals. His invention of full colour
printing has already been mentioned in the introduction to this
catalogue, and need not here be again recited. In the serenity
and charm of his compositions he is unsurpassed. The word
“composition,” as here used, does not signify adhesion to any
stereotyped formula, but rather the contrary, since to compose is
necessarily to create. What it does mean is such arrangement of
the lines, masses, spaces, and other elements with which the artist
has to deal, as will achieve a perfect balance of all the parts and
produce a complete, harmonic, and restful whole. In his choice
of subjects and in their treatment Harunobu was more often seri-
ous than was usual in Ukiyo~é. In fact, his tendency was toward
the refinement of the classic schools, and his drawings have a
grace, sweetness, and tenderness that are all their own. His line,
too, though without any of the bravura quality so highly esteemed
by his countrymen, is nevertheless extremely pure, firm and of
great charm. Harunobu’s studio was situated at the corner of
Yonezawa-cho Ryogoku. Many of his prints were issued un-
signed. N o signature was at first thought necessary. Who could
mistake a print by him for the work of another hand? Never-
theless, as his style became assimilated by other artists, the futility
of this boast became apparent. Thereafter Harunobu’s prints
usually had his signature appended. Several of his pupils imi-
tated his style very closely. One of them, known as Harushige,
and later as Shiba Kokan, in a book of “confessions,” published
toward the end: of his life, admits having systematically made
prints to be sold as those of the master. Besides these imita—
tions, many re-engravings have been issued at various times.
Thus it will be seen that the path of the collector of Harunobu’s
prints is beset with many stumbling blocks.
__44_
SUZUKI HARUNOBU
91. GIRLS PLAYING HANETSUKI (BATTLEDORE
AND SHUTTLECOCK).
Signed: Suzuki Harunobu, ga. About 1763. Print from three-
colour blocks. Size 1112x1614. Lent by John H. Wrenn.
This was printed in red, blue and yellow, but the fading of
the colours has resulted in an entirely different harmony of buff
and grays. The game of hanetsuki is in season at the New Year’s
holidays, which, under the Japanese lunar calendar, not infre-
quently came in the time of the plum tree blossoming, corre-
sponding to our February.
92. LOVERS MEETING UNDER THE AUTUMN FULL
MOON.
Signed: Suzuki Harunobu, ga. About 1764. Print from three-
colour blocks. Size lll/rXSVZ. Lent by Frederick W. Gookin.
When this print was made the advent of full colour printing
was not far distant. The skill with which the three colours are
handled presages what is to come.
X93. MUSUME LEAPING FROM KIYOMIDZU TEMPLE
m. WITH AN UMBRELLA AS A PARACHUTE.
Not signed. 1764. Size 10%x8. Lent by Frederick W. Gookin.
.The year I765 (Meiwa ni) is generally accepted as that in
which Harunobu developed the art of colour printing to a point
never before attained. For several years previous he, in common
with other leading Ukiyoé artists, had been designing prints for
which three-colour blocks were used, but some time during the first
year of Meiwa (1764) he entered upon a series of experiments in
full-colour printing, multiplying his colour blocks at first to five,
and then to any number necessary to secure the effect at which
he aimed, instead of limiting the colours to a few primary or
secondary hues and the tints produced by their superposition. The
first innovation made was probably the printed background. This
with one stroke completely changed the character of the prints
and opened a wide range of possibilities, which Harunobu was
quick to perceive and which he lost no time in exploring. By
using mixed tints instead of the colours theretofore employed by
the print designers, the scope of the art widened as if by magic.
Flushed with the joy of discovery he strove to produce prints
that would have the charm of paintings and be worthy substi-
tutes for them. To emphasize the new departure he adopted a
special size and shape (about II by 8 inches) for his prints, and
_.45....
SUZUKI HARUNOBU
not only chose subjects likely to appeal to men of taste, but treat-
ed them with a grace and refinement previously unknown in
Ukiyo-é. Portraits of actors, of which in the past he had made a
few only, he now utterly scorned, and declared himself “the true
successor of the painters in the department of printing.”
The first of the prints in the new manner—nishiki-é or bro-
cade pictures they were called, from the many colours woven to-
gether in them—were little calendars for the second year of
Meiwa (I765). It has hitherto been supposed that the calendar
form was merely a convenient device by which Harunobu, proud
of his new achievement, unostentatiously dated his prints. The
fact that two editions of many of them were issued, one bearing
the date and the other without it, indicates that this supposition
is untenable. Instead, it is probable that the interest excited by
the beauty of the new prints caused many literary men to order
nishiki-é calendars for distribution among their friends at New
Y ear’s. The celebration in 1765 of the nine-hundredth anni-
versary of the advent at the court of the Emperor Seiwa of
Sugawara no Michizane, the celebrated statesman, scholar, calig-
rapher, and patron of art, canonized as Tenjin Sama, made cal—
endars peculiarly appropriate mementos of the year. Undoubt-
edly some were made by Harunobu for sale in his shop, and when
the occasion for them had passed other blocks were substituted
for those bearing the numerals. Quite possibly the date blocks
were in some instances an afterthought. Be that as it may, it is
evident that the calendars were printed in the latter months of
I 764 in preparation for the new year festal season.
In this print the numerals of the large months of 1765 are
concealed in the medallions upon the girl’s kimono.
94. T\/VO GIRLS IN A BOAT GATHERING LOTUS
FLOWERS.
Signed: Harunobu, ga. Also signed by the engraver: Kyosen k6
(work, i. e., engraved). Stamp: Kyosen. 1764. Size 8%x11‘2.
Lent by Clarence Buckingham.
This is also a little calendar for Meiwa ni. The numerals for
the large months are upon the obi'of the kneeling figure.
95. GIRL ATTENDANT (YATORI ONNA) IN AN
ARCHERY GALLERY.
Not signed. 1764. Size 8%xll%. Lent by Clarence Buckingham.
__4,(,~
SUZUKI HARUNOBU
Again we have a little calendar for I765. ‘The year is in-
scribed upon the arrow holder; the large month numerals upon
the obi (sash) but, lest they appear too obvious to please the art-
ist’s literary patrons, the ideographs are curiously decomposed
and their members or strokes twisted into forms not readily
recognizable. Here for the first time we have a background of
opaque colour produced by mixing gofm-z (Chinese white) with
the other pigments. In this, Harunobu, or his printer,-——perhaps
both in conjunction, for they, together with the engraver, prob-
ably worked in the same shop,—was a pioneer. The phrase
“Yatori onna” signifies arrow-collecting woman, but it was also
customary for the girls to do the shooting for the patrons of the
galleries.
96. LADY STANDING IN THE DOORWAY OF A
HOUSE.
Not signed. 1764. Size 11x8. Lent by Clarence Buckingham.
Another beautiful specimen of the prints of this eventful year.
In refinement and grace of drawing Harunobu easily surpasses all
his rivals. This print is also a calendar for I765. The year is
plainly inscribed upon the obi, while upon the kimono appear the
ideographs otsu (negative), ondori (cock, the zodiacal sign for
Meiwa ni), and the numerals for the small months. This print
was issued in two different states. A copy of the second state,
which is not a calendar, was in the Hayashi sale (Paris, 1902).
97. AN ARCHER AND T\VO GIRLS.
Signed: Suzuki Harunobu, ga. 1764. Size 1014x8. Lent by
Frederick W. Gookin.
Every one of Harunobu’s experiments brings out some new
quality. Here the colour scheme is of the simplest; only a pale
blue, a dull red purple, two yellows and olive, but how delightful
the harmony, and who but a master could have placed the heads
of the two girls in such relative position without spoiling the com-
position? The year is upon the turned-over flap of the man’s
kimono; the numbers of the large months appear as bamboo
leaves in the pattern upon the olive kimono of one of the girls. i
98. ANOTHER COPY OF .THE FOREGOING.
Not signed. 1764. Lent by Frank Lloyd Wright.
A comparison of this print with the preceding number is in-
structive. This is plainly from a different edition. The colour
_47_.
SUZUK I HARUNOBU
scheme has been changed, the signature omitted, and other blocks
with new patterns substituted for those bearing the name of the
year and the numbers of the large months.
99. THE ROKUROKUBI.
Signed by the engraver, Kyosen. Stamp: Kyosen no in. 1764.
Size 10%x7%. Lent by Frederick W. Gookin.
Rokurokubi, or “swirling necks,” are supposed to be people
who, when asleep, have the faculty of elongating their necks until
their heads reach out to places remote from their bodies. Here a
girl’s head appears above the frame of the fusuma (sliding par—
tition) while through the opening at the right the outstretched
neck shows as a tenuous white line. Hopping across the fore—
ground are two curiously misshaped cocks (the zodiac sign for
1765), their bodies formed of the ideographs mei and em; while
upon the fusuma at the left is a beetle, whose body is made of the
numeral ml (two). Upon a screen which appears above the fu-
suma is the character sho' (small) and the numerals one, four,
seven, nine, eleven, twelve; and upon the frame, dai (large) and
two, three, five, six, eight, ten—the lunar months of I765.
100. .THE FOX WOMAN.
Signed: Suzuki Harunobu, ga. Also by the printer: Sekine
Kaei, shin (printed), and the engraver, Seiha k6 (engraved). 1764.
Size 11%x8. Lent by Frederick W. Gookin.
In this calendar for 1765 the ideograph dai (large) and the
numerals for the large months appear in the guise of leaflets
falling from a willow tree.
The fox, in Japanese folk-lore, is the personification of mis-
chief and deviltry. Among his reputed supernatural powers is
that of assuming various forms in furtherance of his wicked end-s.
As his age increases so do these powers and his cunning in their
use. At fifty he is able to accomplish at will his favorite meta-
morphosis into the semblance of a woman, but his real nature is
revealed when his image is reflected in water. In this print a
young woman, gazing through a round window at her reflection
in the water in the moat below, is seen to be in reality a fox.
101. AN OLD MAN ENTERTAINED BY GEISHAS.
Signed only by the engraver, Kyosen. 1764. Size 9x12%. Lent by
John H. Wrenn.
._48_.
SUZUKI HARUNOBU
A matchless proof of one of Harunobu’s most important
works of this year. M eiwa m’ is written upon the border of the
screen back of the figures, and the numerals for the large months
appear upon the obi of the dancing girl.
The subject is a popular version or analogue of the historic
incident of Shizuka, the concubine of Yoshitsune, dancing the
Horaku (see No. 192) before Yoritomo at the shrine of Hachi—
man.
102. READING THE LOVE LETTER.
Not signed. 1764. Size 11x8. Lent by Frederick W. Gookin.
The subject is an analogue of a scene from Chushingura, the
story of the Forty-seven Loyal Ronin. Yuranosuke, their chief,
having reecived a letter apprising him of the movements of Moro—
nao, whom they had sworn to kill, read it standing upon the ve-
randa of his inn, where he supposed he was free from observa-
tion, but Kudayu, the spy, hidden beneath the floor, was able to
master the contents. In this print we are shown a young woman
reading a love letter which a young man hidden beneath a futon
(comforter) is also enjoying. Couched in abstruse poetical phrase
and worked into the text of the letter, something after the man-
ner of an acrostic, are the year name, M eiwa: m', and the num-
bers of the large months. The learning necessary to decipher
these points unmistakably to the calendar as made for some liter-
ary man.
103. ASAZUMA BUNE.
Not signed. Probably 1765. Size 11x8%. Lent by Frederick W.
Gookin.
The variety and beauty of Harunobu’s colour schemes is
amazing. Time, however, has greatly transformed this print, the
blue of sky and water being changed to warm, low-toned buff.
The engraving and printing are noteworthy.
Asazuma was the mistress of Iyetsuna, the fourth Shogun,
who neglected the cares of government for ‘endless boating
parties in her company. She is represented in the costume of a
lady of the Fujiwara epoch. Beside her is a tsuzumi, a kind of
drum, played upon by striking with the palm of the hand.
104. ONNA NO DARUMA.
' Not signed. Probably 1765. Size 11%x8%. Lent by Frederick W.
Gookin.
_49.__
SUZUKI HARUNOBU
Here the subject is a travesty of the reputed miracle of Da—
ruma journeying to Japan across the sea upon a reed, a young
woman attired in rose-coloured garments being put in place of the
sage. Daruma (Sanskrit, Bodhi Dharma) was a Hindu who
introduced the tenets of the Shin sect of Buddhism into China
early in the sixth century. He is most commonly represented in
an attitude of contemplation, wrapped in a red robe, having, it
is said, thus spent nine years facing a blank wall.
105. YOUNG WOl\’IAN BEFORE A TORII.
Signed: Suzuki Harunobu, ga, and by the engraver, Sekine Kaéi.
Probably 1765. Size 11x8%. Lent by Clarence Buckingham.
The subject is similar to that described in the note to No.
186. Here the girl has in one hand a hammer, and in the other a
nail she is about to drive into a pine tree which stands near the
bank of a stream, near a torii, one post of which is seen at the
right.
106. YOUNG IIVONIAN WALKING IN THE SNOW’.
Signed: Harunobu, ga; also by the engraver, Seiha. 1765. Size
11%x8%. Lent by Clarence Buckingham.
Here we have a little calendar for the third year of Meiwa.
It is a proof impression in remarkable condition, only the gofun
(Chinese white) used for the high lights upon the snow, having
slightly discoloured in places. The year and numbers for the large
months appear upon the obi, though in characters so curiously
decomposed as to be practically illegible except by persons of un-
usual erudition.
107. WOMAN AND YOUNG BOY UPON A VERANDA.
Signed by the engraver, Goro. Stamp: “Ryu,” probably that of
some previous owner. 1765. Size 11x8. Lent by Clarence Buck~,
ingham.
This is another calendar for Meiwa san (1766). The subject
is a travesty upon the incident of the poet Ono no Komachi wash-
ing the ancient roll (see note to No. 425). A boy having got
some ink splashes upon a letter belonging to his sister is about
to apply a dipper of water, with probably disastrous results,
while the young woman rushes forward to stop him. The ink
splashes form the word sho (small) and the numbers of the small
months are upon the letter, while the name of the year is upon
the boy’s obi (sash) and the numbers of the large months are
upon the girl’s kimono.
SUZUKI HARUNOBU
X108. STREET SCENE: YOUNG GIRL FOLLOWED BY
‘W. - A. MAID SERVANT.
Not signed. Probably 1765. Size 11x8V2- Lent by Frederick w‘
Gookin.
Of another copy of this print exhibited in New York in 1896,
Mr. Fenollosa, in “The Masters of Ukiye,” wrote, “It seems as
if the art could hardly achieve greater perfection.” The figures
have an indescribable charm; the use of transparent colour in
some places and of the new opaque mixture in others gives both
vivacity and solidity of effect.
109. GIRLS PLAYING SUGOROKU.
Signed: Harunobu. Probably 1765. Size llx8I/2. Lent by Clarence
Buckingham.
The game of S_ugoruku has several varieties. That here de-
picted is a kind of backgammon. Its vogue has died out in recent
years and it is not now generally known.
110. A VISIT FROM HOTEL.
Signed: Haronubu, ga. Probably 1765. Size 8%x10%. Lent by
Frank Lloyd \IVright.
Hotei, the embodiment of good nature and contentment, is
one of the group of seven mythical beings known as “The Seven
' Gods of Good Fortune.”
X111. THE sUDDEN sI-IowER.
Not signed. Stamp not decipherable, probably that of the engraver.
Probably 1765. Size llx8%,. Lent by Frederick W. Gookin.
A sudden shower causes a young woman to seize a pole and
rush to take the washing from the line. In her haste she drops
her‘ geta (clog) and is turning to look for it.
I
\ f
112. fHE BRANCH OF YAMABUKI.
Not signed. Probably 1765. Size 11%x8%. Lent by Frederick W.
Gookin.
Ota Dokan, renowned as the founder of Tokyo, having in
1456 erected a stockade upon a hill which is, now within the en-
closure of the Imperial palace, being caught by a sudden shower,
hastened to a farm house, hoping to borrow a straw rain coat.
At the entrance he was met by a maid holding out to him a spray
of yamabuki (Kerria Japonica) in flower. As this plant is sterile
SUZUKI HARUNOBU
he understood at once that she had no rain coat to offer. Much
impressed by the incident he recorded it in the poem which is
now a classic.
Nanaye ya ye
Hana wa sake domo
Yaniabuki no
Mi no hitotsu da ni
Nakizo kana shiki
113. TWO GIRLS CONVERSING.
Not signed. Prob-ably 1765. Size 11x8%,. Lent by Frederick W.
Gookin.
This symphony in reds and grays represents two women seat-
ed upon the floor of a room. Between them is a box containing
brushes and colours,and in the alcove at the back is a box full
of large sheets of drawing paper. '
114. THE CHERRY FLOWER FISHERWOMAN.
Not signed. Probably 1765. Size 11%,x8%. Lent by J. Clarence
Webster.
A young woman stands by a stream holding a net with which
to catch the blossoms fallen into the water from the cherry tree
upon the opposite bank. The flowing curves of the water are
most enchanting, and realistic in their suggestion of rapid motion.
115. YOUNG WOMAN BEFORE A GATE, HOLDING A
LETTER UPON AN OPEN FAN.
Not signed. Probably 1766. Size 11x7%. Lent by J. Clarence
Webster.
Here the blue of the sky and water are little if any changed,
and the purple of the girl’s kimono has a lovely “wet” quality that
adds much to the charm of the print.
1 16. PERSIMMON GATHERERS.
Signed: Suzuki Harunobu, ga. Probably 1766. Size 1114x814.
Lent by J. Clarence Webster.
A young man holds a young girl upon his back that she may
reach the persimmons growing on the other side of a straw fence.
SUZUKI HARUNOBU
I17. WOMAN ON A VERANDA WITH TWO GIRL AT-
TENDANTS AND A PET DOG.
Signed by the engraver, Senga k6. Stamp. Senga. Probably
late in 1766. Size 111%,x8%. Lent by Frederick W. Gookin.
In “The Masters of Ukioye,” the catalogue of the Ketcham
Exhibition of Ukiyo-é paintings and prints held in New York
in January, 1896, Mr. F enollosa says of the copy of this print
there exhibited, which differs from this in not having the en-
graver’s signature: “In this wonderful print Harunobu about
reaches the extreme possibilities of his experimental stage. There
are fourteen or fifteen distinct tones lavished in a perfect shower
of wealth on every part of the design. The background itself
is a mosaic of light. But the most extraordinary thing is that
they hold their place without undue confusion. This implies su-
preme mastery over two of the intrinsic dimensions of colour,
which are not always considered; namely, the darkness and light—
ness of colours (notcm) and the brilliancy and grayness of colours
(seiutsu). He has now discovered how to use the very opaque-
ness of tones over paper so as to give them transparency of ef-
fect. What could be more liquid or enamel-like than the cool
blue of the hanging curtain? How finely the yellow of the pillar
cuts it! Observe the texture, as painting; the pigment, like
spring frost, touching the hilltops of the surface, but sparing the
valleys. Thus is colour physically diluted, as it cannot be in
water-colour wash, by letting the white light, held in solution by
the paper’s fibres, diffuse itself outward through the thin veil
of the pigment. Need we wonder that the name nishiki-e or
embroidery painting was now bestowed: upon this new art?
X 118. GIRLS GATHERING PLUM BLOSSOMS OVER A
‘Yb.
(gang.
WALL.
Not signed. Probably early in 1767. Size 11x8%.
erick W. Gookin.
Lent by Fred-
CHOFU NO TAMAGAVVA.
Not signed. About 1767. Size 11x8%.
ingham.
This is one of the celebrated “Six Tamagawa” series. The
title, which is a fanciful one, is suggested by the six rivers named
Tama, in as many different provinces. Each print illustrates an
ode which appears at the top. Here the subject is a young woman
rinsing long strips of white cloth in a river.
Lent by Clarence Buck—
SUZUKI HARUNOBU
120. NOJI NO TAMAGAWA.
Not signed. About 1767. Size 11x8%,. Lent by Frederick W.
Gookin.
Another of the “Six Tamagawa” series. Two girls by a
stream are looking at the image of the full moon reflected in the
water beneath a haigi (lespedeza) bush.
121. KINUTA NO TAMAGAW'A.
Not signed. About 1767. Size 11x81/_>. Lent by Frederick W.
Gookin.
This is a third print of the “Six Tamagawa” series. Two girls
seated in a room are cleaning cloth by pounding. This process
is known as Kinuta, which is also the name of a place on one of
the Tamagawa. Through the bamboo lattice of a window the
fruit-laden branches of a kaki (persimmon) tree appear, and
upon the wall at the left two colour prints are shown.
122. ID-E NO TAMAGAWA.
Not signed. About 1767. Size 11x8%. Lent by John H. Wrenn.
Still another of the “Six Tamagawa” series. Three girls are
shown fording a shallow stream. On the bank behind them are
yellow flowers of the yamabuki. This print, which is from the
collection made by the old publishing house “Daikokuya,” is in
marvelous preservation, the colours little, if any, affected by
time.
K123. ANOTHER COPY OF THE FOREGOING.
~ About 1767. Lent by Clarence Buckingham.
Here the colours are charmingly faded and oxidized. As to
which condition is preferable, opinions differ widely.
124. THE LOVER’S DUET.
Signed: Suzuki Harunobu ga. About 1767. Size 10%x8. Lent
by Frederick W. Gookin.
Two lovers are seen seated upon a bench by a river and play-
ing upon a samisen. Later editions of this print have colour
blocks with quite different patterns.
._54_
SUZUKI HARUNOBU
125. YOUNG MAN PLAYING UPON A FLUTE (YOKO-
BUE).
Signed: Suzuki Harunobu, ga. Probably 1767. Size 11x83A.
Lent by Clarence Buckingham.
The subject is a modern version of Ushiwaka playing before
Jorurihime.
126. MUSUh-‘IE WITH AN UMBRELLA IN A GALE OF
WIND.
Signed: Suzuki Harunobu, ga. 1767. Size 101/5x8. Lent by Clar-
ence Buckingham.
127. \IVHO’S THERE?
Signed: Harunobu, ga. Probably late in 1767. Size lll/tx8%.
Lent by Frederick W. Gookin.
A young woman at a window, having pushed the shoji aside,
is looking out upon her lover who, with averted head, kneels in
the snow under a partly opened umbrella. A broken wheel of a
court wagon (gosho kuruma) indicates that this is a modern ver-
sion of an adventure of Prince Gengi.
128. TWO GIRLS VIEWING CHERRY BLOSSOMS.
Not signed. Series Furyu Komachi. Probably 1768. Size 12%x
5%. Lent by John H. Wrenn.
The title “Shimizu” (waterfall), suggests the poetic resem-
blance borne by the blossoming cherry tree. The discolouration
of the ground adds greatly to the charm of this print.
129. ANOTHER COPY OF ' THE FOREGOING IN DIF-
FERENT COLOURING.
Lent by Frank Lloyd Wright.
This is one of another edition and bears the signature: Suzuki
Harunobu, ga.
13o. GIRLS IN A SHOWER SAILING A TOY BOAT.
Not signed. Series: Furyu Komachi. Probably 1768. Size 12%):
5%. Lent by Clarence Buckingham.
The Japanese title “Ami goi” (praying for rain) refers to an
incident in the life of the poetess Komachi.
I31. TWO WOMEN ON A VERANDA.
Not signed. Series: Furyu Komachi. Probably 1768. Size lZl/zx
5%. Lent by J. Clarence Webster.
Here the title is “Kayo-i,” or “visiting.”
-55-—
SUZUKI HARUNOBU
132. WOMAN READING A LETTER BY THE LIGHT OF
AN ANDON (PORTABLE LAMP WITH WIND
SCREEN) WHICH HER COMPANION HOLDS.
Signed: Harunobu ga. Probably 1768. Size 11%x8%. Lent by
J. Clarence Webster.
33. YOUNG MAN FASTENING A GIRL’S STRAW SAN-
DAL.
Signed: Harunobu ga. About 1768. Size 11x8. Lent by Clar—
ence Buckingham.
This print has been somewhat retouched by hand, with beni,
to restore the colour that had faded.
I34. FOOTBALL PLAYERS.
Signed: Harunobu ga. Probably 1768. Size llx8%. Lent by
Frederick W. Gookin.
Here the colour scheme is a harmony of gray green and what
was once a dull purple. For some reason not easy to explain,
although the Japanese foot-ball is a sort of shuttlecock and the
object of the game is to keep it in the air as long as possible, the
Ukiyo-e artists usually depict the players in attitudes not sug-
gestive of violent action.
135. A LOVER’S INTERVIEW.
Signed: Harunobu ga. Probably 1768. Size 11x8%. Lent by
Frederick W. Gookin.
Seated upon the floor of a room a young woman holds a let-
ter behind her while her lover stands by her side talking to her.
Through the open sh6ji is seen a stone water holder (chozu-
bachi). The soft effect of broken colour, especially noticeable
in the girl’s kimono, is due to printing upon paper that was nearly
if not quite dry.
I36. HAGI N O TAMAGAWA.
Signed: Suzuki Harunobu ga. Probably 1768. Size 11x856.
Lent by Frederick W. Gookin.
Two young women stand by a river looking at branches of
lespedeza drooping in the stream.
137. A MIAI (LOOKING-AT—EACH-OTHER-MEETING).
Signed: Harunobu ga. Probably 1768. Size 8%xll%. This
print and others of the series, lent by J. Clarence Webster. -
The series of seven prints of which this is the first, illustrate
the marriage ceremonies. In Japan marriages are arranged by a
SUZUKI HARUNOBU
Nakodo or “go-between,” who is usually a friend of the families
of both of the contracting parties. Before the father makes the
final proposal for a wife for his son, a meeting called a miaz' is
arranged. Here it is shown taking place in a teahouse near a
Shinto temple.
I38. THE ARRIVAL OF THE WEDDING GIFTS AT THE
HOME OF THE BRIDE.
Among the presents will be noted two large red fish (mi) and
two tubs of sake for the wedding feast.
139. THE WEDDING PROCESSION: CARRYING THE
BRIDE TO THE HOUSE OF THE GROOM.
Even when the distance was short the bride was carried in a
kago to the house of the groom.
14o. CHANGING THE BRIDE’S DREss.
141. THE MARRIAGE CEREMONY.
142. THE WEDDING FEAST.
143. THE FIRST BABY.
I44. LADIES ADMIRIN G THE ARTIFICIAL WATER-
FALL AT KIYOMIDZU TEMPLE, KYOTO.
Signed: Harunobu ga. Probably 1768. Size 11x8%. Lent by
Frederick W. Goodin.
145. AFTER THE BATH.
Signed: Suzuki Harunobu ga. Probably 1768. Size 11x81/é.
Lent by Frederick W. Gookin.
A woman in a blue bath robe stands on the veranda of a
house looking at a pot of pinks. In the background is a river,
the waves indicated by embossed lines. Iris are growing in the
water. The woman’s robe is a marvel of line composition. _
I46. LOVERS ON A BALCONY. .
Not signed. Probably late in 1768. Size 11x8. Lent by Frederick
W. Gookin.
_.57.._
SUZUKI HARUNOBU
147. WOMAN STANDING ON A VERANDA READING A
LETTER BY THE LIGHT OF A LANTERN SUS-
PENDED FROM A PINE TREE.
Signed: Harunobu ga. About 1768. Size 1114x814. Lent by J.
Clarence \Vebster.
148. A WOMAN SEATED IN A KAGO RESTING UNDER
A CHERRY TREE.
Signed: Suzuki Harunobu ga. Probably 1768. Size 1154x8114.
Lent by J. Clarence Webster.
By the woman’s side an attendant is holding a coil of hina-wa
(fire rope) with which to light her mistress’ pipe.
149. MOTHER DRESSING HER YOUNG SON’S HAIR.
Signed: Suzuki Harunobu ga. Probably 1768. Size 11x8. Lent
by Frederick W. Gookin.
X X150. TWO WOMEN UNDER A WILLOW TREE IN A
(74 {1 GALE ‘OF WIND.
fuiMLU) Signed: Suzuki Harunobu ga. Size 11x8%. Lent by Frank
Lloyd Wright.
)( 151. A LOVER’S DUET.
Mt Signed: Suzuki Harunobu ga. Probably 1769. Size 11x8. Lent
-- by J. Clarence Webster.
152. O-FUJI GRINDING COSMETICS AT HER FATHER’S
SHOP NEAR ASAKUSA TEMPLE.
Not signed. 1769. Size 11%x8%. Lent by J. Clarence Webster.
This is one of a series of four prints that greatly increased
Harunobu’s reputation among the populace of Yedo. In the sixth
year of Meiwa (1769) four young girls renowned throughout
the city for their beauty, were selected to perform a ceremonial
dance at the installation of a statue of Ishizu Shoshi at the temple
of Yushima Tenjin. These girls were O-Hami and O-Hatsu,
two of the temple attendants, O-Sen, a servant in the Kagiya
teahouse at Kasamori temple, Yanaka, and O-Fuji, daughter of
Niheiji, who had a tooth brush and cosmetic shop at Asakusa.
Harunobu’s four prints depicting these girls differ from each
other only in certain details, the principal figures being much
alike in all of them.
X 153. MUSUME CROSSING A BRIDGE ON A WINDY DAY.
Signed: Harunobu ga. Probably 1769. Size 11x8%.. Lent by
Clarence Buckingham.
_58__.
SUZUKI HA RUNOBU
154. TEA-PICKERS.
Signed: Suzuki Harunobu ga. Probably 1769. Size llx8%.
Lent by F rederick W. Gookin.
155. RETURNING THE FOOTBALL.
Signed: Harunobu ga. Probably 1769. Size llx8%. Lent by
Clarence Buckingham.
A girl, standing upon a ladder placed against a garden wall,
returns a football to a young man who has his hand outstretched
to receive it.
156. YOUNG MAN AND GIRL PLAYING BATTLEDORE
AND SHUTTLECOCK.
Signed: Harunobu ga. Probably 1769. Size 11x8%. Lent by
Clarence Buckingham. .
157. WOMAN AT THE ENTRANCE To A HoUsE.
Not signed. Probably 1769. Size 11x8%. Lent by Frederick W.
Gookin.
Harunobu’s figures now become taller, their heads more oval.
15s. GIVING A LIGHT.
Signed: Suzuki Harunobu ga. Probably 1769. Size 11x8. Lent
by Clarence Buckingham.
A young woman meets a man and stops to get a light from
his pipe. A boy carrying a pair of getas (clogs) stands by.
In the background is a snow-covered landscape with mume
(plum) trees in bloom.
159. sCENE IN A JoRo-YA.
Signed: Suzuki Harunobu ga. Probably 1769. Size 8%x12%.
Lent by John H. Wrenn.
I60. STREET SCENE.
Not signed. Probably 1769. Size 8%xll. Lent by Frederick W.
Gookin.
161.. TWO WOMEN ON A BEACH BY .THE SEA.
Signed: Harunobu ga. Probably 1769. Size 11%x8%. Lent by
Clarence Buckingham.
One woman is seated in a kago resting upon the beach and
the other is walking toward her.
SUZUKI HARUNOBU
162. SAYONARA.
Signed: Suzuki Harunobu ga. Probably 1769. Size llx8%.
Lent by John H. Wrenn.
Here the discolouration adds greatly to the effect. Without
it the print would be far less charming.
I63. BRIDE DRESSING FOR THE MARRIAGE CERE-
MONY.
Signed: Harunobu ga. Probably 1769. Size 11x8. Lent by J.
Clarence Webster.
164. WOMAN GAZING AT THE MooN.
Signed: Harunobu ga. Probably 1769. Size llx8%. Lent by
Frederick W. Gookin.
165. SAYONARA.
Signed: Harunobu ga. Probably 1769. Size 11x8. Lent by J.
Clarence Webster.
A woman stands upon the veranda of a house with her arm
about a post at the corner, apparently taking leave of a man who
is walking away carrying an umbrella over his shoulder.
166. WOMAN IN WHITE UNDER A SNOW-LADEN
WILLOW TREE.
Not signed. About 1769. Hashira-é. Size 28%x4. Lent by Clar-
ence Buckingham.
In his later years Harunobu gave special attention to de-
signing pillar prints (hashira-é). His finest works in this form
are among the most distinguished performances of any artist
in the Ukiyo-é school.
167. WOMAN IN NIGHT GARMENTS READING A LET~
TER.
Signed: Suzuki Harunobu ga. Publisher: Eijudo. About 1769.
Hashira-é. Size 26x4;/4. Lent by J. Clarence Webster.
I68. WOMAN IN WINTER GARE.
Signed: Harunobu ga. Stamp: Harunobu. About 1769. Ha-
shira-é. Size 25x5%,. Lent by Clarence Buckingham.
When first printed the colour of the outer kimono was blue
upon which the pattern of snow-laden pine trees cut out sharply.
X169. GIRL WITH A YELLOW UMBRELLA IN A THUN-
DER STORM.
Signed: Harunobu ga. About 1769. Hashira-é. Size 265/216.
Lent by Clarence Buckingham.
SUZUKI HARUNOBU
I70. SHIRAI GOMPACHI.
Signed: Suzuki Harunobu ga. About 1770. Hashira-é. Size
26%x4%. Lent by Frank Lloyd Wright.
This print, which is entitled “Takano Tamagawa,” is one
of a series called “Fuzoku mu Tamagawa,” or six popular ver-
sions of the rivers Tama.
I71. WOMAN PLAYING WITH A PET KITTEN.
Signed: Harunobu ga. About 1770. Hashira-é. Size 26%x4éd.
Lent by Frank Lloyd Wright.
This is in the early colouring, beni and a warm orange-yellow
predominating.
I72. VERY .TALL WOMAN.
Signed: Harunobu ga. About 1770. Hashira-é. Size 27x5.
Lent by Frank Lloyd Wright.
173. VERY TALL woMAN.
Signed: Harunobu ga. About 1770. Hashira-é. Size 27x4%.
Lent by Frank Lloyd Wright. I
174. WOMAN HOLDING A DOLL.
Signed: Suzuki Harunobu ga. About 1770. Hashira-é. Size
27x4%. Lent by Frank Lloyd Wright.
Harunobu now tends toward the securing of effects by sim-
pler means and the abandonment of many colour blocks. The
red lead that here appears, handled with delightful restraint, in
combination with a soft purple, now faded to a lovely warm gray,
is comparatively new to his palette. A few years later it be-
came for a time the favorite pigment of the print designers.
Copies of this print exist in very different colourings.
I75. WOMAN WITH A PET MONKEY.
Signed: Suzuki Harunobu ga. About 1770. Hashira-é. Size
27%x4%. Lent by Clarence Buckingham.
In the colour scheme of the first editions of Harunobu’s more
important works yellow was often a dominant note. Here two
yellows were used in combination with purple and blue. The
fading of the latter two into neutral citrines only adds to the
beauty of the print, which is as charming in line as in colour.
176. WOMAN WALKING UNDER AN UMBRELLA IN
THE SNOW. L:
Signed: Harunobu ga. Probably 1770. Size 11x23A. Lent by
J. Clarence Webster.
_.61._.
SUZUKI HARUNOBU
177. GOMPACHI MASQUERADING 1N KOMUSO cos-
TUME BEFORE TWO GIRLS AT A WINDOW.
Signed: Harunobu ga. Probably 1770. Size 10%x8. Lent by
Clarence Buckingham.
178. WOMAN IN A GAUZE KIMONO STANDING BY A
POT OF PINKS.
Signed: Suzuki Harunobu ga. Publisher: Eijudo. About 1770.
Hashira—é. Size 24%x43/f1. Lent by Clarence Buckingham.
179. THE RECALL.
Signed: Harunobu ga. Probably 1770. Size 11x3%. Lent by
Frederick W. Gookin.
A young woman about to enter a house is halted by a young
man who pulls at her sleeve. The conventional use of black to
represent the night should be noted. How effective it is!
180. DANCING GIRL.
Signed: Harunobu ga. Probably 1770. Size 15x10. Lent by J.
Clarence Webster.
This print reveals a new aspect of Harunobu’s work. If he
could have lived only a few years longer who can say what fresh
marvels he might have had in store for us?
181. MUSUME VENDOR OF SW'EETMEATS AT THE
ENTRANCE TO KASAMORI TEMPLE.
Signed: Harunobu ga. Probably 1770. Size 11%:(6. Lent by
Frederick W'. Gookin.
182. \VOMAN CARRYING A TOY SAIL BOAT AND FOL-
LOWED BY A COMPANION HOLDING AN UM-
BRELLA OVER HER HEAD.
Large print. Signed: Suzuki Harunobu ga. About 1770. Size
14x10%. Lent by Clarence Buckingham.
In the last year of his life Harunobu began a series of large
prints of which this is one, but so far as we know he designed
only a few of them before death brought his labors to a close.
x 183. sH1RA1 GOMPACHI.
m Signed: Suzuki Harunobu ga. About 1770. Hashira-é. Size
' 27I/2x43/,. Lent by Frederick W. Gookin.
{U5 a 61;: In this marvellous print Harunobu surpasses himself. It is
' '£,.“”"' ‘a?’ perhaps his finest work, masterly in its rare combination of
‘till/"m I ‘ grit"— i { ey‘wl
» a» k” if. 7“ '
‘I’ v- r.
‘ ._ ,,.
i '/ TI,
SUZUKI HARUNOBU
strength, sweetness and grace, beautiful in line, form, and colour, ~
and having besides, that greatest charm of all, simplicity.
The subject is Shirai Gompachi, the ronin lover of the beauti—
ful Komurasaki. The story of their attachment is familiar to
every Japanese and is excellently told for English readers in
Mitford’s “Tales of Old Japan.” In one hand the young man
carries a basket hat (amigasa), which when worn rested upon
his shoulders and effectively concealed his features. This and
the flute carried in his other hand are distinguising features of
the costume of the komuso, a name given to men of the Samurai
class who, having committed some political offense or other crime,
were permitted to take refuge in certain asylums known as
Komuso-dera. Here they were under a rule as strict and auto—
cratic as in any prison, but they had a certain amount of liberty
provided they did not abuse the privilege. A second ofi‘ense
while living in the sanctuary was punishable with death. The
komuso were obliged to wear a prescribed costume by which,
when they went abroad, their identity was entirely hidden, and, as
they were forced to live by begging, a flute instead of the voice
was used to attract attention to their need. Gompachi adopted
this costume as a disguise when visiting his lady love.
184. THE LOVERS KOMURASAKI AND GOIVIPACHI.
Not signed. 1770. Hashira-é. Size 27x4%. Lent by Clarence
Buckingham.
This print is in Harunobu’s last and noblest manner. The
composition of line is masterful, the treatment of the black masses
strong and splendid. Its dignity and grace steadily grow upon
the beholder who has eyes to see. Nothing it would seem at first
sight could be easier to do; few things it will be perceived after
long and close study, could well be more difficult.
SHOSHOKEN
The name Shoshoken, which should, perhaps, be pronounced
Komatsuken, is probably a pseudonym used by some well-known
artist whose identity has not been determined. The few prints
signed in this way are all works of distinction and were done in
or about the year 1764.
185. oIRAN SUPPORTED BY Two ATTENDANTS.
Signed: Shoshoken ga. Also by the printer: Kinroku. 1764.
Size 12%x73A. Lent by Clarence Buckingham.
snosnéxan
The subject is a popular version of a scene in the palace of a
nobleman, a Yoshiwara belle and her kamuro taking the place of
the lady of the house and her attendants. The year Meiwa ni
and the numbers of the months appear upon the garments of the
kamuro. In design the print is elaborate, and both engraving
and printing are done with great care. The printer Kinroku
was renowned as the first to print in five colours. Usually-when
the signature of the engraver or printer appears it is engraved
upon a separate block and imprinted upon a few copies only. In
this case it is so engraved that it must have been used upon the
entire edition.
186. AN INCANTATION (USHI NO TOKI MAIRI).
Not signed. 1764. Size llx6%. Lent by Frederick W. Gookin.
A young woman with three lighted candles upon her head,
and bearing a hammer in one hand while she holds up her gar‘-
ments with the other, is turning away from a pine tree, in the
trunk of which she has driven three nails while uttering a curse
against some faithless lover or hated rival, that the demons of
the air (out) may be let loose against the object of her wrath.
(See Nos. 325 and 106). Overhead a storm cloud and flashes of
lightning are suggested as well as the artist can manage. The
numerals for the large months of 1765 appear upon the woman's
obi (sash).
KITAO SHIGEMASA
Kitao Sasuke, known as Shigemasa, was born in Yedo in
1740 and began his career as an employee in the shop of Sawa-
raya Mohei, the leading bookseller and publisher (not, however,
of Ukiyo-é works) in Japan. It is probable that he was em-
ployed because of his extraordinary skill as a calligrapher, and
that while with this house he found ample opportunity for copy-
ing works by prominent artists and studying their style. For a
short time before the death of Shigenaga he was a pupil in his
studio, and at the age of twenty began to make designs for actor
prints which were in some respects an advance upon any similar
works by the older artists. Establishing himself at Odenmacho,
Nichome, he was in great demand as a calligrapher, it being
said that in the three capitals, Yedo, Kyoto, and Osaka, there
was no one superior to him. Much of his time was given to book
SHIGEMASA
illustration. He made designs for at least twenty-seven works,
one of them, the “Seiro Bijin Awase Kagami,” which he illus-
trated in collaboration with Katsukawa Shunsho, standing at
the head of Japanese book-making. His prints are comparatively
few, but of distinguished character. In later life he resided at
Otsukamura, Negishi, then a suburb of Yedo. He died in 1820,
aged 80.
I87. BANDO HIKOSABURO AS WATASHIMORI ' NO
TOMOKICHI, ALIAS FUGITARO.
Signed: Kitao Shigemasa ga. About 1762. Hoso-é from three
colour blocks. Size 12%x5%. Lent by Clarence Buckingham.
188. ICHIKAWA YAOZO AS MUREGAMI CHOHACHIRO
AND IWAI HA-NSHIRO AS MUME NO OYOSHI.
Signed: Kitao Shigemasa ga. Publisher: Ise-ya. About 1763.
Hoso-é from three colour blocks. Size 12%x5%. Lent by Fred-
erick W. Gookin.
189. BANDO HIK‘OSABURO, ALIAS SHINSUI, IN THE
TITLE ROLE OF THE DRAMA “SATSUMA GEN-
GOBEI.”
Signed: Kitao Shigemasa ga. Publisher: Murataya. Hoso—é
from three colour blocks. Size 12%x51A. Lent by Frederick W.
Gookin.
190. THE CELEBRATED CALLIGRAPHER ONO NO
DOFU INITHE GARB OF A YOUNG MAN OF FASH—
ION, WALKING ON THE BANK OF A STREAM
AND WATCHING A FROG LEAPING IN AN EF-
FORT TO CATCH A WILLOW BRANCH.
Signed: Kage (?) ga. 1764. Size 10%x7%. Lent by Frederick
W. Gookin. -
Shigemasa was not backward in profiting by Harunobu’s ex-
periments. This print is a calendar for Meiwa second; the Char-
acter dcu' (large) and the numerals for the large months being in—
troduced into the pattern on the man’s kimono.
191. GIRLS ARRANGING FLOWERS.
Signed: Shigemasa ga. About 1768. Size 10%x7V». Lent by Clar-
ence Buckingham. '
Here Shigemasa imitates Harunobu’s style, but he was too
strong a man to follow anyone’s lead except momentarily.
SHIGEMASA
192. DANCING GIRL WITH DOUBLE UMBRELLAS
DANCING THE HORAKU.
Not signed. About 1775. Size 9x6V2. Lent by Frederick W.
Gookin.
Shigemasa has now developed his own characteristic style.
193. Two GIRLS DANCING THE MIYAKO DORI (sEA
GULL DANCE).
Not signed. About 1775. Size 13x9%,. Lent by Frederick W.
Gookin.
194. TWO GEISHAS IN SUMMER COSTUME.
Series: Tosei Mitate Bijin Hakkei. Not signed. 1776. Size 15x
10. Lent by Clarence Buckingham.
This print bears an inscription, probably contemporary, indi-
cating the year 1776 as its date. It is stated that the transparent
fabric worn by the girl who is standing was first depicted in
colour prints in the year An-ei 5 (1776).
195. TWO WOMEN STANDING, ONE HOLDING A SAM-
ISEN LISTENS TO HER COMPANION WHO IS
READING FROM A BOOK.
Not signed: Probably 1777. Size 15%x10I/2. Lent by Clarence
Buckingham.
This is, perhaps, Shigemasa’s masterpiece. In it he reaches
the height of his power. Note how the patterns on the draperies
supplement the rhythm of the black outlines.
196. TSUZUMI PLAYER.
Not signed: About 1778. Size 15x11. Lent by Clarence Bucking-
ham.
Shigemasa’s brush strokes may almost be described as me-
lodious. They are not so vigorous as Kiyonaga’s, but more flow-
ing and more serene.
197. TWO GEISHAS STANDING.
Series: To-zaiman-boku Bijin. Not signed. About 1779. Size
15x10. Lent by J. Clarence \Nebster.
The artist’s title is “toho no bijin,”—-Eastern beauties, that is
to say, beautiful women of Yedo, the Eastern capital.
KORIUSAI
Isoda Shobei Masakatsu, known as Koriusai (Lake dragon
studio), was a samurai, and until he became a ronin was a re-
tainer of the noble family of Tsuchiya of Ogawamachi, Yedo.
Breaking away from the restraints that were imposed upon men
of his class, he entered the studio of Nishimura Shigenaga, but
soon left it to become a pupil of Harunobu, and was given the
name of Haruhiro. His early work is so much like that of Haru-
nobu that if not signed it might well be taken for it. He had a
studio at Yonezawa-cho, Yagenbori, Ryogéku, close to that of
Harunobu, and after Harunobu’s death he was for more than a
decade, until distanced by Kiyonaga, the foremost artist of the
school, equalled only by Shunsho and Buncho, whose work lay
in a different field, and by Shigemasa, who produced compara-
tively little. Koriusai was particularly skillful as a designer of
pillar prints (hashira-é). He was also a colourist of the first
rank. About 1881 he gave up print designing and devoted his
attention to painting, and was given the honorary title of Hékyé.
The date of his death is not known.
~ 198. A DUET.
Signed: Koriu ga. About 1769. Size 8%xll. Lent by Frederick
W. Gookin.
Two girls are seated in a room, one playing upon a kokyu
and the other upon a koto (a kind of harp).
199. TWO GIRLS IN A. BOAT TALKING TO A THIRD
ATTIRED IN THE COSTUME OF GOMPACH‘I,
WHO‘ STANDS ON THE RIVER BANK.
Signed: Koriusai ga. About 1771. Size 10%x7%. Lent by J.
Clarence Webster.
zoo. GIRL ARRANGING FLOWERS IN A LARGE
BRONZE VASE.
Signed: Koriusai ga. About 1771. Size 10%x73/1. Lent by J.
Clarence Webster.
201. VIEW OF FUJI SAN FROM LAKE HAKONE AT
SUNRISE.
Signed: Koriu ga. About 1772. Size 9%x7%. Lent by John H.
Wrenn.
_..6-7_..
KORIUSAI
202. HO-O FLYING OVER THE SEA AT SUNRISE.
Signed: Koriu ga. About 1772. Size 10%x8. Lent by John H.
Wrenn.
Here we have a work in classical style. The prints of the
series to which this belongs are held in high esteem by collectors.
203. THE WHITE COCK.
Signed: Koriusai zu. About 1772. Size 10%x8. Lent by John H.
Wrenn.
The cock is shown flying through the air and about to alight
upon a veranda, whereon is a pot of fukujuso (Adonis sibirica)
in bloom. The sky, now a lovely buff hue, was when first printed,
a soft blue. In its original condition the effect was doubtless
stronger, the white bird standing out in clear relief against the
blue, but it could hardly have been so exquisite as it is now.
204. TWO COCKS FIGHTING.
Signed: Koriu ga. About 1772. Size 10%x8%. Lent by Clarence
Buckingham.
Y‘ 205. GIRLS DIGGING IN THE SNOW FOR YOUNG BAM-
' BOO SHOOTS.
Series: Fuzoku Yamato Nijushi ko. Signed: Koriusai ga. About
1772. Size 10%x8. Lent by Clarence Buckingham.
The subject is an Ukiyo-e version of the legend of Moso
(Chinese Meng Tsung) one of the twenty-four paragons of
filial piety. Moso’s mother having fallen ill during the winter
and craving a soup made from the young shoots of the bamboo,
he betook himself weeping to a neighboring bamboo grove, when
10! his filial affection moving heaven and earth, the frozen soil
suddenly burst at his feet and an abundance of succulent shoots
appeared.
206. GIRL HANGING UP MOSQUITO NETS AT BED
TIME.
Signed: Koriu ga. About 1772. Size lOI/2x7~%,. Lent by Frank
Lloyd Wright.
207. YOUNG LOVERS STANDING UNDER A CHERRY
TREE.
Signed: Koriusai ga. Hashira-e. Size 28%x51/i. Lent by Frank
Lloyd Wright.
This is one of Koriusai’s finest works, large in feeling, ex-
quisite in colour and in composition of line and mass.
. -ss- '
208.
209.
X210.
KORIUSAI
TALL GIRL PLAYING BATTLEDORE AND SHUT-
TLECOCK.
Signed : Koriusai ga.
About 1772. Hashira-é.
J. Clarence Webster.
Size 26x5. Lent by
YOUNG MAN ON THE BRINK OF A RIVER HOLD-
ING A GIRL ON HIS BACK AND LOOKING AT HER
FACE REFLECTED IN THE \VATER BELOW.
Signed: Koriusai ga. About 1772. Hashira-é Size 26%x5. Lent
by Clarence Buckingham.
YOUNG MAN PLAYING A FLUTE TO ATTRACT A
WOMAN WHO STANDS INSIDE A GATE.
Signed: Koriusai ga. About 1772. Hashira-é. Size 26%x5. Lent
by Frank Lloyd Wright.
.This is an analogue of Ushiwaka playing before Jorurihime,
(See No. 36).
ZII.
212.
213.
214.
WOMAN STANDING IN
ROOM.
Signed: Koriusai ga. About 1773. Hashira—é. Size 27%x43/i.
Lent by J. Clarence Webster.
.THE CORNER OF A
YOUNG MAN IN A \NINDOW LOOKING AT A GIRL
WALKING BY. ‘
Signed: Koriusai ga. About
1773. Hashira—é.
Lent by J. Clarence Webster.
Size 26%x4%.
LADY WITH A PET CAT.
Signed: Koriusai ga. About 1773. Hashira-é.
Size 28%x51/é.
Lent by Frank Lloyd \Nright.
LADY HANDING A LETTER TO A. YOUNG MAN
WHO KNEELS TO RECEIVE IT.
Signed: Koriusai ga. About 1773. Hashira-é.
Size 281/2x5%.
Lent by Frank Lloyd Wright.
The variety of Koriusai’s compositions in this form is inex-
haustible. This and the following number are among his
most charming works.
215.
WOMAN COMING FROM THE BATH.
Signed: Koriusai ga. About 1773. Hashira-é.
Lent by Clarence Buckingham.
Size 26%x4%.
KORIUSAI
216. WOMAN BEARING A LETTER DESCENDING A
FLIGHT OF STEPS, WHILE A YOUNG MAN ON A
BALCONY ABOVE CLAPS HIS HANDS TO CALL
HER BACK.
Signed: Koriusai ga. About 1773. Hashira-é. Size 28%x5%.
Lent by Clarence Buckingham.
217. GIRL ENTERING A HoUsE, CARRYING A LETTER
Box OF BLACK LACQUER.
Signed: Koriusai ga. About 1773. Hashira—é. Size 28%x5%;.
Lent by J. Clarence Webster.
218. THE EVENING BELL AT IVIIIDERA.
Series: Omi Hakkei. Signed: Koriu ga. About-1773. Size 10%
x7%,. Lent by Frank Lloyd Wright.
Here we have a classical theme, one of the eight famous scenes
on Lake Biwa, turned topsy-turvy and made into a jest. In-
stead of the usual landscape the scene is a young woman lean—
ing forward to speak to a young man seated upon the floor of a
room, one side of which is open showing a glimpse of temple
roofs above the cloud that envelops the middle distance.
219. THE OIRAN KARAU‘TA (CHINESE POEM) AND
KUREYUKI (EVENING SNOW) WALKING IN THE
SNOW, A MAN SERVANT ATTENDING THEM.
Series: Seiro Meifu Hakkei, or Eight Famous Beauties of the
Yoshiwara. Signed: Koriu ga. About 1773. Size 1075x734. Lent
by Clarence Buckingham.
220. WOMAN HOLDING A LANTERN AND TURNING
TO LOOK AT THE SHADOWS OF TWO MEN ON
THE WINDOW PANES.
Signed: Koriusai ga. About 1773. Hashira-é. Size 27x43/,. Lent
by Frank Lloyd Wright.
221. GIVING A LIGTH.
Signed: Koriusai ga. About 1773. Hashira-é. Size 27x43/i. Lent
by Frank Lloyd Wright.
The subject of this print is the same as that of No. 158, by
Harunobu.
222. YOUNG MAN CARRYING A FALCON.
Signed: Koriusai ga. About 1773. Hashira—é. Size 27x4%. Lent
by Frank Lloyd Wright.
_._70_
KORIUSAI
223. USHIWAKA. PLAYING THE FLUTE TO ATTRACT
THE PRINCESS JORURIHIME.
Signed: Koriusai ga. About 1774. Hashira-é. Size 27%x43/1.
Lent by Frank Lloyd Wright.
224. STREET SCENE IN THE YOSHIWARA.
Signed: Koriusai ga. About 1794. Hashira-é. Size 27x4%,. Lent
by Frank Lloyd Wright.
225. WOMAN STANDING INSIDE A SNOW-LADEN
GATE, WATCHING A YOUNG MAN CARRYING AN -
UMBRELLA.
Signed: Koriusaiga. About 1774. Hashira—é. Size 27%x5. Lent
by Clarence Buckingham.
226. WOMAN WALKING IN THE SNOW.
Signed: Koriusai ga. About 1775. Size 101/2x7321. Lent by J.
Clarence Webster.
Orange now becomes predominant in Koriusai’s colour
schemes. Here it contrasts delightfully with the blue and the
white.
227. THE SPY GLASS NOT USED.
Signed: Koriusai ga. About 1775. Size 10%x71/1. Lent by J.
Clarence Webster. '
A young man seated upon the floor of a room having one side
open upon a balcony is gazing at a girl who stands before him.
The artist has indicated the landscape he might see if he were
looking through the spy glass he holds to his eye.
228. TWO WOMEN ON THE VERANDA OF A TEA-
HOUSE OVERLOOKING THE SUMIDA RIVER.
Signed: Koriusai ga. About 1775. Hashira-é. Size 28x4%,. Lent
by Frank Lloyd Wright.
229. YOUNG MAN AND WOMAN VIEWING THE SUN-
RISE.
Signed: Koriusai ga. About 1775. Hashira-é. Size 28x4%. Lent
by Clarence Buckingham.
230. THE OIRAN TAKIKAWA AND KATARAI OF
OGIYA. .
Signed: Koriusai ga. Publisher: Eijudo. About 1776. Size 15x
10. Lent ‘by Clarence Buckingham.
__71___
KORIUSAI
231. THREE YOUNG WOMEN READING A LETTER.
Signed: Koriu ga. About 1776. Hashira-é. Size 271/2x4%.
Lent by Clarence Buckingham.
In Japan letters are written upon long strips of paper, which,
when unrolled, can be passed from hand to hand as shown in
this picture.
232. THE OIRAN SHIZUKA OF TAb/IAYA.
Signed: Koriusai ga. Publisher: Eijudo. About 1776. Size 15x
10. Lent by Frederick W. Gookin.
In his line composition Koriusai was especially expert in, so
to speak, carrying the lines through. The skillful way in which
the lines are interwoven and the eye is led from one to another
is well shown in this print.
233. THE OIRAN MOROKOSHI AND ATTENDANT
PLAYING WITH A SMALL BOY.
Signed: Koriusai ga. Publisher: Eijudo. About 1776. Size 15x
10. Lent by John H. Wrenn.
234. TWO GEISHAS.
Signed: Koriu ga. About 1777. Ha'shira-é. Size 27%x5. Lent by
Frank Lloyd Wright.
.235. Two GIRLS STANDING.
Signed: Koriusai ga. About 1777. Hashira-é. Size 27%x5. Lent
by Frederick W. Gookin.
236. THE OIRAN KATSUYAMA. OF YOTSUMAYA AND
ATTENDANTS PLAYING WITH A CAT.
Signed: Koriusai zu. Publisher: Eijudo. About 1778. Size 151:
10. Lent by J. Clarence Webster.
Here again the subtleties and refinements of the line composi-
tion repay careful study.
237. WOMAN WITH A PET MONKEY.
Signed: Koriusai zu. About 1778. Size 39x6%. Lent by Clarence
Buckingham.
23s. MoTHER AND BOY.
Signed: Koriu ga. About 1778. Hashira-é. Size 28%x4%. Lent
by Frank Lloyd Wright.
__'7_3_
KORIUSAI
239. Two woMEN UNDER AN UMBRELLA IN WIND
AND RAIN.
Signed: Koriusai ga. About 1780. Hashira-é. Size 28I/2x4~}{,.
Lent by Frank Lloyd Wright.
240. OIRAN AND ATTENDANT.
Signed: Koriusai ga. About 1780. Hashira-é. Size 27x4%_. Lent
by Frank Lloyd Wright.
241. A POPULAR VERSION OF YURANOSUIKE READ-
ING A LETTER WHICH IS READ ALSO BY KU—
DAYU HIDDEN BENEATH THE VERANDA, AND
KARU SEATED ON THE BALCONY ABOVE.
Signed: Koriu ga. Publisher: Eijudo. About 1782. Hashira-é.
Size 28x5.
Kiyonaga’s style now begins to be reflected in Koriusai’s
work. The subject is from the story of the Forty-seven Loyal
Ronin (Chushingura). See note to No. 102.
242. YOUNG WOMAN UNDER A SNOW-LADEN UM—
BRELLA HALTING WHILE A MAN FASTENS HER
GETA.
Signed: Koriusai ga. Publisher: Eijudé. About 1782. Hashira-é.
Size 28%x5. Lent by Frank Lloyd Wright.
KATSUKAWA SHUNSHO
Second only to Harunobu among the Ukiyo-é artists of the
Meiwa period, and his superior in some qualities, was Katsu-
kawa Shunsho. His prints form a parallel series to those of
Harunobu, though in a different field. Indeed, it is not improb-
able that some of the innovations, especially in the colour schemes,
were devised by Shunsho. Of his life few details are known. His
personal name was Yusuke, and he was a pupil of the painter
Katsu Miyagawa Shunsui. Following the example of his master
he combined the first two names and shortened them to Katsu-
kawa. In early life he was very poor and lived in the house of
the publisher Hayashi Hichiémon at Ningyo-cho, Yedo. His
prints prior to 1765 are not very good and could hardly have
given promise of the splendid work that came from his hand only
a little later. When the new style of nishiki-é prints came in, he
perceived an opening for his talent in making portraits of actors
snunsno
in the novel manner. His first efforts in this style, though some-
what crude, had a compelling quality that brought instant recog-
nition and he very soon became famous. For about fifteen years
he continued to produce actor prints in large numbers, and also
illustrated a number of books in collaboration with Shigemasa and
Ippitsusai Buncho. His works have hardly been appreciated yet
as they deserve. The best of them yield a pure aesthetic joy that
is as rare as it is precious. In his later years Shunsho gave up
print designing and devoted himself to painting. He died on
the 11th day of the 12th month of Kansei 4 (1792) and was
buried at Saifukuji Temple, Asakusa. Shunsho often used a
seal shaped like a jar, upon which was inscribed the ideograph,
“Hayashi.” For this he obtained the nickname Tsubo (little
jar).
243. THE ACTOR ICHIKAWA. DANJURO.
Signed only by stamp: Hayashi. About 1766. Size 121/4x5%. Lent
by Frank Lloyd Wright.
244. THE ACTOR NAKAMURA SUKEGORO.
Stamp only: Hayashi. About 1766. Size 12%.x5%. Lent by Frank
Lloyd Wright.
245. ICHIKAWA YAOZO IN THE ROLE OF SEIGEN.
Signed: ga. Stamp: Hayashi. About 1766. Size 12%x6. Lent by
FrederickpW. Gookin.
246. THE ACTOR NAKAMURA SUKEGORO.
Signed: Shunsho ga. Stamp: Hayashi. About 1767. Size 12x5%.
by Frank Lloyd Wright.
247. SCENE FROM A DRAMA. THE ACTORS ICHI-
KAWA DANJURO AND‘ MATSUMOTO KOSHIRC).
Signed only by stamp: Hayashi. About 1766. Size 12%x5%. Lent
by Frank Lloyd Wright.
248. THE ACTORS ICHIKAWA DANJURO AND NAKA-
MURA UTAEMON.
Signed only by stamp: Hayashi. About 1767. Size 12%x6. Lent
by Frank Lloyd Wright.
249. THE ACTOR NAKAMURA KATSUGORO.
Signed: Shunsho ga. Stamp: Hayashi. About 1767. Size 12x57’;.
Lent by Frank Lloyd Wright.
._74__
SHUNSH?)
25o. SCENE FROM A DRAMA. THE ACTORS ICHI—
KAWA DANJURO AND ICHIMURA UZAEMON.
Signed only by stamp: Hayashi. Publisher: Yamamoto. About
1767. Size 123/,x6. Lent by Frank Lloyd Wright.
251. THE ACTOR ICHIKAWA DANJURO.
Signed: Katsukawa Shunsho ga. Stamp: Hayashi. About 1767.
Size 111/4x5%. Lent by Frank Lloyd Wright.
252. ICHIKAwA DANJURo As CHoRYo AND SAWA-
MURA SOJURO As KOSEKIKO.
Signed: Shunshé ga. Stamp: Hayashi. Probably 1767. Size 13x6.
Lent by Frederick W. Gookin.
The legend of the meeting of Choryo and Késekiko has many
variants. Choryo is the Japanese name for Chang Liang, one
of the “Three Heroes of China,” who is said to have lived
about 200 B. C. One day when crossing the bridge of Kahi, there
passed, mounted upon a sorry-looking nag, an old and poor
looking man, whose shoe fell off and dropped to the river bank
beneath the bridge. Moved by pity for the old man, Chéryt')
picked up the shoe, though keenly feeling the indignity, and
replaced it upon the owner’s foot. As a reward for this be-
coming spirit the old man, who was no other than the great sage
Hwang Shi Kung (or in Japanese, Késekiko), the “Yellow
Stone Elder,” gave him a roll of manuscript and told him that
the man who read the book would become a councillor of the
Emperor. This, in fact, Chéryo did a few years later, when the
Han dynasty was established. Chéryé is usually represented in
this scene as standing upon a dragon. The dragon being the
symbol of imperial power, this signifies that Chéryt') was capable
of becoming Emperor did he so desire. Instead he resigned his
ofi‘ic'e to search for the elixir of eternal life, and as this involved
giving up the use of ordinary food, his demise soon followed.
253. NAKAMURA GAKUEMON As sEIGEN.
Signed: Shunsho ga. Stamp: Hayashi. About 1768. Size 12%x6.
Lent by Clarence Buckingham.
254. THE ACTOR ARASHI OTOHACHI.
Signed only by stamp: Hayashi. About 1768. Size 121/Ix5%. Lent
‘by Frederick W. Gookin.
_75_.
sHUNsHo
255. PoRTRAIT OF THE FOURTH ICHIKAWA DAN-
JURO AS SOGA-NO-GORO.
Signed: Katsukawa Shunsho ga. Stamp: Hayashi. Publisher:
Maruya Jinpachi. Probably 1769. Size 15x10. Lent by Frederick
W‘. Gookin.
From the period of Genroku (1688-1703) down to very
recent times, the name of Ichikawa Danjuro has been borne by
nine of the leading tragedians of the Japanese stage. The name
Danjuro became in effect a title of honor which could be held
only by the head of the Ichikawa line (or family, though the suc-
cession was in several instances to men taken into it by adop-
tion). Similarly each of the families of actors had a name more
distinguished than the others, which was borne by its chief repre-
sentative.
\
256. THE ACTOR ICHIKAWA DANJURO.
Signed only by stamp: Hayashi. About 1769. Size 12%x5%. Lent
by Frank Lloyd Wright.
257. NAKAMURA NAKAZO IN THE ROLE OF RAIGO
ASHARI.
Signed: Shunsho ga. Stamp: Hayashi. 1770. Size 12%.x5%. Lent
by Frederick W. Gookin.
This print bears an inscription, probably contemporary, giv-
ing the actor’s name and his role, the name of the theatre, “Naka-
mura Za,” and the date, summer of 1770.
258. THE ACTOR ARASHI SANGORO.
Signed: Shunsho, ga. Stamp: Hayashi. About 1770. Size 12%;:
5%. Lent by Frederick W. Gookin.
259. THE ACTOR ARASHI SANGORO.
Signed: Shunsho, ga. Stamp: Hayashi. About 1770. Size 13x6.
Lent by Frank Lloyd Wright.
260. THE ACTOR NAKAMURA KATSUGORO. /
Signed: Shunsho ga. Stamp: Hayashi. 1770. Size 12%x6. Lent
by Frank Lloyd Wright.
261. GOMPACHI AND KOMURASAKI.
Signed: Shunsho ga. 1770. Size 15%x10174; Lent by Frederick W.
Gookin.
The prints designed by Shunsho having subjects not connect-
ed with the stage are rare. This one has been remarkably pre-
sHUNsHo
served. Except that the sky has changed from blue to buff this
is as fresh as when it came from the printer’s hands.
262. THE ACTOR OTANI HIROJI.
Signed: Shunsho ga. 1770. Size 12%x6. Lent by Frederick W.
Gookin.
263. TWO YOUNG WOMEN CROSSING A. BRIDGE.
Signed: Shunsho ga. Publisher: VVurukogata ya. The red stamps
are those of Wakai, late of Tokyo, and Tadamasa Hayashi, late of
Paris, both well-known dealers and connoisseurs. 1771. Size 15x10.
Lent by J. Clarence Webster.v
Apparently Shunshé made very few prints of this size and
character. They are very rare.
264. THE ACTOR NAKAMURA MATSUE.
Signed: Shunshé ga. 1771. Size 11%,x51/I. Lent by Frank Lloyd
Wright.
265. THE ACTOR SEGA\VA KIKUNOJU AS AN OIRAN
STANDING IN AN ATTITUDE OF DEJECTION ON
THE BANK OF A RIVER BESIDE A SNOVV-LADEN
LANTERN. '
Signed: Shunsho ga. 1771. Size 121,4x5%. Lent by Clarence
Buckingham. ‘
Segawa Kikunojt') was the stage name of the leading repre-
sentative of one of the most famous families of actors, who
made a specialty of female roles. The rise of the theatre in
Japan dates from the beginning of the sevententh cntury, when
Sadoshima Masakichi erected a stage in the dry bed of the river
at Kyoto. From this circumstance actors were called Kawara-
mono (river-bed folk or vagabonds), an epithet denoting the con-
tempt in which their profession was held. Making their way to
Yedo, Sadoshima and his company had to content themselves with
a site in the Yoshiwara. Until 1643 the players were of both
sexes, but in that year actresses were forbidden by law to act
with actors, and it became necessary that female roles should
be taken by men. To perfect themselves in these roles the men
who essayed them habitually dressed in woman’s clothes and fol-
lowed women’s occupations when off the stage. The result was
that the simulation became unconscious and an extraordinary de-
gree of excellence was attained, the deception, says Brinkley,
“being so perfect as to defy the closest scrutiny.” The Kikunojo
sHUNsHo
of the Horeki (1751-1763) and Meiwa (1764—1771) periods
attained great celebrity.
266. SEGAWA KICHINOJO AS MATSUKAZE IN THE
DRAMA “SHIWO KUMI” (THE WATER CARRIER).
Signed: Shunsho ga. 1771. Size 12x5%. Lent by Frederick W.
Gookin.
267. ONOE TAMIZO AS GOMPACHI.
Signed: Shunshc') get. 1771. Size 1254x534. Lent by Frederick \V.
Gookin.
Here the rare beauty of the colouring is due to the fading of
the purple and beni and the transformation of the orange of the
framework of the building before which Gompachi stands into
a wonderful purplish hue.
268. THE ACTOR MATSUMOTO IN THE ROLE OF A
SAMURAI, ALARMED BY THE APPARITION OF A
DRAGON ARISING FROM A WATER BUCKET.
Signed: Shunsho ga. 1772. Size 12%XS%. Lent by Frank Lloyd
Wright.
269. ARASHI SANGORO AND SEGAWA KIKUNOJO IN
THE DRAMA “ASHIGARI.”
Signed: Shunsho ga. 1772. Size 13x12. Lent by J. Clarence
Webster.
270. YAMASHITA KINSAKU AS KUZUNOHA.
Signed: Shunsho ga. 1772. Size 12x51/1. Lent by Frederick W.
Gookin.
271. IWAI HANSHIRO AS A GIRL DANCING THE HO-
RAKU.
Signed: Shunsho ga. 1772. Size 12%x5%. Lent by Clarence
Buckingham.
272. ARASHI OTOHACHI AS OKARU.
Signed: Shunsho ga. 1772. Size 13x6. Lent by Frank Lloyd
Wright.
273. SEGAWA KIKUNOJG AS A WOMAN HOLDING A
DEMON MASK.
Signed: Shunsho ga. 1772. Size lZI/IxSMT. Lent by Clarence
Buckingham.
.__78__
SHUNSH6
274. THE ACTOR NAKAMURA NAKAZO.
Not signed. Probably 1772. 14x6%. Lent by Frank Lloyd Wright.
In this print Shunsho tries the experiment of an unusual size.
The background was blue when first printed.
275. YAMASHITA KINSAKU IN A FEMALE ROLE.
Signed: Shunsho ga. 1772. Size 12x5%. Lent by Frank Lloyd
Wright.
276. ICHIKAWA MONNOSUKE IN THE ROLE OF SHI-
RAGIKU.
Signed: Shunsho ga. 1772. Size 12%x5é4. Lent by Frederick W.
Gookin.
An inscription, probably contemporary, gives, besides the act-
or’s name and role, the date, spring of 1772.
277. ARASHI HINAJI IN A FEMALE ROLE.
Signed: Shunsho ga. 1772. Size 12%x6. Lent by Frank Lloyd
Wright.
278. NAKAMURA TOMIJURO IN THE ROLE OF SHI-
ZUKA.
Signed: Shunsht'i ga. 1772. Size 12%x6. Lent by Frederick W.
Gookin.
279. THE ACToR ARAsHI sANGoRo As A MAN CAR-
RYING A HIBACHI (BRAZIER).
Signed: SllUI‘lSl'lO ga. 1772. Size 13x6. Lent by Frederick W.
Gookin.
280. NAKAMURA KATSUGORO AS GOMPACHI.
Signed: Katsukawa Shunsho ga. 1772. Size 13x6. Lent by
Frank Lloyd Wright.
281. THE ACTOR ONOE TAMIZO. »
Signed: Shunsho ga. Publisher: Maruya Jinpachi. 1772. Size
12x5%. Lent by Frank Lloyd Wright.
282. THE ACTOR MATSUMOTO KOSHIRO.
Signed: Shunsho ga. 1772. Size 12x6. Lent by Frank Lloyd
Wright. '
283. NAKAMURA TOMIJURO AS TENSHOJO.
Signed: Katsukawa Shunsho ga. 1772. Size 12x5%. Lent by
Frederick W. Gookin. '
._79._.
sHoNsEro
284. SEGAWA KIKUNOJO as MAIZURA IN THE DRAMA
“FURISODE KISARGI SOGA.” '
Signed: Katsukawa Shunsho ga. Stamp: Hayashi. 1772. Size
12V2x5%. Lent by Clarence Buckingham.
Here also a contemporary inscription gives the actor’s name,
role, the title of the drama, and the date, spring of 1772.
285. THE ACTOR ICHIKAWA MONNOSUKE.
gignlgd: Shunsho ga. 1773. Size 121/rx53A. Lent by Frederick W.
00 1n.
286. SEGAWA KIKUNOJO IN THE TITLE ROLE OF
THE DRAMA “UMEGAI.”
Signed: Shunsho ga. 1773. Size 1214x514. Lent by Frederick W.
Gookin.
The story of Umegai’s Chozubachi (water holder) is familiar
to every Japanese. Her lover being too poor to purchase her re-
lease from the Yoshiwara and marry her, she sold her soul to
King Erna, who rules over Jigoku, the Buddhist Hades, and 10!
her chozubachi sent into the air a shower of gold pieces (koban).
287. THE ACTOR OTANI HIROJI.
\SAifgneltli: Shunsho ga. 1774. Size 12%x6. Lent by Frank Lloyd
rig t.
288. NAKAYAMA KUNISHIRO AS JIHEI.
(Sjiignlpd: Shunsho ga. 1774. Size 12%x6. Lent by Frederick W’.
00 1n.
289. THE ACTOR NAKAMURA KATSUGORO.
(Srlignlfdz Shunsho ga. 1774. Size 121/4.x5%. Lent by Frederick W.
oo in.
290. NAKAMURA TOMIJURO IN A FEMALE ROLE.
\SAi/gneltll: Shunsho ga. 1774. Size 13x6. Lent by Frank Lloyd
rig t.
291. ICHIKAWA M‘ONNOSUKE IN A FEMALE ROLE.
‘82651181212 Shunsho ga. 1774. Size 12V2x6. Lent by Frank Lloyd
rig t.
292. YAMASHITA KINSAKU IN A FEMALE ROLE.
Signed: Shunsho ga. 1774. Size 13x6. Lent by Frank Lloyd
Wright.
293-
294
2%
snnNsaé
THE ACTOR ONOE MATSUZO IN A FEMALE ROLE.
Sigrged: Shunsho ga. 1774. Size 13x6. Lent by J. Clarence
We ster.
ICHIKAWA DANJURO.
Signed: Shunsho ga. 1774.
Webster.
Size 13x6. Lent by J. Clarence
NAKAMURA KATSUGORO AS JO.
(Signlfd: Shunsho ga. 1774. Size 121/1x5%. Lent by Frederick W.
o in.
Jo and Uba, the spirits haunting the pine trees of Takasago
in Banshu, and of Sumiyoshi in Settsu, are frequently represent-
ed in Japanese art. They are usually shown as a wrinkled old
couple, Jo with a rake and Uba with a broom.
296.
297
299
300.
301.
302
. Signed: Katsu Shunsho ga.
THE ACTOR OTANI MARUJU.
Eignlgdz Shunsho ga. 1774. Size 13x6. Lent by Frederick W.
00 In.
ICHIKAWA DANJURO AS SHIN NO SHIKO.
1774. Size 121/4.x5~A,. Lent by Frank
Lloyd Wright.
. ICHIKAWA DANJURO AS GOMPACHI.
Signed: Shunsho ga. 1774. Size 1214x534. Lent by Frederick W.
Gookin.
THE ACTOR SEGAWA KIKUNOJO.
Sxirgneldz Shunsho ga. 1774. Size 121/4x5%,. Lent by Frank Lloyd
rig t.
THE ACTOR ICHIKAWA. DANJURO GAZING AT
HIS IMAGE REFLECTED IN WATER IN A CHOZU-
BACHI.
Signed:
Gookin.
Shunsho ga. 1774. Size 12x5%. Lent by Frederick W.
THE ACTOR NAKAMURA KATSUGORO.
Signed: Shunsho ga. 1775. Size 12%x6. Lent by Frederick W.
Gookin.
ACTOR IN A FEMALE ROLE.
Signed: Shunsho ga. 1776. Size 1214x5%. Lent by Frank Lloyd
Wright.
SHUNSHO
3°3-
304.
305 -
306.
307 -
308.
309-
312.
313-
ICHIKAWA DANJURo As soGA No GoRo.
Signed: Shunsho ga. 1776. Size 121/Ix5%. Lent by J. Clarence
Webster. ‘ '
NAKAMURA TOMIJURO IN A FEMALE ROLE.
Signed: Shunsho ga. 1776. Size 13x6. Lent by Frank. Lloyd
Wright.
KOSAGAWA .TSUNEYO AS A WOMAN STANDING
BEFORE A CIRCULAR WINDOW.
Signed: Shunsho ga. 1777. Size 12%.x5%. Lent by Frederick
W. Gookin.
SEGAWA KIKUNOJO AS A WOMAN WALKING IN
THE SNOW.
Signed : Shunsho ga.
1777. Size 121/ix5%. Lent by Frederick W.
Gookin.
THE ACToRs BANDO MITsuGoRo AND NAKA-
MURA TOMIJURO.
Signed: Katsu Shunsho ga.
‘W. Gookin.
1777. Size 12x8. Lent by Fredefick
ACTOR IN A FENIALE ROLE.
Signed: Shunsho ga. 1776 or 1777. Size 13x6. Lent by Frank
Lloyd Wright.
THE ACTOR NAKAMURA KATSUGORC).
Signed: Shunsho ga. 1777. Size 12%):6. Lent by Frederick W.
Gookin.
. NAKAMURA TOMIJURO IN A FEMALE ROLE.
Signed: Katsu Shunsho ga.
1777. Size 121/1X5%. Lent by Frank
Lloyd Wright.
. SEGAWA KIKUNOJO AS BAN—NO—NAISHI.
Signed :
Gookin.
Shunsho ga. 1777. Size 12%,x5%. Lent by Frederick W.
IVVAI HANSHIRO AS A DANCING GIRL.
Signed: Katsu Shunsho ga. 1777. Size 12%.x5%. Lent by J.
Clarence Webster.
THE ACTOR IWATSUWOTO KOSHIRO.
Signed: Katsu Shunsho ga. 1777. Size 121/4x5%. Lent by Frank
Lloyd Wright. 82
314.
315-
316.
317.
318.
sHUNsm')
SEGAWA KIKUNOJO AS A. WOMAN IN WINTER
COSTUME CARRYING AN UMBRELLA.
Signed: Shunsht') ga. 1778. Size 121,4x5%. Lent by Frederick
W. Gookin.
KOSAGAWA TSUNEYO IN A FEMALE ROLE.
(Sgignkedz Shunsht') ga. 1778. Size 13x6. Lent by Frederick W.
oo in. ‘
KOSAGAVVA TSUNEYO IN A FEMALE ROLE.
Signed: Shunsho ga. 1778. Size 12%x5é/4. Lent by Frank Lloyd
Wright.
T\VO YOSH’IVVARA BELLES.
Signed: Shunsho ga. Series: Seiro Kokon Hakku Awase.
Size 10%x7%. Lent by Frederick W. Gookin.
1778.
ACTORS MAKING UP FOR THE STAGE.
Signed: Shunsho ga. 1771. Size 15x10. Lent by J. Clarence
Webster.
The scene is an actor’s dressing room. At the left Danjuro,
the great man, stands in a dignified attitude, watching another
man who is seated ‘before a mirror, apply paint to his face, and
listening to Otani Hiroji. who sits at the right.
In the back-
ground are huge boxes of stage properties.
319-
320.
321.
322.
THE ACTOR NAKAMURA MATSUE IN A FEMALE
ROLE
Signed; Shunsho ga. Stamp: Kiwame (Certified). 1779. Size
13x6. Lent by Frank Lloyd \Nright.
ACTOR IN A FEMALE ROLE.
Signed: Shunshé ga. 1779. Size 1214x5311. Lent by Frederick
W. Gookin.
SEGAWA KIKUNOJO AS A WOMAN, IN \VINTER
COSTUME.
Signed : Shunsho ga.
Wright.
1779. Size 1214x5311. Lent by Frank Lloyd
SCENE FROM A DRAMA. ICHIKAWA DANJURO
AS A SKELETON; IWAI HANSHIRO AS A WOMAN
FRIGHTENED BY THE APPARITION.
Signed: Shunsho ga. 1779. Size 13x12.
.__83__
sHUNsHé
323. SCENE FROM A DRAMA. ICHIKAWA DANJURO
AS SEIGEN; NAKAMURA MATSUE AND NAKA-
MURA KATSUGORO AS DANCERS.
Signed: Shunsho. 1779. Lent by J. Clarence Webster.
Though most of the prints of the size known as hoso-e were
printed as triptychs or diptychs they were usually cut apart and
sold separately. The triptychs are, therefore, extremely rare.
We have here a very early example of the use of white bronze,
but being printed upon the white kinionos it is not very effective
and can only be seen in a favorable light.
324. THE ACTOR MATSUMOTO KOSHIRO.
Signed: Shunsho ga. 1779. Size 121/1x53/1. Lent by Frederick \V.
Gookin.
325. sEGAwA KIKUNOJo AS KIYOHIME IN THE
DRAMA “MUSUME DOJOJI.
Signed: Shunsht') ga. 1780. Size 13x6. Lent by Frederick W.
Gookin.
Anchin, a bozu (priest) attached to the temple and monastery
of Dojoji. was wont, when on the pilgrimage of Kumano, .to stay
at an inn at Masago. His attentions to Kiyohime, the inn-
keeper’s daughter, resulted in her falling violently in love with
him. Incensed by his coldness, her passion turned into furious
hate, whereupon she sought the aid of the evil spirits and, by per-
forming the incantation Ush/i 110 tokz' moi-rd (See No. 186) at the
hour of the ox (two in the morning) cast a spell upon him. Fol-
lowing him into the temple Anchin hid beneath the great bell ten
feet high and in weight more than 100 men could move. As Kiyo-
hime touched it it fell, completely covering and imprisoning the
unfortunate priest. At the same time Kiyohime’s face grew like
the witch mask of Hannya, scales appeared upon her body, her
legs joined and turned into the tail of a dragon. Coiling her-
self about the bell she lashed it in her rage until it became red
hot and then melted, Kiyohime falling into the molten mass and
perishing as the wretched Anchin schreeched his last despairing
Namu Amida Butsu, while his fellow priests stood about in help-
less horror.
326. ICHIKAVV'A DANJURO AS SEIGEN.
Signed: Shunshé ga. 1780. Size 12%x5%. Lent by Frederick W.
Gookin. _
_. 84“
snunsné
327. IW'AI HANSHIRO AS A DANCING GIRL.
Signed: Shunsho ga. Stamp: Kiwame (Certified). 1781. Size
1254x5341. Lent by J. Clarence Webster.
328. KOSAGAVVA TSUNEYO IN A FEMALE ROLE.
Signed: Shunsho ga. 1781. Size 1214x554. Lent by Frank Lloyd
W'right.
329. THE ACTOR IVVAI HANSHIRO.
Signed: Shunsho ga. 1780. Size 1214x554. Lent by Frank Lloyd
Wright.
IPPITSUSAI BUNCHO
Kishi Uzaémon h/Iaiyuki, whose studio name was Ippitsusai
Buncho, was a samurai who in early life was a pupil of an artist
named Ishikawa Yukimoto, probably one of the lesser men of
the Kano school. Cutting loose from the strict regimen of sam—
urai life, Bunché took to painting in Ukiyo-é manner and for sev-
eral years made actor prints in the style of Shunshr'), which are
of great distinction both in design and colour. As a colourist
Buncho is entitled to very high rank. His portraits of Ichi-
kawa Yaozé were regarded as especially good. Buncho is said
to have been extremely fond of sake and to have led a life of
dissipation. He attained celebrity as a maker of comic odes.
These he signed Atama no Hikari (Shiny head, an illusion to
his bald pate). Five volumes. under the title “Uzu-en,” were
published in 1792 or 1793. Being persuaded by his samurai
friends to give up Ukiyo-é it is said that the honorary title of
Hékyé was bestowed upon him in his latter days.
330. THE ACToR sANNoGAwA ICHIMATsU.
Signed: Ippitsusai Buncho ga. 1767. Size 12%x53fl. Lent by
Clarence Buckingham.
331. ACToR IN A FEMALE RoLE.
Signed: Ippitsusai Buncho ga. 1767. Size 12%x5%. Lent by
J. Clarence Webster.
332. woMAN READING A LETTER.
Signed: Ippitsusai Buncho ga. 1768. Size 121/1x5%. Lent by J.
Clarence Webster.
__85-_
BUNCHO
333-
x334.
335-
3 36.
337 -
SEGAWA KIKUNOJO AS A. DANCING GIRL.
Signed: Ippitsusai Bunch6 ga. 1769. Size 12%x5%. Lent by
Clarence Buckingham. ,
ACT'OR IN A FEMALE ROLE.
Signed: Ippitsusai Buncho ga. 1769. Size 12x5%. Lent by J.
Clarence Webster.
THE ACTOR ICHIKAWA KOMAZO.
Signed: Ippitsusai Buncho ga. 1770. Size 12%x5%. Lent by
Frederick W. Gookin.
WOMAN ON A VERANDA LOOKING OUT INTO
THE NIGHT.
Signed: Ippitsusai Buncho ga.
Clarence Webster.
1770. Size 121/4x53/i. Lent by J.
ONOE KIKUGORO AS UKIJIMA DANJO.
Signed: Ippitsusai Buncho ga. 1770. Size 12%x5%,. Lent by
Frank Lloyd Wright.
Inscribed: Ichimura Theatre, Yedo. Autumn of 1770.
338.
339-
340-
341-
SEGAWA KIKUNOJO AS A WOMAN IN A WHITE
KIMONO.
Signed: Ippitsusai Buncho ga.
Frederick W. Gookin.
1771. Size 121/ix5%. Lent by
THE ACTOR ICHIKAWA YAOZO.
Signed: Ippitsusai Buncho ga. 1771. Size 121/4x5;4,. Lent by
Frederick W. Gookin.
NAKAMURA TO'MIJURO IN A FEMALE ROLE.
Signed: Ippitsusai Buncho ga. 1772. Size 1214x534. Lent by J.
Clarence Webster.
SEGAWA KIKUNOJO AS KEISEI MAITZURO.
Signed: Ippitsusai Buncho ga. 1772. Size 121/4x5%. Lent by
John H. Wrenn.
This print is inscribed with the actor’s name and: “Nakamura
Theatre, Yedo, spring of 1772.”
342-
IWAI HANSHIRO AS KIYOHIME.
Signed: Ippitsusai Bunché ga. 1772. Size 121/{rx5;./4. Lent by
Clarence Buckingham.
_._86__
BUNCHé
343. IW'AI HANSHIRO IN A FEMALE ROLE.
Signed: Ippitsusai Bunché ga. 1772. Size 1214x534. Lent by J.
Clarence Webster.
344. NAKAMURA MATSUE IN A FEMALE ROLE.
Signed: Ippitsusai Buncho ga. 1772. Size 12%.x5%,. Lent by J.
Clarence Webster.
345. OTANI HIROJI AS AN ARCHER.
Signed: Ippitsusai Buncho ga. 1772. Size 12%x5~%,. Lent by J.
Clarence Webster.
SHUNKO
Katsukawa Shunké, whose personal name is not known, was
a pupil of Katsukawa Shunsho. He lived in Hasegawa-cho,
Yedo, and at first signed. himself Shun-o, but soon changed to
Shunko. His work closely resembles that of his master, and in
imitation of him he sometimes made use of a jar-shaped stamp
bearing the ideograph “Hayashi.” This seal differs slightly from
that used by Shunsho. Its use obtained. for him the sobriquet
Kotsubo (Little Jar). An attack of paralysis when he was in his
forty-fifth or sixth year caused a cessation of his work, and
thenceforth he lived as a recluse at Ze'nfukuji Temple, Azabu,
Yedo. It is related that he recovered sufficiently to draw with
his left hand, at the request of the famous ode maker Enbao,
a portrait of Ichikawa Hakuen. He died in 1827.
346. sEGAwA KIKUNoJo IN A FEMALE RoLE.
Sigrged: Shunkt') ga. 1778. Size 13x6. Lent by J. Clarence
We ster.
347. THE ACTOR ICHIKAWA DANJURO.
Signed: Katsukawa Shunko ga. 1778. Size 13x6. Lent by J. Clar-
ence Webster.
34s. NAKAMURA MATsUE IN A FEMALE RoLE.
‘Skifgrged: Shunko ga. 1778. Size 121/ix53A. Lent by J. Clarence
e ster.
349. THE ACTOR SEGAWA KIKUNOJO.
Signed: Shunko ‘ga. 1778. Size 12V2x6. Lent by Frank Lloyd
Wright.
SHUNKé
350. NAKAMURA KATSUGORO AS A DANCING GIRL
IN THE SHAKKYO DANCE.
Signed: Shunko ga. 1778. Size 12%x6. Lent by Frederick W.
Gookin.
The Shakkyo dance is named from the stone bridge that is
the most important feature of the stage setting for it. _
351. KOSAGAWA TSUNEYO IN A FEMALE ROLE.
Signed: Katsukawa Shunko ga. 1779. Size 12x5%. Lent by J.
Clarence Webster.
352. YAMASHITA KINSAKU IN A FEMALE ROLE.
Signed: Katsukawa Shunko ga. 1779. Size 1311534. Lent by
Clarence Buckingham.
353. THE ACTOR ICHIKAWA DANJURO.
\SAi/gneld: Shunko ga. 1779. Size 12%x5V2. Lent by Frank Lloyd
rig t.
354. SCENE FROM A DRAMA: THE ACTORS ARASHI
SANGORO AND YAMASHITA KINSAKU.
airgnelcllz Shunko ga. 1780.‘ Size l3x5§./4. Lent by Frank Lloyd
rig t.
355. THE ACTOR ICHIKAWA DANJURO.
Signed: Shunko ga. 1782. Size 12%,x6. Lent by Frank Lloyd
Wright.
356. GROUP OF THREE AcToRs UNDER A PLUM
TREE.
Stamp only: Hayashi. About 1784. Size 15x10. Lent by Frank
Lloyd Wright.
This is one of Shunko’s finest works. The drawing, engrav-
ing and printing are all done with the utmost care.
SHUN DO
Beyond the fact that he was one of the pupils of Shunsho
nothing is known about this artist. His prints are few but ex-
cellent.
357. THE ACTOR OTANI HIROJI.
Signed: Rantokusai Shundo ga. Stamp: Hayashi. 1776. Size
12%,x6. Lent by Frederick W. Gookin.
_88_
SHUNJO
_ Shunjo is another of the pupils of Shunshé about whom noth-
mg is known. His prints are good enough to warrant the sup-
position that perhaps he later adopted another name by which he
is usually recognized. '
358. THE ACTOR SEGAVVA KIKUNOJO.
Signed: Shunjo ga. 1779. Size 12%,x6. Lent by Frank Lloyd
Wright.
359. THE ACTOR SEGAVVA KIKUNOJO.
Signed: Shunjé ga. 1780. Size 12%x5%. Lent by Frank Lloyd
Wright.
KINCHODO SEKIGA
Nothing is known about this artist. He may have been a
pupil of Toriyama Sekien, who is best known as the master of
Utamaro.
360. ACToR IN A FEMALE RoLE.
Signed: Kinchodo Sekiga ga. About 1785. Size 12%.x5%. Lent
by J. Clarence Webster.
SHUNEI
Isoda Kujiro, known as Kintokusai Shun-ei (commonly
spelled Shunyei), was the son of one Isoda Jirobei and was born
at Yedo at Shinidizumicho, Shimmichi, in 1767. He entered
the studio of Shunsho at a very early age and began to make
designs for actor prints when still a boy. After a few years he
drew away from the style of his master and developed a manner
of his own. No examples are here shown of his later work,
which is very different in character and subject from that of his
early years. He was an artist of strong individuality and be-
came the leader of a group of print designers who flourished
in the early years of the nineteenth century. His works are
clever in conception and execution, but he lived in a time of de—
cadence and was not strong enough to stem its tide. He died
on the 26th day of the 10th month of Bunsei 2 (I819). -
_89__
SHUNEI
361.
362.
363-
364.
36s-
' 366.
367.
368.
369-
370-
ACTOR IN A FEIVIALE ROLE.
(Sgignljdz Shun-éi ga. 1787. Size 121/4x53/4. Lent by Frederick W.
00 1n.
IWA HANSHIRG AS A YOUNG MAN \N’ARMING
HIS HANDS AFTER ROLLING A HUGE SNOW-
BALL.
Signed: Shun-éi ga. Stamp: Kiwame. Publisher: Tsutaya. 1788.
Size 121/4x53/1. Lent by Frederick W. Gookin.
SEGAWA KIKUN'OJO AS A. DANCING GIRL.
Signed: Shun—éi ga. Stamp: Kiwame. Publisher:
About 1788. Size 12%x5%. Lent by Frederick W. Gookin.
Eijudo.
THE ACTOR IWAI HANSHIRO.
Signed: Shun-éi ga. Publisher: Yamakichi.
12%.x5éé. Lent by Frederick W. Gookin.
About 1789. Size
ACTOR AS A HUNTER CARRYING A GUN.
Signed: Shun-éi ga. About 1790. Size 13x5%. Lent by Fred—
erick W. Gookin. _
KOSAGAWA TSUNEYO IN A FEMALE ROLE.
Signed: Shun-éi ga. Publisher: Tsuruya. About 1790. Size
1214x51/2. Lent by Clarence Buckingham.
YAIVIASHITA KINSAKU IN A FEMALE ROLE.
Signed: Shun-éi ga. About 1790. Size 12%x5%,. Lent by Frank
Lloyd Wright.
ONOE MATSUZC') AS A YUREI (GHOST OF A DE-
CEASED PERSON).
Signed: Shun-éi ga. Stamp: Kiwame (Certified). Publisher:
Eijudo. About 1792. Size 12x5. Lent by Frederick W. Gookin.
THE ACTOR SAWAMU'RA SOJURO STANDING
UNDER A PLUM TREE.
Signed: Shun-ei ga. Publisher: Tsuruya.
1214x576. Lent by Frank Lloyd Wright.
About 1792. Size
THE ACToR SAWAMURA SOJURO.
Signed: Shun—éi ga. Publisher: Tsuruya.
13x5%. Lent by Clarence Buckingham.
About 1793. Size
SHUNEI
371. ACTOR AS A YOUNG \VOIYIAN CARRYING TWO
BIRD CAGES.
Signed: Shun-éi ga. Publisher: Eijudé. 1795. Size 15x10. Lent
by J. Clarence Webster.
TORII KIYONAGA
The fourth artist to head the Torii line and the culminating
figure in the forward movement of the Ukiyoé school, was an
adopted scion of the house. His name was Seki Shinsuke and
he was the son, born in 1742, of Seki Ichibei, who kept a book
shop known as Shiroki-ya at Shinba, Y edo. He studied under
Torii Kiyomitsu, but from the first his work displayed marked
individuality and bears little resemblance to that of his master.
In the tremendous power of his facile brush he recalls the work
of the founder of the line, Torii Kiyonobu, but he was far more
versatile and had‘ the wider resources of a highly developed art
at his command. Like his predecessors in the school, he painted
with great skill the large signs that adorned the fronts of the
leading theatres and were changed with each change of bill.
It is related that instead of painting these in his studio he was
wont to travel about with assistants carrying ladders, and to
execute the work in situ. The dominant characteristics of his
style are rugged strength, and the marvelous quality of his
brush strokes. At the height of his power his influence over
his contemporaries was so great that almost without exception
the younger men among them copied his style as closely as they
could. About 1790 he gave up print designing for the more
honored occupation of painting. His paintings, however, are
rare, though he lived until the year 1815. His residence in Yedo
was in Honzaimoku-cho, Itchome.
372. SAYONARA.
Signed: Kiyonaga ga. About 1777. Hashira-é. Size 27x5. Lent
by J. Clarence Webster.
373. .THE ACTOR BANDO MITSUGORO IN A FEMALE
ROLE.
Signed: Kiyonaga ga. About 1777. Size 12%:(6. Lent by Frank
Lloyd Wright. '
Here Kiyonaga adopts to some extent the style of Shunsho,
as well as the charming hoso—é size which was such a favorite
_91...
KIYONA GA
with‘that artist. The patterns upon the garments and the mass~
ing of the colours are, however, distinctly Kiyonaga’s own.
374. GROUP AT THE ENTRANCE TO A HOUSE.
Series: Minami Juniko Jugetsu. Signed: Kiyonaga ga. About
1777. Size 10x7%. Lent by Clarence Buckingham.
375. THE 01RAN SEGAWA OF MATSUBA YA AND HER
ATTENDANTS SASANO AND TAKENO.
Series: Serio Shiki Ju-ni Ka Kei. Signed: Kiyonaga ga. Pub~
léshelp: Eijudo. About 1777. Size 15x10. Lent by Frederick W.
00 in.
The famous beauty is shown walking along a street in the
Yoshiwara, followed by her attendants.
The print is chiefly notable for its condition and the quality
of the impression. The colour seems almost wet, and the beni
red has not faded.
376. TWO WOMEN CARRYING A LARGE UMBRELLA
AND FOLLOWED BY A SERVING MAID.
Signed: Kiyonaga ga. About 1778. Size 15x10. Lent by Clarence
Buckingham.
Ths diaphanous costumes of this year set new problems for
the print designers, but Kiyonaga finds in them only a new op-
portunity. Those who think the faces of the figures in the
prints are all alike should note particularly the difference in
type between those of the ladies and the servant. Servants can
always be distinguished by the drawing of their faces.
377. GROUP OF .TWO GEISHAS AND A YOUNG MAN.
Signed: Kiyonaga ga. About 1778. Size 15x10. Lent by Clarence
Buckingham.
A tall girl stands at the left, holding in her right hand a
round fan (uchiwa). Seated upon the floor at her feet is a
young woman with a samisen across her knees, and at her side
sits a young man with a pipe in his hand. The extreme elonga-
tion of the principal figure is a characteristic of Kiyonaga’s
drawing at this period, in an effort to secure a feeling of stateli-
ness as well as grace. The colour in this print is very little
changed from its original condition.
KIYONAGA
37a TWO WOMEN WALKING IN THE sNOW.
Signed: Kiyonaga ga. About 1778. Size 15x10. Lent by J. Clar-
_ ence Webster.
This is undoubtedly a part of a tryptych. The scene is a
snow-covered landscape on the banks of the Sumida River. The
woman at the right is carrying a sake kettle. The kimono of
her companion, who with one hand is raising the piece of cloth
she wears as a headcovering, was originally blue.
379. A WOMAN CARRYING A CLOSED UMBRELLA.
Signed: Kiyonaga ga. About 1778. Hashira-é. Size 28x5. Lent
by Frank Lloyd Wright.
Kiyonaga is not yet quite at ease in compositions of this
form. There is strength, but the line is a little stiff.
38o. TWO WOMEN AND INFANT BOY UNDER A
WILLOW TREE.
Not signed. About 1779. Hashira-é. Size 25x4%. Lent by Frank
Lloyd Wright.
381. TWO WOMEN FOLLOWED BY A MAN CARRYING
A BOX AND A BUNDLE.
Signed: Kiyonaga ga. About 1779. Size 15x10. Lent by J. Clar-
ence \Vebster.
The way in which the beautiful blue used for these prints
changes colour is well shown upon the bundle the servant carries
over his shoulder.
382. A YOSHIWARA BELLE FOLLOWED BY TWO
' WOMAN ATTENDANTS AND A BOY.
Signed: Kiyonaga ga. About 1779. Size 15x10. Lent by Fred-
erick W. Gookin.
Kiyonaga’s figures now tend to become very tall, and his line
gains in strength as he approaches the culmination of his power.
383. MIYA MAIRI No ZU.
Signed: Kiyonaga ga. About 1779. Size 15x10. Lent by Clarence ,
Buckingham.
This print, which has changed very little in colour, shows
what rich effects Kiyonaga could evolve from a few quiet hues
and exceedingly simple patterns.
The subject is the first presentation of a child—in this case'
a girl baby—to the Shinto temple of the district in which the
parents reside. '
.__93__
KIYONAGA
384. THREE WOMEN BEARING UMBRELLAS IN A
SHOWER.
Signed: Kiyonaga ga. Series: Azuma no Nishiki. About 1779.
Size 15x10. Lent by Clarence Buckingham.
The series of which this is one, was exquisitely engraved and
printed with great care. The colour scheme in this print is full
and rich, and the fading only adds to its charm.
385. THE ACTOR ONOE MATSUZO AND A WOMAN
STANDING AT THE CORNER OF THE HOUSE
CALLED KAME-YA.
Signed: Kiyonaga ga. About 1779. Sise 13x6. Lent by J. Clar-
ence Webster.
The dignity of the tall figures is emphasized by the broad,
simple massing of the colours.
386. READING THE LOVE LETTER.
Signed: Kiyonaga ga. About 1779. Hashira-é. Size 27x4I/2.
Lent by Frank Lloyd Wright.
A favorite subject with the Kano painters was the Taoist
Rishis (sages). Hanshan and Jitok, one of whom carries a
makirnono (roll of manuscript) and the other a broom. The
travesty in this print is obvious.
387. MOTHER WATCHING CHER SLEEPING BABE.
Signed: Kiyonaga ga. About 1779. Hashira-é. Size 27x5. Lent
by J. Clarence \Vebster.
On a veranda a child is sleeping under a mosquito net. By
his side his mother stands looking down upon him. Above her
head is a hanging lantern.
388. TWO YOSHIVVARA BELLES.
Signed: Kiyonaga ga. About 1779. Hashira—é. Size 28x5. Lent
by Frank Lloyd \Vright.
389. \(VOMAN HOLDING A BELL.
Signed: Kiyonaga ga. Publisher: Eijudo. About 1779. Hashira-é.
Size 27x4%. Lent by Frank Lloyd Wright.
390. MAN AND woMAN IN WINTER CosTUME WALK-
ING UNDER AN UMBRELLA.
Signed: Kiyonaga ga. Publisher: Eijudo. About 1779. Hashira-é.
Size 28x5. Lent by Frank Lloyd Wright.
_94-_
KIYONAGA
391. TWO WOMEN GOING .TO BED.
Signed: Kiyonaga ga. Publisher: Eijudo. About 1780. Ha-
shira-é. Size 28x5. Lent by Frank Lloyd Wright.
It is in such works as this that Kiyonaga shows his supremacy
with the brush. There is an enchanting quality in the strokes
that his rivals cannot approach.
392. Two woMEN UNDER A BLossoMING CHERRY
TREE.
Signed: Kiyonaga ga. Publisher: Eijudo. About 1780. Ha-
shira-é. Size 27x4%. Lent by Frank Lloyd “flight.
393. MUSUME IN A GALE OF WIND.
Signed: Kiyonaga ga. About 1780. Hashira-é. Size 27x4%1. Lent
by Frank Lloyd Wright.
The shape of the pillar print now presents no difficulties that
Kiyonaga cannot overcome. Here the upright form only
serves to accent the horizontal movement of the wind-blown gar-
ments and foliage. And how musical is the rippling line!
394. A FAMILY GROUP IN THE OPEN AIR.
Signed: Kiyonaga ga. About 1780. Size 15x10. Lent by Fred- "
erick 'W. Gookin.
Seated on a bench is a man in what may be termed “full dress”
costume. By his side stands his wife, holding a lacquer tea cup
stand (chadai) and turning to speak to their son, who is sitting
on the ground at the end of the bench. In the background are
large flowering plants of the hagi (lespedeza).
395. AN INTERVIEW' THROUGH THE MISE.
Unsigned. Publisher: Eijudé. About 1780. Size 10V2x7%. Lent
by John H. Wrenn.
A masterpiece wonderful in its rhythmic flow of line and the
disposition of the masses, and superbly beautiful in colour. Time
has been a factor in producing the colour harmony, chiefly
through the mellowing of the tone of the paper, and the oxidi-
zation of the red lead. The composition of line which is ‘in
Kiyonaga’s finest manner, is worthy of careful study. Note how
the sweeping curves of the drapery lead the‘ eye from point to
point, and bind the whole composition together. '
396. THE DEIVION KEEPER.
Signed: Kiyonaga ga. Publisher: Eijudo. About 1780. Size
15x10. Lent by Frederick W. Gookin.
This print shows the tremendous power and variety of Kiyon-
KIYONAGA
aga’s brush strokes. The subject is a parody on the New Year’s
ceremony known as Oni-yarai, or exorcising the demons (oni)
from the house by a shower of beans. ,Instead of pelting them
with beans, Kintoki, the strong man, is throwing them crystal
balls and other sacred gems, to their unfeigned delight.
397. THREE WOMEN AT TOILET.
Series: Azuma no Nishiki. Signed: Kiyonaga ga. About 1780.
Size 15x10. Lent by Charles Buckingham.
From whatever point of view this print is considered—whether
for composition, drawing or colour—it is superb. When it was
exhibited in New York in 1896, Fenollosa said about it in “The
Masters of Ukiyoe”——“Here is exhibited Kiyonaga’s finest treat~
ment of his tallest proportions. It surpasses all previous Ukiyoe
in the drawing of the nude and the suggestion of the nude under
the clinging garments.”
398. A YOSHIWARA BELLE FOLLOWED BY TWO AT-
TENDANTS CARRYING AN UMBRELLA.
Signed: Kiyonaga ga. Series: Azuma no Nisihiki (literally
“Eastern brocade,” that is to say colour prints of Yedo, the eastern
céapiial). Probably 1780. Size 15x10. Lent by Frederick W.
oo in.
The fading of the beni has imparted to this print a rare deli-
cacy of colour charming in itself and helpful in revealing the
rhythm of the line composition.
399. THE 01RAN MAISUMI, or OMONJI-YA, ACCOM-
PANIED BY SHIGEKI, NANAr-H, AND Two CHILD
ATTENDANTs (KAMURO).
Signed: Kiyonaga ga. Probably 1781. Size 15x10. Publisher:
Eijudo. Lent by Clarence Buckingham.
One of the series “Hinagata W akana no Hatsu Moyo,” por-
traits of Yoshiwara belles, begun by Koriusai and continued by
Kiyonaga. The warm yellowish gray was blue when first printed,‘
the colour scheme being a combination of red, blue black, and
yellow.
400. STREET SCENE IN THE YOSHIWARA AT NIGHT.
Signed: Kiyonaga ga. Series: Minami Ju ni k0. Probably 1781.
Diptych. Size 15x20. Lent by‘ John H. Wrenn.
If not Kiyonaga’s finest work, as many persons think, it is
certainly one of his best. The composition is of great distinc-
._96_._
KIYONAGA
tion. Two parties carrying lanterns pause in passing and turn
to speak to each other.
X401. THE MERRYMAKERS.
, PM, Signed: Kiyonaga ga. Series: Minami Juni k0. Probably 1781.
An... #1‘ 14/1 ' Diptych. Size 15x20. Lent by J. Clarence Webster.
.The series of twelve diptychs, of which this is one, are among
Kiyonaga’s most notable works. The scene is a young man and
a group of women making merry with sake and the music of
the samisen. Through a large open window appears the water
of Yedo bay, with junks at anchor, near a sandy beach where
people are digging clams. In composition it is a triumph, and
the colour in its even fading is of remarkable beauty.
4.02. VIEWING THE SAKURA (CHERRY) BLOSSOMS.
Signed: Kiyonaga ga. Series: Minami Juni k0. Probably 1782.
Diptych. Size 15x20. Lent by J. Clarence Webster.
This is another of the distinguished series of twelve dyptichs
of which three are shown in this exhibition. Here the arrange—
ment of the figures is extremely subtle, and is saved from mo-
notony by the umbrella carried by the maid in the left-hand
group, and the trunk of the cherry tree boldly thrown across the
group at the right.
403. GROUP OF THREE \NOMEN ON THE BANK OF
THE SUMIDA RIVER.
Signed: Kiyonaga ga. Probably 1782. Size 15x10. Lent by
Frederick W. Gookin.
The group consists of two women standing and one seated
upon the end of a bench. The central figure holds a round fan
(uchiwa) in her right hand. Across the river is a long row of
buildings, whose blue roofs contrast most effectively with the
ivory-like tone of the paper as it appears in the women’s faces.
404. WOMEN UPON A BALCONY OVERLOOKING THE
SEA.
Signed: Kiyonaga ga. Probably 1782. Size 15x10. Lent by John
H. Wrenn.
It is not too much to say that this is one of Kiyonaga’s most
beautiful compositions. At the right stands a woman in long-
sleeved kimono of a lovely orange pink (beni printed over yels
low) talking to a girl in black who is kneeling and holds a sake
cup in her left hand. Between them stands another woman in
astriking attitude, leaning over the railing of the balcony.
KIYONAGA
405. GROUP OF MERRYMAKERS UPON A BALCONY.
Signed: Kiyonaga ga. Probably 1782. Diptych. Size 15x20. Lent
by Clarence Buckingham.
The scene represents three men and eight women drinking
sake (rice beer) and listening to the music of the samisen (a
kind of guitar) upon which one of the party is playing.
406. GROUP OF WOMEN UNDER A CHERRY TREE.
Signed: Kiyonaga ga. Series: Azuma no Nishiki. Probably 1782.
Size 15x10. Lent by Clarence Buckingham.
Two women are shown seated upon a bench on a grass-
covered knoll. Behind them stands a third woman and beside
her a young girl holds a portable hibachi (fire box), at which
one of the women is lighting a pipe. The women wear a pecu-
liar headdress to protect their coiffures while out of doors. In
this year Kiyonaga, conscious of power, essays compositions of
extreme difficulty. Here the masses are arranged diagonally and
vertically in sharply contrasting lines. Only a consummate mas-
ter could save such an arrangement from failure. Note how the
composition is held together by the cloth lying upon the bench.
and the red sash of the woman in gray.
407. BOATING PARTY UNDER RYOGOKU BRIDGE.
Signed: Kiyonaga ga. Probably 1782. Triptych. Size 15x30.
Lent by Clarence Buckingham.
The scene shows two pleasure boats halted under the bridge.
The yellow wooden piers and cross ties, with the green land
scape of the river bank showing between, form a dominant note
in the composition which is one of Kiyonaga’s finest in the man-
ner of this year.
408. \VOMEN LANDING FROM A PLEASURE BOAT.
Signed: Kiyonaga ga. Probably 1782. Triptych. Size 15x30. Lent
by Clarence Buckingham.
This triptych is generally regarded as one of Kiyonaga’s mass
terpieces. A large pleasure boat is drawn up to the river bank.
Three of the party have already disembarked and another is
being carried ashore on the back of a young man. In every detail
this print will repay careful study.
409. WVOMEN GATHERING IRIS.
Signed: Kiyonaga ga. Probably 1782. Size 15x10. Lent by John
H. \Nrenn.
On the bank of the stream stands a woman wearing a straw
sun hat and holding a fan in her hand. Her companion is kneeling
_.-98__
KIYONAGA
to gather the iris growing at the edge of the water. On the further
bank is a bit of rustic fence, beyond which are seen branches of
the hagi (lespedeza) in bloom. Perhaps the most striking thing in
this print is the way in which the pink of the under kimono oi
the standing figure shines through the overgarment of purple
gauze.
410. WOMEN SETTING FORTH FOR A WALK.
Signed: Kiyonaga ga. Probably 1783. Size 10%x7%. Lent by
Frederick W. Gookin. '
At the entrance to a house a woman is coming forward,
while her Companion halts to examine her coiffure in a mirror.
Upon the doorstep in front a maid servant is arranging their
roji gem (clogs). Beside her stands a boy. At the top of the
print is a short comic ode in the style of H‘aika, which may be
freely translated “When the small obi (sash) is worn it gives
life to the hip-s.”
KITAO MASANOBU
Iwase Haida, known to fame as the artist Kitao Masanobu
and as the novelist Kyoden, was born in Kiba, Fukagawa, Yedo,
at the house of the publisher whose shop name was Ise-ya, on
the 18th day of the 8th month of Horeki II (1761). Ingearly
life he called himself Kyéya D€HZO and kept a shop in Kyobushi
Ginza, Nichome, where he sold tobacco, pipes, and medicines.
He was a pupil of Kitao Shigemasa. His prints, though few
in number, are of great distinction. Without doubt his reputa-
tion as an artist, though deservedly high, would be much wider
had he not largely devoted his energies to literary work. He is
celebrated not only for his novels, but also for his poems and in
particular for the comic odes he wrote under the pseudonym of
Migaru- no- Orisuke. He died on the 7th day of the 9th month
of Bunka 13 (1816) and was buried in Ekoin Temple, Ryogoku,
Yedo.
411. TsUI MIZUAGI.
Signed: Kitao Masanobu ga. About 1775. Size 12x6. Lent by
J. Clarence \Vebster.
This print and the companion piece (No. 396) represent two
of the tableaux shown upon the floats used in the procession of
the Sanno Matsuri, the largest Shinto festival in Edo. The
KITAO MASANOBU
inscription shows that the float upon which the tsui mizuagi was
shown, was contributed by the merchants of Koami street. Under
lanterns bearing the mom (badges) of famous actors stands a
girl carrying two flower baskets hung upon a bamboo pole used
as a yoke. At her feet sits a man holding a falcon.
412. THE IMAYO OTOME DANCE.
Signed: Kitao Masanobu ga. About 1775. Size 12x6. Lent by
J. Clarence Vtrebster.
Under a canopy decorated with a pine branch and an effigy
of the mythical ho-o bird, is a dancing girl holding a long-han-
dled umbrella. This float was contributed by tradesmen of Oke
street.
413. T-WO YOSHIWARA BELLES AND ATTENDANT.
hNot signed. About 1780. Size 15x10. Lent by Clarence Bucking-
am.
From Masanobu’s well-known book entitled “Seiro M’eikun
Jihitsu Shu.”
414. YOUNG LOVERS STANDING UNDER A CHERRY
TREE.
Signed: Masanobu ga. About 1781. Hashira-é. Size 28x5. Lent
by Clarence Buckingham.
.This print is notable both for the superb sweep of its line, and
the splendor of its colour. The purple and the beni have faded,
but the other colours are in almost pristine freshness.
415. TWO WOMEN IN SUMMER COSTUME.
Signed: Masanobu ga. About 1781. Hashira-é. Size 28x5. Lent
by Clarence Buckingham.
416. LISTENING TO THE HOTOTO-GISU (CUCKOO).
Signed: Masanobu ga. Stamp: Kitao. About 1781. Size 15,141:
22. Lent by J. Clarence Webster.
This print is not only Masanobu’s masterpiece, but is one of
the finest in all Ukiyo-é. It is also one of the largest prints
known. This copy—perhaps unique, no other being known in
any of the important collections in Europe or America—is in
the finest condition possible. It is a proof impression, printed
with the utmost care. Except that the red has faded a little and
has gone from the purple of the kimonos of the woman seated
and the one with the umbrella, and that the sky and water are no
longer blue, the colour, though delightfully toned, is not greatly
-100-
KITAO MASANOBU
changed. On a bench, beneath a willow tree, a man and a
woman holding pipes in their hands, are seated, engaged in con-
versation. Before them stand two young women, one of whom,
who is also opening an umbrella, turns to listen to the notes of
a cuckoo that is seen flying through the air above. At the right
a boy is delightedly prancing about a frog he has espied upon the
boat landing. On the banks of the stream iris are growing. At
the period when this superb print was made Masanobu was
Kiyonaga’s Only rival. Had he maintained the high standard
set in it, Kiyonaga would have had to look sharp to retain his
laurels. But it was under the influence of the greater man that
this print was executed. And where Masanobu designed one
first rate work, Kiyonaga produced twenty.
417. MAN RESTING ON A BENCH NEAR A VVAYSIDE
TEAHOUSE.
Signed: Masanobu ga. About 1782. Size 13x6. Lent by J. Clar—
ence Webster.
This print, one of a series of “lucky occasions” (Medeta
hyaku shu) illustrates a poem by Yoyo Akaro, which appears
upon it. The teahouse is not shown, but the serving maid is
carrying away a small lacquer stand used in place of a saucer.
418. THREE YOSHIWARA BELLES.
Series: Tosei Bijin Iro Kisoi. Signed: Kitao Masanobu ga.
Probably early in 1783. Size 15x10. Lent by J. Clarence Webster.
The principal figure, Yamashita Hana, wears a thin black
kimono with a green obi, and is playing with a kitten. In her
right hand she carries a round fan, and her hair is in the new
style of Temmei san (1783). Her companions still have the old
style of coiffure in which the ends of the bamboo splint project
slightly beyond the wings.
SHUNCHO
This artist, who was known familiarly as Kichizaemon, was
a pupil of Katsukawa Shunsho, but followed the style of Kiyo-
naga so closely that were it not for the signature his work might
well be taken for that of the Torii leader. Many of his prints
are extremely fine both in design and colour. They are, how-
ever, weaker than those of Kiyonaga and more uneven in merit.
Besides Shuncho, he signed also as Bunrc'isai, Churinsha, Toshi-
-101-
sHUNcHo
en, and, late in life, when he abandoned the Ukiyo-é style,
Kissadt'). The date of his birth and death are not known.
419. WOMAN 'ON THE BANK OF THE SUMIDAGAWA.
Signed: Shuncho ga. About 1778. Hashira-é. Size 26x4I/2. Lent
by Frank Lloyd Wright.
420. VVOMAN WEARING A STRAW HAT.
Signed: Shunché ga. Publisher: Eijudt‘). About 1782. Hashira-é.
Size 25x43A. Lent by Frank Lloyd \Vright.
421. WOMEN AT A BOAT LANDING.
Signed: Shuncho ga. Publisher: Tsuru ya. 1783. Size 15x10.
Lent by Frederick W. Gookin.
422. WOMEN AND CHILD AT INSECT SELLER’S
BOOTH.
Signed: Ushido Shunchd ga. Stamp: “Shuncho.” Publishers:
Fushizen. 1783. Size 15x10. Lent by John H. Wrenn.
This is one sheet of a triptych. The scene is the bank of
the Shinobazu pond, Ueno park, Edo.
423. STREET PARADE IN THE YOSHIWARA.
Signed: Shuncho' ga. Publisher: Senichi. 1783. Triptych. Size
15x30. Lent by Clarence Buckingham.
This marvellous print, one of Shuncho’s most important
works, is from the collection preserved by the publishing house
known as Daikokuya. It is as fresh as when first printed. The
colours, chiefly purples, grays, olives and greens, have apparently
changed very little. ‘
424. WOMAN ENTERING THE DRESSING ROOM OF A
BATH HOUSE.
Signed: Shuncho ga. About 1783. Hashira-é. Size 27x5. Lent
by Frank Lloyd Wright.
HOSODA EISHI
Theoretically, at least, the life of the samurai was one of
extreme frugality and almost ascetic self-denial. Under the
peaceful Tokugawa rule, however, the rigor of the discipline was
so much relaxed that it was not uncommon for men of the two-
. sworded class to adopt the freer life and share in the amuse-
--102-
EISH I
ments and dissipation of the common people. Among those
yielding to these allurements was the artist Hosoda Jibukyo
Fujiwara no Tokitomi, known to us by the brush name of Eishi
(commonly written _Yeishi, although the Y should not be
sounded). This name was given him while a pupil of the court
painter Kano Eisen. Fascinated by the work of Okumura
Masanobu he began to paint in Ukiyo-é manner, for which offense
he was expelled from the Kano academy. In honor of M‘asanobu
and the Torii school he then adopted Chobunsai as one of his
artist names, Cht') being the other pronunciation of the ideograph
Tori, Bun being a part of one of Masanobu’s appellations, and
Sai (studio) signifying by connotation a follower. He lived at
Hama-cho near Nihon bashi and afterward at Ho-njo VVarigesui,
Yedo. The dates of his birth and death are unknown. Many
of the finest prints issued during the culminating period in the
history of the art are from his hand, and are marvels of clever
design and skillful engraving and printing. Recognizing his
ability as an artist, his aristocratic friends tried to wean him
from Ukiyo-é ways and at last succeeded to the extent that he
gave up print designing. A Japanese historian (quoted by
Strange) says: “Unfortunately Eishi did not always make a
wise use of his able brush, in spite of the wholesome counsel of
his well-wishers. More than once he received from his supe-
riors severe admonitions to mend his ways, which at last so cha-
grined him that he destroyed his brushes, and swore never to
paint again on any subject whatsoever.”
425. KOMACHI ARAI.
Signed: Eishi ga. Series: Furyu Nana Komachi Seki mori.
1783. Size 15x10. Lent by J. Clarence Webster. ‘
Here we have that extremely rare thing, a dated print. It
is of especial importance, as it places Eishi’s works in this man—
ner several years earlier than has hitherto been supposed, and
compels revision of the dating of prints by all the other artists
of this period. The date “Temmei san” appears upon the writing
book which the school girl carries in her hand.
In the foreground, at the right, a woman is washing linen
in a wooden tub. At the left stands a woman carrying a pail,
and beside her in the center of the picture stands a school girl.
In the background the Sumida river is shown. The title tells
us that the subject is a popular version of an incident in the life
of Ono no Komachi, the famous poetess of the ninth century.
On the occasion of a poetical competition at the Imperial palace,
~103—
EISHI
the Poet Otomo no Kuronoshi accused her of having taken from
the Manyoshu an ancient collection of odes, the poem she had
just recited. In support of the allegation he brought forth a copy
of the book with her poem in it. Komachi called for water and,
washing the book, the fresh ink disappeared and her rival was
discomfited.
426. THREE FIGURES ON THE BANK OF THE SU-
MIDA RIVER.
Signed: Eishi ga. Series: Furyu Nana Komachi Seki mori.
1783. Size 15x10. Lent by Frederick W. Gookin.
This is one of a series of seven prints representing wealthy
people of the heimin class in aristocratic guise.
427. A MIAI (LooKiNG-AT-EAcH-oTHER-MEETING).
2ignkedz Eishi ga. 1783. Size 15x10. Lent by Frederick W.
oo'm.
The first meeting of a prospective bride and groom (see note
to 137) is here represented as taking place at a tea-house on the
bank of the Sumida river in Yedo. It is in the month of March
when the cherry trees are in bloom. In the middle distance
where the bed of the river has been exposed at low tide, shiwohi
(clam diggers) may be seen. .The prospective bride having
taken a cup of tea from the hand of the maid by her side, ad-
vances slowly and bashfully to offer it to the young samurai who
is destined to become her husband, unless she so utterly fails to
find favor in his eyes that he positively refuses to conclude the
match--a thing of rare occurrence.
428. THREE GIRLS WALKING NEAR RICE FIELDS.
Signed: Eishi ga. 1783. Size 15x10. Lent by Frederick W. Gookin.
This print is in Eishi’s early manner. The brilliance im-
parted to the red obi of the central figure by the pattern printed
in green, is noteworthy.
429. LADYT ALIGHTING FROM A KAGO TO VIEW THE
BLOSSOMING CHERRY TREES.
Signed: Eishi ga. 1783. Triptych. Size 15x30. Lent by J. Clar—
ence Webster.
In this beautiful composition the influence of Kiyonaga’s
manner is apparent, but the imitation is far from being slavish.
The treatment of the landscape with the blossoming cherry trees
and the view of Edo bay in the distance is Eishi’s very own.
~104~
EISHI
430. READING OVER THE LETTER.
Signed: Eishi ga. About 1784. Hashira-é. Size 253/,x4%. Lent
by Frank Lloyd Wright.
A Woman seated by a box of writing materials is reading over
a letter she has just written. By her stands a woman wearing a
black robe having a pattern of large cherry blossoms.
431. PORTRAITS OF THE GEISHAS OHANA AND
OF UKU.
Signed: Eishi zu. Series: Seiro Geisha Erami. Publisher:
Maruiwa. About 1784. Size 15x10. Lent by Clarence Buckingham.
The drawing in this print should be considered as a study in
line composition in which sharp angles and a certain rigidity in
the figures are brought into harmonic relation with gently flow-
ing curves.
432. MORNING GLORY FETE.
Signed: Eishi ga. Series: Furyu Yatsushi Gengi. Publisher:
Senichi. About 1784. Triptych. Size 15x30. Lent by Clarence
Buckingham.
In the center a young man typifying Prince Gengi is seated
with writing materials and a spray of asagawo (morning glory)
before him, preparatory to composing an ode upon it. About him
a number of women are grouped in various attitudes. The
colour scheme is a harmony of purples, grays and blacks, with
a few yellow notes.
433. PORTRAIT OF THE TAYU KISEGAVVA OF MA-
TSUBA-YA.
Signed: Eishi zu. Series: Seiro Bijin Rokka sen. Publisher:
Eijudo. About 1785. Size 15x10. Lent by Frederick W. Gookin.
Kisegawa is shown seated, holding on her lap a makimono
of the Ise Monogatari (a classical romance).
434. THE TAYU HANA-OGI OF OGI-YA.
Signed: Eishi zu. Series: Seiro Bijin Rokka Sen (Six Flower
Series of Green House Beauties.) Publisher: Eijudt'). About 1785.
Size 15x10. Lent by Frederick W. Gookin.
Seated before a black lacquer table the woman is preparing
to write a poem upon the fan held in her left hand. Her coiffure
is in the style known as hioma which was used by tayu only.
~105- '
EISHI
435. A GARDEN PETE.
Signed: Eishi ga. Series: Furyu Yatsushi Genji. Publisher:
Senichi. About 1788. Triptych. Size 15x30. Lent by Clarence
Buckingham.
436. INSECT GATHERERS.
Signed: Eishi ga. Publisher: Eijudo. About 1788. Triptych.
Size 15x30. Lent by Clarence Buckingham.
This beautiful composition represents a popular version of a
party of ladies of rank, with their attendants, gathering singing
insects. Two of the party hold the tiny cages in which the
captive insects are kept.
437. LANTERN FESTIVAL UNDER A WISTARIA AR—
BOR.
Signed: Eishi 211. Publisher: Eijudo. About 1791. Triptych.
Size 15x30. Lent by Clarence Buckingham.
In the centre a young man with a fan tied upon his head is
dancing, while in a circle about him are eight women, some seat-
ed and others standing. Two are playing the samisen, others
are clapping hands, while two have hold of the ends of a rope
having a large loop in the middle. The dance is mimetic. The
dancer represents a fox disguised as a man. By the loop in the
rope is an inro (medicine case) on a sheet of paper. This repre-
sents the bait to catch the fox. The dancer’s aim is by a rapid
movement to grab the inro without being caught by the rope.
438. POPULAR VERSION (ANALOGUE) OF A MUSIC-
ALE IN THE SHOGUN’S PALACE.
Signed: Eishi zu. Publisher: Eijudo. About 1791. Pentaptych.
Size 15x50. Lent by Clarence Buckingham.
This print, which was one of the treasures preserved by the
old Tdkyo publishing house known as Daikoku—ya, is a superb
copy of Eishi’s most important work.
439. PORTRAIT OF THE TAYU MI-I-ZAN OF SHOJI-YA
IN NIGHT COSTUME.
Signed: Eishi gi gwa. Publisher: Maru-iwa. About 1795. Size
15x10. Lent by John H. Wrenn.
In the prints of the series “Seiro Bisen Awase” Eishi rose
to a height that is unsurpassed by any other artist of the school.
Copies of some of them were printed with silver backgrounds
instead of the chocolate colour that appears in this print and
No. 440.
—106——
EISHI
44o. PORTRAIT OF THE TAYU HANA MURASAKI OF
TAMA-YA.
Signed: Eishi gi ga. Publisher: Maru—iwa. About 1795. Size
15x10. Lent by Clarence Buckingham.
Eishi being of samurai rank felt it ignoble to make portraits
of women of the Yoshiwara, so in this series he added to his
signature the word “gi,” signifying that he made the designs as
a joke. Almost if not quite the last word in the art of colour
printing would seem to have been uttered in the remarkable
series to which this print belongs.
SHOKOSAI EISHO
Except that he was a pupil of Eishi nothing is known about
this artist. His work resembles that of his master but is much
weaker.
441. TALL WOM‘AN.
Signed: Eisho ga. Publisher: Yama-han. About 1784. Hashira-é.
Size 25x41/4. Lent by Frank Lloyd Wright.
442. VERY TALL WOMAN.
Signed: Eisho ga. Publisher: Eijudo. About 1793. Hashira-é.
Size 26%x4%. Lent by Frank Lloyd Wright.
ARTISTS UNKNOWN
443. T\VO WOMEN STANDING IN A BOAT.
Not signed. About 1783. Hasnira-é. Size 24%x41/2. Lent by Frank
Lloyd Wright.
444. TWO WOMEN.
Not signed. About 1783. Hashira-é. Size 241/2x4%. Lent by Frank
Lloyd Wright.
445. THE OIRAN SOMENOSUKE OF MATSUBAYA.
Not signed. About 1793. Hashira-é. Size'24%x4%. Lent by Frank
Lloyd Wright.
-—107—
KUBO SHUNMAN
This artist, whose personal name was Ihei Shosado, who was
a pupil of an artist named Kajitori Nahiko. He lived in Yedo
at Kanda Tomimatsu-cho. Like many of the Ukiyo-é artists
he was also an author of note. His comic poems, which gained
him much renown, were signed Nandaka Shiran, a name having
the similitude of that of a Buddhist sage, but when written in
the Japanese kana, signifying “I don’t know what it is.” He is
said to have painted with his left hand. His prints have strong
individuality, especially in their colour schemes.
446. STREET SCENE OUTSIDE A VILLA AT NIGHT.
Signed: Shosado Kubo Shunman ga. Stamp: Shunman. About
1790. Triptych. Size 15x30. Lent by J. Clarence Webster.
447. GRoUP OF YOUNG MEN AND woMEN IN THE
COUNTRY
Signed: Shunman ga. About 1790. Triptych. Size 15x30. Lent
by J. Clarence Webster.
This triptych is part of a five-sheet composition, “The Six
T amagawa.”
448. PEOPLE GATHERING WILD FLOWERS.
Signed: Shosado Kubo Shunman ga. Stamp: Shunman. About
1798. Surimono. Size 7%x20%. Lent by Clarence Buckingham.
KITAGAWA UTA M ARO
The celebrated artist known as Utamaro was a wayward son
of Toriyama Sekien, a painter of the aristocratic Kano school
who had evolved a style of his own. .The young man whose
personal name was Yusuke, studied under his father and for a
time used the signature Toriyama Toyoaki. Following a quarrel
with his father, who is said to have been so vexed by his disso-
lute ways that he disowned him, he adopted the name of Kita-
gawa Utamaro, took to Ukiyo-é and made his home with the
publisher Tsutaya Shigesaburo near the entrance to the Yoshi-
wara. His life was spent in debauchery which did not, however.
prevent him from producing an immense volume of work of ex-
ceptional quality. He had a fertile brush and his compositions
are among the most striking and original works of the school.
In his day he was very popular and had many imitators. This
popularity continued after his death and led to the publication
-—108~—
UTAMARO
of many prints by other artists to which the signature of Utamaro
was appended. He died in 1806 at the age of fifty-three. De-
tailed information about his life and descriptive lists of his works
may be found in Goncourt’s book about him, and in a recently
published elaborate work by Dr. Julius Kurth.
449. MAN AND TWO WOMEN ON THE VERANDA OF
A TEA HOUSE.
Signed: Utamaro ga. Publisher: Tsutaya. About 1783. Size
15x10. Lent by Frederick W. Gookin.
In Utamaro’s early prints the influence of Kiyonaga's style
is dominant, but he does not quite catch it and soon finds it easier
to develop his own manner than to ape that of anyone else.
450. NEW YEAR’S SCENE.
Not signed. 1786. Size 83/411141/1. Lent by John H. Wrenn.
This is one of the illustrations from a book entitled “Ehon
Waka Ebisu.”
451. FETE IN A CHINESE PALACE ‘OVERLOOKING A
LAKE.
Signed: Utamaro ga. Publisher: Tsutaya. About 1792. Triptych.
Size 15x30. Lent by J. Clarence Webster.
.This is a Ukiyo-é version of a Chinese subject. The cos-
tumes and other details are a curious conglomeration of Chinese
and Japanese style, the design being to afford amusement by the
clever travesty of classical ways.
452. PROCESSION OF THE COREAN AMBASSADORS
BURLESQUED BY THE \VOMEN OF THE YOSHI-
WAWA.
Signed: Utamaro hitsu. About 1794. Heptaptych. Size 15x70.
Lent by J. Clarence Webster.
This is one of the most noted of Utamaro’s prints, and also
one of the rarest, only a few perfect copies being known to exist.
453. THE SUZUHAKI OR HOUSE-CLEANING BEFORE
NEW YEAR’S.
Signed: Utamaro hitsu. Publisher: Yamada. Triptych. Size
15x30. Lent by Clarence Buckingham.
This triptych is part of a five-sheet composition.
~109—
UTAMARO
454. WOMAN LOOKING AT THE REFLECTION OF HER
FACE IN A MIRROR.
Signed: Utamaro hitsu. Publisher: Yamamatsu. Dated: 1797.
Size 15x10. Lent by Clarence Buckingham.
At the top of the print is a square cartouche showing a
boy dancing, a sake bottle, some blazing fagots, and a huge
snake.‘ Other small objects are introduced, the whole forming
a conundrum or puzzle picture. What is of especial interest is
that the projecting tongue of the snake forms the character “ku”
(nine), thus indicating the snake year, Kansei nine (I797).
455. Two GEIsHAs ATTIRED As AcToRs IN A N1-
\VAKA OR BURLESQUE THEATRICAL PERFORM-
ANCE IN THE STREETS OF THE YOSHIWARA.
Signed: Utamaro ga. Series: Seiro Niwaka Jogeishi no bu.
Publisher: Tsutaya. About 1797. Size 15x10. Lent by Clarence
Buckingham.
About the year 1797 Utamaro began to design his famous
large heads and busts of girls. This print and the next number
belong to one of his most important series. The silver back-
ground is an innovation and great pains have been-taken with
the drawing and colouring.
456. THREE GEISHAS AS FAN SELLERS IN NI—
VVAKA.
Signed: Utamaro ga. About 1797. Size 15x10. Lent by Clarence
Buckingham.
457. OIRAN AND TW'O ATTENDANTS WITH TRANS—
PARENT HEAD COVERINGS.
Signed: Utamaro hitsu. Publisher: Tsutaya. About 1797. Size
15x10. Lent by Clarence Buckingham.
One of the attendants carries a gourd; the other a bam-
boo pole laden with cha-sen or whisks for making ceremonial
tea.
458. LARGE HEAD AND BUST OF A WOMAN HOLD-
ING A ROUND FAN.
Signed: Utamaro hitsu. Publisher: Tsutaya. About 1797. Size
15x10. Lent by Clarence Buckingham.
A rarely beautiful example of the earlier type of Utamaro’s
large heads of girls. A few years afterward the heads became
much larger; no example of the type, however, is shown in this
exhibition.
~110-
UTAMARO
459- HEAD AND BUST OF A \VOMAN CARRYING A
BOWL ON A LACQUER STAND.
Signed: Utamaro hitsu. Publisher: Tsutaya. About 1797. Size
15x10. Lent by Clarence Buckingham.
Another print of the same series as the foregoing.
46o. LARGE HEAD AND BUST OF A \VOMAN READING
A LETTER. .
Signed: So Kan Somi (i. e., Clairvoyant.) Utamaro ko go. Series:
Fujo ninso ji pin (Ten physiognomies of women.) Publisher:
Tsutaya. About 1798. Size 15x10. Lent by Frederick W. Gookin.
461. THE LOVERS INOSUKE AND W'AKAKUSA.
Signed: Utamaro hitsu. Publisher: Yamada. About 1797. Size
15x10. Lent by Frank Lloyd Wright.
462. YOSHIWARA WOMEN IN A KAGURA OR MUSIC-
AL PERFORMANCE BEFORE A SHINTO TEMPLE.
Signed: Utamaro hitsu. Series: Fuzoku Bijin Tokei (Customs of
Women). Publisher: Senichi. About 1797. Size 15x10. Lent by
Clarence Buckingham.
The tall woman holds in her right hand a musical instru-
ment composed of thirteen little bells fastened to a holder. In
her left hand and thrown. across her shoulder she carries a
long-handled fan attached to which are numerous gohei or strips
of paper, cut in a peculiar fashion, being symbolical of the kami
or spirits of deceased ancestors. The young woman plays a
yokobue (flute).
463. AN_OIRAN: DONE IN A NEW’ STYLE OF NISHI-
KI-E.
Signed: Utamaro hitsu. About 1797. Size 15x10. Lent by John
H. Wrenn.
This is one of Utamaro’s important works, marking an ex—
periment in a new style, the chief characteristic of which is the
omission of the caligraphic outline. Upon a makimono (scroll)
in the upper left hand corner is the title Nishikiori (woven of
beautiful colours), Utamaro gata (style), shin (new), moyo
(pattern), and a whimsical inscription in eight lines. Being a
play upon words and embodying a number of jokes and double
meanings it is practically untranslatable, but its principal sig—
nification may be rendered as follows: The spirit of my brush
work is fine and the caligraphic outline in black, even though it
~111-
UTAHARO
be rough and sketchy, is instinct with life. (This is at once a
facetious boast and a reference to the print wherein the outline is
omitted). Though prints be made with many colours yet, like
the shallow Chinese paintings, the graceful forms of the figures
shall be lost. (The colours used in this print, it will be noted,
are few and quiet in hue). Therefore, the fee of my brush is “as
high as my nose” (an expression denoting pride), and the pub-
lisher who buys cheap designs which, in comparison with this
are as the lowest Yoshiwara woman is to the Tayu, will thereby
have his nose crushed (that is, have his pride taken down).
464. TWO YOSHIWARA BELLES IN NIWAKA- DRESS.
Not signed. Publisher: Yamamori. About 1798. Size 15x10. Lent
by Frank Lloyd Wright.
465. TOFU SELLER AT GION TEMPLE.
Signed: Utamaro hitsu. Series: Fujin Tewaza Juni k0. About
1798. Size 15x10. Lent by Clarence Buckingham.
466. A NIGHT Ex-CURsIoN.
Signed: Utamaro hitsu. Series: Jikyo Iro no Bimyo Iemi. About
1798. Size 15x10. Lent by J. Clarence Webster.
This is a superb copy of one of Utamaro’s most famous prints.
The inscription gives the names of the people represented, as
Jihei of Kameya and the Koharu of Kinokuni ya.
467. THE LOVERS MUMEGAVVA AND CHUBEI.
Signed: Utamaro hitsu. About 1798. Size 15x10. Lent by Frank
Lloyd Wright.
468. THE KITCHEN.
Signed: Utamaro hitsu. Publisher: Kamimura. About 1798. Di,-
tych. Size 15x20. Lent by Clarence Buckingham.
469. THREE WOMEN UNDER A WISTARIA ARBOR.
Signed: Utamaro hitsu. Publisher: Tsutaya. About 1798. Size
15x10. Lent by Clarence Buckingham.
Beautiful though this print undoubtedly is, in the use of
brown flock to represent in a realistic manner the texture of the
rug thrown over the bench upon which one of the women is
seated, it shows a leaning toward novelty for its own sake that
is significant of decadence.
470. THE LOVERS JIHEI AND KOHARU.
Signed: Utamaro hitsu. Publisher: Murataya. About 1798. Ha-
shira-é. Size 251,41x5;./4. Lent by Clarence Buckingham. '
——112——
UTAMARO
471. THE LOVERS MUMEGAWA AND CHUBEI.
Not signed. About 1798. Hashira-é. Size 24x5. Lent by Frank
Lloyd Wright. .
472. .THE LOVERS AGEMAKI AND SUKEROKU.
Signed: Utamaro hitsu. About 1799. Hashira-é. Size 25%x6. Lent
by Frank Lloyd Wright.
473. MOTHER, CHILD AND MAID SERVANT.
Signed: Utamaro hitsu. Publisher: Yuwatoya. About 1799. Size
20x7%. Lent by Clarence Buckingham.
A tall woman turns to look at her infant son who has covered
his head with her gauze kimono, while the maid servant kneel-
ing endeavors to restrain him.
Utamaro’s manner now undergoes a decided change. The
figures have become extremely tall, the faces are elongated and
the eyes diminished in size. The fashion of the day in hair dress-
ing is reflected in the balloon-like top-knot that has been steadily
growing larger for some time.
474. WOMEN CATCHING FIREFLIES.
Signed: Utamaro hitsu. Publisher: Senichi. About 1800. Trip-
typch. Size 15x30. Lent by J. Clarence Webster.
475. WOM’AN SEATED ON A VERANDA.
Signed: Utamaro hitsu. About 1801. Size 15x10. Lent by Frank
Lloyd Wright.
Utamaro’s figures have now grown extravagantly tall and the
balloon-like top-knot of the coiffure becomes as large as the
wearer’s head.
476. BED TIME.
Signed: Utamaro hitsu. Publisher: Tsuruya. About 1801. Trip-
tych. Size 15x30. Lent by J. Clarence Webster.
Six very tall women are shown preparing for rest under a
huge canopy of mosquito netting.
477. THE OIRAN HOKKOKU AND ATTENDANT.
Signed: Utamaro hitsu. Publisher: Murataya. About 1801. Size
2014x914. Lent by Frank’ Lloyd Wright.
478. MOTHER AND DAUGHTER.
,. ,Lsigfledz Utamaro hitsu. Publisher: Murataya. About 1801. Siz¢
2014x9174. Lent by Frank Lloyd Wright.
-113-
)pwtt .
- UTAMARO
47o. MAN AND WOMAN IN A sHowER.
Signed: Utamaro hitsu. Publisher: Murataya. About 1801. Size
2012x9174. Lent by Frank Lloyd Wright.
480. GIRLS GATHERING PERSIMMONS.
Signed: Utamaro hitsu. About 1801. Triptych. Size 15x30. Lent
by J. Clarence Webster.
Though Utamaro is getting near to the end of his career his
invention does not flag. The colour scheme in this spirited print
is unlike anything preceding it.
481. AN UKIYO-E VERSION OF A NOBLE LADY DE-
SCENDING FROM A GOSHO-GURUMA (COURT
WAGON) TO VISIT A TEMPLE.
Signed: Utamaro hitsu. Publisher: Senichi. About 1804. Trip_
tych. Size 15x30. Lent by J. Clarence Webster.
482. WOMAN IN SUMMER COSTUME.
Signed: Utamaro hitsu. About 1804. Size 15x10. Lent by Fred-
erick W. Gookin.
In the right-hand upper corner appears the sign of Itsukura,
one of the leading drapers of Yedo, and the inscription reads:
“Designs of fabrics at Itsukura’s shop.” The style of hair dress~
ing was known as kata-hazushi (half-dressed).
UTAGAVV A TOYOKUNI
In the later history of the Ukiyo-é school no artist holds a
more prominent place than the first Toyokuni. In his day he
had immense vogue, and he was indeed an artist of much ability,
but the great popularity of his prints led to the publication of
works upon which comparatively little time was expended, and to
a gradual but steady deterioration in their artistic qualities. His
early works are by far his best. Many of them are very beauti-
ful, charming in colour and engraved and printed with great
care. He was the originator of a new style of actor prints, highly
appreciated by the devotees of the theatre for their realistic char-
acterizations. Toyokuni’s personal name was Gorobei Kuma-
kichi. He was the son, born in 1769, of Gorobei Kurahashi, a
carver of wooden images, who lived in Yedo, in the quarter
known as Shiba. He first studied under Utagawa Toyoharu and
Afterward he became a pupil of Utagawa Toyoharu and still
later is said to have had Shunei for a master. He died on the
—114—-
TOYOKUNI
7th of the first month of Bunsei 8 (1825) and it is said that when
he was buried some 500 or 600 of his drawings were placed in
the grave with his body. A monument in the Temple of Koun
at Mita Hijirizaka was erected to his memory.
483. THE FOOT BALL COURT.
Signed: Toyokuni ga. About 1732. Triptych. Size 15x30. Lent by
J. Clarence Webster.
484. GROUP OF PEOPLE AT THE SEA SHORE.
Signed: Toyokuni ga. About 1793. Triptych. Size 15x30. Lent by
J. Clarence Webster.
485. GROUP OF WOhIEN ON A BALCONY OVERLOOK-
ING T HE SEA.
Signed: Toyokuni ga. Publisher: Senichi. About 1793. Size
15x10. Lent by Frederick W. Gookin.
4.86. ANOTHER SHEET OF THE SAIVIE TRIPTYCH AS
THE FOREGOING.
Lent by Frederick W. Gookin. . a
487. GROUP OF \IVOh/IEN IN A JOROYA.
Signed: Toyokuni ga. Publisher: Senichi. About 1793. Size
1510. Lent by John H. Wrenn.
In this print and the two preceding numbers we have the
characteristic colour scheme in violet, gray green and pale orange,
of which Toyokuni was very fond.
488. TWO LARGE HEADS OF ACTORS.
Signed: Toyokuni ga. Publisher: Yamaden. About 1797. Size
15x10. Lent by Clarence Buckingham.
Toyokuni was not backward in adopting for his actor prints
large heads after the manner of Utamaro.
489. ICHIKAWA DANJURO AND A SMALL BOY.
Signed: Toyokuni ga. Publisher: Senichi. About 1798. Size
15x10. Lent by Clarence Buckingham.
490. FOOT BALL PLAYERS.
Signed: Toyokuni ga. Publisher: Yawatoya. About 1801. Size
20x8. Lent by Clarence Buckingham.
—115—-
TOYOKUNI
491. THE ACTOR IWAI HANSHIRO IN A FEMALE
ROLE.
Signed: Toyokuni ga. Publisher: Senichi. About 1802. Size
15x10. Lent by
492. ICHIKAWA KORAIZO AS AKUHACHIRO TOKI~
KAGE AND NAKAYAMA TOMISABURO AS ROKU-
ROZAEMON.
Signed: Toyokuni ga. Publisher: Eijudo. About 1802. Size
15x10. Lent by Clarence Buckingham.
493. THE ACTOR NAKAYAMA TOMISABURO IN A. FE-
MALE ROLE.
Signed: Toyokuni ga. About 1802. Size 15x10. Lent by Clarence
Buckingham.
X494. A WINDY DAY UNDER THE CHERRY TREES.
Signed: Toyokuni ga. Publisher: Senichi. About 1805. Triptych.
Size 15x30. Lent by Clarence Buckingham.
In this remarkable print Toyokuni attains a height that he
seldom reached. It is perhaps his finest work.
X495. woMEN IN A BAMBOO GRovE.
' Signed: Toyokuni ga. Publisher: Yamada. About 1807. Trip—
tych. Size 15x30. Lent by J. Clarence Webster.
A favorite subject with the artists of the Kano school was
the Seven Wise Men of the Bamboo Grove, a coterie of Chinese
philosophers who held their meetings in the open‘ air. Toyo—
kuni’s travesty of this theme is obvious.
496. MUSUME RAISING A LARGE UMBRELLA.
‘Slégnédzkil‘oyokuni ga. About 1815. Size 15x10. Lent by Frederick
. oo 1n.
This print is perhaps by Toyokuni’s son who also signed as
Toyokuni, but if so its charm and spirit are exceptional.
UTAGAWA TOYOHIRO
This artist, who was born in 1773 and died in 1828, was a
fellow pupil of Toyokuni under Toyoharu. Though he pro-
duced a good many colour prints of fair quality, and numerous
illustrations for books, it is as a landscape painter that he is most
eminent. On the whole, his chief claim to distinction is that he
was the master of Hiroshige.
497. SHIPS AT ANCHOR IN YEDO BAY.
Signed: Toyohiro ga. About 1820. 'Size 5x7%. Lent by J. Clar—
ence Webster.
——116—
TOSHUSAI SHARAKU
The eccentric artist known as Sharaku, and in private life as
Saito Jurobei, was a dancer of the aristocratic NO, in the service
of the Daimyo of Awa.
His portraits of actors, which were all
made, it is said, within one or two years, more for his own de-
light than for any profit to be derived from their sale, have,
in spite of their comic aspect, very original and striking quality.
They possess in marked degree what the French designate as
character and are highly appreciated by the Parisian collectors.
498-
499-
500.
5oI.
502.
503.
504.
PORTRAIT OF ICHIKAWA EBIZO.
Signed: Toshusai Sharaku ga. Publisher: Tsutaya.
About 1796.
Size 15x10. Lent by John H. Wrenn.
PORTRAIT OF MATSUMOTO KOSHIRO.
Signed: Toshusai Sharaku ga. Publisher: Tsutaya.
About 1796.
Size 15x10. Lent by J. Clarence Webster.
PORTRAIT OF KOSAGAWA TSUNEYO IN 'A FE-
M‘ALE ROLE.
Signed: Toshusai Sharaku ga. Publisher: Tsutaya.
About 1796.
Size 15x10. Lent by J. Clarence Webster.
NAKAYAMA TOMISABURO IN A FEMALE ROLE.
Signed: Toshusai Sharaku ga. Publisher: Tsutaya. About 1797.
Size 13x6. Lent by Clarence Buckingham.
SEGAWA KIKUNOJO IN A FEMALE ROLE.
Signed: Toshusai Sharaku ga. Publisher: Tsutaya. About 1797.
Size 13x6. Lent by Clarence Buckingham.
ACTOR OF THE ICHIKAWA LINE.
Signed: Toshusai. About 1797. Size 13x6. Lent by Clarence
Buckingham.
THE ACTOR BANDO HIKOSABURC).
Signed: Toshusai Sharaku, ga. About 1797. Size 13x6. Lent by
Frederick W. Gookin.
~117——
KATSUSHIKA HOKUSAI
Among all the artists of Japan none is more widely known
than Hokusai. His renown is world wide and his place among
the immortals universally conceded. To tell in the most com-
pact form the story of his life and to describe his work, which
was of almost inconceivable variety, would require a large vol-
ume. Here it seems necessary to state only that he was born in
Yedo in the 9th month of the 10th year of Horeki (1760) and
was probably the son of a mirror maker named Nakajima Issai.
He was first employed in a book shop, then for about ten years
he worked at the art of wood engraving. At the age of eighteen
he became a pupil of Katsukawa Shunshc') and his earliest works
were signed Shunro. This was the first of many pseudonyms.
He did not long remain in Shunsho’s studio, from which it is
said he was expelled for insubordination. He then entered upon
an independent career, studying the styles of manyl eminent
artists, ancient and modern, and drawing assiduously every-
thing that he saw or dreamed. After a life of extraordinary
activity he passed away in the spring of 1849 at the age of 89.
505. SURIMONO (NEW YEAR’S CARD).
Signed: Sori ga. About 1801. Size 7%x20. Lent by J. Clarence
Webster.
The subject is a boat laden with rice sailing into a harbor
past a long row of storehouses 011 the bank. Rice being the staple
food product and that in which the revenue of the government
was collected, and the boat being meant to suggest the treasure
ship bearing the Gods of Good Fortune, the whole was in effect
an expression of good wishes for the New Year.
506. WOMEN VISITING A TEMPLE.
{)QVot gigned. About 1803. Size 10%x16. Lent by Frank Lloyd
rig t. ,
507. WOMEN AT THE SEA SHORE VVATCI—IING FISH-
ERMEN AND CLAM DIGGERS.
.Noiq signed. About 1803. Size 10%xl6. Lent by Clarence Buck-
mg am.
508. THREE WOMEN AT A TEMPLE GATE.
Signed: Saki no sori Hokusai ga. About 1803. Size 8%x5%. Lent
by Clarence Buckingham.
This is a beautiful example of the dry printing where the
colour is caught upon the surface fibres, letting the white of those
~118—
HOKUSAI
beneath shine through it. The best effects were secured by
using a very soft paper, which was readily abraded, and in con-
sequence prints of this type are rarely met with in good condi-
tion.
509. SHIPS GOING OUT TO SEA AT I\/IAIZAKA.
Signed: Gakyojin Hokusai ga. About 1804. Size 43/4x6y2. Lent
by J. Clarence Webster.
FOUR PRINTS FROM A SERIES OF VIEWS ON THE
TOKAIDO.
Signed: Gakyéjin Hokusai ga. About 1804. Size 5%1x14~%. Lent
by Frank Lloyd Wright.
519. NIHoN BAsHI, YEDo.
511. VIEW OF FUJI FROM HARA.
512. THE BRIDGE AT OKAZAKI; DAIMYO PROCES—
SION CROSSING.
5113. VIEW OF HARAIJI TEMPLE 0N A FOGGY MORN-
ING IN SPRING.
FIVE PRINTS OF THE SERIES: SHOHU HICHI KIN
NO UCHI (THE SEVEN WISE W'OMEN).
Signed: Hokusai ga. About 1807. Size 83/,x3%. Lent by Frank
Lloyd Wright.
514. WOMAN HOLDING A BOOK UPON HER HEAD.
515. WOMAN UNROLLING A LETTER.
516. WOMAN HOLDING A LETTER BEHIND HER
BACK.
517. WOMAN HOLDING A BROOM.
518. WOMAN REA-DING A TABLET.
519. TORTOISES ON A ROCKY BANK.
Signed: Toyo Hokusai. About 1809. Size 71/2x20. Lent by J.
Clarence Webster. .
This is another surimono. The tortoise and the plum blos-
soms showing through the mist are both emblems of longevity.
-1-19—
HOKUSAI
520. THE LEAPING CARP.
Signed: Katsushika Taito. About 1815. Size 5]/axlD%. Lent by
Frank Lloyd Wright.
Signed: Zen Hokusai Tameichi hitsu. About 1835. Size 101/1x15.
TWENTY PRINTS 0F THE “THIRTY-SIX VIEWS 0F
FUJI” SERIES.
521. FUJI SEEN BENEATH A WAVE OF THE SEA AT
KANAGAWA.
Lent by J. Clarence Webster.
This is Hokusai’s famous wave.
522. FUJI FROM THE ESTUARY OF THE RIVER TAMA.
Lent by Frederick W. Gookin.
523. FUJI SEEN FRoM KOISHIKAWA 0N A SNOWY
MORNING.
Lent by Frederick W. Gookin.
524. vIEw 0F FUJI FRoM GOTENYAMA: THE CHER—
RY TREES IN BLOOM.
Lent by Frederick W. Gookin.
525. VIEW OF FUJI FRoM SENJU.
Lent by Frederick W. Gookin.
‘526. FUJI SEEN FROM EJIRII A WINDY DAY IN THE
RICE FIELDS.
Lent by Frederick W. Gookin.
527. vIEw 0F FUJI FRoM- HoDoGAYA oN .THE To-
KAIDO.
Lent by Frank Lloyd Wright.
528. A BACK VIEW OF FUJI FROM THE MINOBEGA—
WA.
Lent by Frank Lloyd Wright.
529. FUJI SEEN FROM A BOAT AT USHIBORI.
Lent by Frank Lloyd Wright.
530. VIEW OF FUJI FROM THE ISUME PASS.
Lent by Frank Lloyd Wright.
--120_
532.
533-
.534-
535-
536.
537-
538.
539-
540-
541-
542-
HOKUSAI
. FUJI SEEN BENEATH MONNEN BRIDGE.
Lent by Frederick W. Gookin.
VIEW OF FUJI FROM KANAYA ON THE TOKAI-
DO: DAIMYO PROCESSION FORDING THE RIVER
OI.
Lent by Frederick W. Gookin.
VIEW OF FUJI FROM A TEA PLANTATION AT
KATAKURA. '
Lent by Frederick W. Gookin.
FUJI SEEN FROM HICHIGAHAMA.
Lent by Frank Lloyd Wright.
VIEW OF FUJI FROM' THE SEA AT TAGO~NO-
URA.
Lent by Frank Lloyd Wright.
VIEW OF FUJI FROM SHIMO MEGURO.
Lent by Frank Lloyd Wright.
VIEW ‘OF FUJI FROM NAKAHARA.
Lent by Frank Lloyd Wright.
FUJI SEEN FROM ONO SHINDEN IN SURUGA;
CARIBOU LADEN WITH FAGOTS IN THE FORE—
GROUND.
Lent by Clarence Buckingham.
FUJI SEEN FROM THE SEA SHORE A-T ISHI-
BUCHIZAWA.
Lent by Frederick W. Gookin.
THE WHITE CAP OF FUJI; A THUNDERSTORM
BELOW.
Lent by Frederick W. Gookin.
SAKE BOTTLE GATHERERS IN A SNOW STORM.
Not signed. About 1836. Size 14x3. Lent by Frank Lloyd Wright.
NIGHTINGALE- UPON A BLOSSOMING PLUM
TREE UNDER THE FULL MOON.
Not signed. About 1836. Sizle 14x3. Lent by Frank Lloyd Wright.
.. gl—
HOKUSAI
TWO PRINTS OF THE SERIES: SHOKOKU MEIKO
KIRAN (FAMOUS BRIDGES).
543. KINTAI BRIDGE.
Signed: Zen Hokusai Tameichi hitsu. Publisher: Eijudo. About
1836. Size 10x15. Lent by J. Clarence Webster.
544. THE BoAT BRIDGE ‘AT sANo IN KOZUKI.
Lent by John H. Wrenn.

TWO PRINTS OF THE SERIES: RYUKYU HAKKAI.
545. RYUTO IN sNow.
Signed: Zen Hokusai Tameichi hitsu. About 1837. Size 10%x'15.
Lent by Frank Lloyd Wright.
546. THE LONG RAINBO\/V BRIDGE ON A CALM‘ DAY
IN AUTUMN.
Lent by Frank Lloyd Wright.
THREE PRINTS FROM THE SMALL SERIES OF BIRDS
AND FLOWERS.
Signed: Zen Hokusai Tameichi hitsu. About 1837. Size 10x7%.
Lent by Clarence Buckingham.
547. ROBIN AND WEEPING CHERRY.
548. FIN-CH AND MAGNOLIA.
549. CANARY AND PEONY.
FOUR PRINTS FROM THE SERIES: HYAKUNIN IS-
SHU WAKA ETOKI (ILLUSTRATIONS OF
ONE HUNDRED FAMOUS POEMS).
Signed: Zen Hokusai manji. About 1838. Size 10x15.
55o. VIEW OF FUJI sAN FROM TAGO-NO-URA.
Lent by Frederick W. Gookin.
551. THE AwABI DIVERS.
Lent by J. Clarence Webster.
552. WOMEN GATHERING LOTUS LEAVES.
Lent by J. Clarence Webster.
' 553. A MORNING WALK.
Lent by Frederick W. Gookin.
, ~122—
HIROSHIGE
The last great name in the history of the Ukiyo-é school is
that of Hiroshige, the consummate master of landscape art. Few
details of his life are certainly known, and differences of opinion
exist as to whether the numerous works signed Hiroshige are
by one man or two. The supposition that there were two artists
of equal ability, working side by side, using the same name, and
following each other’s style with phenomenal closeness, rests upon
the theory that the signatures, of which there are two distinct
types, cannot be by the same hand. In the opinion of the present
writer, the differences in the signatures are not greater than
would normally occur in one man’s writing in the course of a
number of years. In all probability the original source of error
was the knowledge that there was a second Hiroshige. His
works, however, were much later and fall far short of the mas-
ter’s.
Hiroshige’s own name was Ando .Tokitaro. He was born in
1797, and at the age of fifteen, having failed to get into the
crowded studio of Toyokuni, he became a pupil of Toyohiro.
For the world this may be regarded as a fortunate circumstance.
After a life full of activity he died on the 6th day of the 9th
month of Ansei 5 (1858) and was buried in Tégaku Temple,
Shinteramachi, Asakusa, Yedo. From his master Toyohiro he
adopted the name Ichiryusai (one standing alone), which he after-
ward changed to Ichiyusai (profoundly deep). For various
reasons no attempt has been made to assign dates to his prints
here exhibited. They cover the period from about 1820 to the
end of his life.
Except as otherwise credited, all of the prints by Hiroshige
in this exhibition are lent by Frank Lloyd Wright.
554. THE SWEEP OF FOAh/I ON M‘AIKO BEACH.
Signed: Ichiyusai Hiroshige ga. Size 9%xl4. Lent by Frank Lloyd
\Afrkght.
FOURTEEN PRINTS OF THE SERIES: ToKAIDo Go JU
sAN TsUGI (THE FIFTY-THREE POST sTAT10Ns
oN THE ToKAID-o).
Signed: Hiroshige ga. Size 9%x14%. Lent by J. Clarence Web-
ster.
The so-called “first series” of views on the Tokaido or post
road between Yedo and Kyoto—of which fifteen numbers are
shown in this exhibition—made Hiroshige famous. Such was the
popularity of the prints that edition after edition was issued, until
' ~123—
HIROSHIGE
the blocks were worn out; then they were re-engraved and the
process Was repeated. Poor copies are abundant; fine ones are
etremely rare ; the difference between them is very great.
555.
556-
5 557-
558.
559.
560.
561.
562.
563.
564.
565-
566.
567-
568.
SERIES :
NIHON BASHI, YEDO.
SHIRATSUKA: D-AIMYO PROCESSION PASSING.
TRAVELERS FORDING THE ABEKAWA AT
FUCHU.
A WINDY DAY AT YOKAICHI.
DAIMYO PROCESSION CRoSSING THE BRIDGE
AT OKAZAKI.
SNOWY NIGHT AT KAMBARA.
MORNING FOG AT MITSUKE.
VIEW OF THE SEA AND MOUNT FUJI FROM YUI.
THE FERRY AT KAWASAKI.
THE SLOPE OF KAMEYAMA IN SNOW.
A SHOWERY DAY AT SHONO.
TRAVELERS AT MISH'IMA ON A MISTY MORN-
ING.
FISHING BOATS AT EJIRI.
THE FULL MOON AT NUMAZU.
0M1 HAKKEI (EIGHT SCENES 0N LAKE
BIWA IN 0M1).
Signed: Hiroshige ga. Size 10x14%. Lent by Frank Lloyd Wright.
This series contains some of Hiroshige’s most celebrated prints.
The copies here shown are exceptionally fine.
~124-
569-
570-
571-
572.
573-
574-
575-
576.
SERIES :
HIROSHIGE
GEESE ALIGHTING AT KATADA.
BOATs SAILING FROM YAHASHI.
THE AUTUMNAL MOON AT ISHIYAMA.
EvENnwssNOn/ONIHRAYAMA.
EVENDRIGLOWRATsETTA.
BRIGHT SKY WITH A BREEZE, AWAZU.
THE EVENING BELL AT MIIDERA.
NIGHT RAIN AT KARASAKI.
KINKO HAKKEI (EIGHT vIEWs NEAR
YEDOy
Signed: Hiroshige ga. Size 10x14%. Lent by Frank Lloyd Wright.
The charm of Hiroshige’s prints is due primarily to the per-
fect balance of the composition, but also in such superb copies
as those of the Kinko Hakkei here exhibited to the wonderfu.
tone and the beauty of the printing.
577-
578.
579-
580.
581.
582.
583-
584'
MORNING SNOW ON ASUKA HILL.
SUNSET AT KOGANE BRIDGE.
EVENING RAIN AT AZUMA.
.THE EVENING BELL AT IKEGAMI.
CLEARING WEATHER AT SHIBAURA.
RETURNING BOATS AT GYOTOKU.
GEESE FLYING DOWN AT HANEDA.
AUTUMN FULL MOON ON THE TAMAGAWA.
-Izs-'
HIROSHIGE
SEVEN PRINTS OF THE SERIES: KISOKAIDG ROKU
JU KU TSUGI (THE SIXTY-NINE POST STATIONS
OF THE KISOKAIDO).
Signed: Hiroshige ga. Size 10x14%. Lent by Frank Lloyd Wright.
The Kisokaido series was the joint production of Hiroshige
and
585'
586.
537-
588.
539-
590-
59L
Keisai Yeisen, each contributing a part of the designs.
MIYA-NO-KOSHI:
PEOPLE GOING HOME BY
MOONLIGHT. . .
d.
MOONLIGHT AT NAGAKUBO.
OKUTO. FAGOT GATHERERS RETURNING.
MOCHIZUKI BY MOONLIGHT.
ARAIMA BY M'OONLIGHT.
A GENTLE BREEZE AT MIEJI.
THE INSPECTION GATE AT FUKUSHIMA.
NINE PRINTS OF THE SERIES: KYOTO MEISHO
592-
593-
594-
595-
596.
597 -
598.
(CELEBRATED VIEW'S IN AND ABOUT KYOTO).
Signed: Hiroshige ga. Size 914x14. Lent by Frank Lloyd Wright.
EVENING ON THE RIVER.
RED MAPLES AT TORIAMA BRIDGE.
CHERRY BLOSSOMS ON ARASHIYAMA AT YO?—
SHINO RAPIDS.
A NIGHT PASSENGER BOAT ON THE RIVER
YODO.
A SHOWER AT KAWABARA.
THE WILLOW AT THE ENTRANCE TO THE SHI-
MABARA.
GION TEMPLE IN SNOW.
—1-26--
HIROSHIGE
599. CHERRY BLOSSOMS AT KIYOMIDZU TEM‘PLE.
600. HASE: FAGGOT GATHERERS GOING HOME.
THREE PRINTS OF THE SERIES: .TOTO M‘EISHO.
éégned: Ichiyusai Hiroshige ga. Size 9x14. Lent by John H.
renn.
601. YEDO BAY FROM GOTENYAMA IN THE TIME OF
THE CHERRY BLOSSOMING.
602. THE SUM‘IDA RIVER IN SPRING.
Lent by Frederick W. Gookin.
603. sHINoBAzU POND.
Lent by Frank Lloyd Wright.
THREE PRINTS OF THE SERIES: YEDO MEISHO.
Signed: Hiroshige ga. Size 10x15. Lent by Frank Lloyd Wright.
604. SHINOBAZU POND IN SPRING.
6o . A SLIGHT SHOWER AT NIHON BASHI.
(11
606. THE TEMPLE GARDEN AT TEMM'ANGU IN SNOW.
THREE PRINTS OF THE SERIES: TOTO MEISHO.
Signed: Hiroshige ga. Size 14%)15. Lent by Frank Lloyd Wright.
607. A sHowER AT ASAKUSA.
66s FULL MooN ovER THE YosHIwARA.
609. RAFTSMAN ON THE SUMIDAGAWA IN A SNOW-
STORM.
TWO PRINTS OF THE SERIES: KANAGAWA HAKKEI.
Signed: Hiroshige ga. Size 10x15. Lent by Frank Lloyd Wright.
610. EVENING SNOW AT UCHIKAWA.
611. THE EVENING BELL AT BANSHO.
~127-
HIROSHIGE
612.
613.
614.
615.
At the right is one of the principal theatres. Across the street
CHERRY TREES 0N THE BANK OF THE SUMIDA
RIVER IN RAIN.
Signed: Hiroshige hitsu. Size 9x14. Lent by Frank Lloyd Wright.
A SNOWY MORNING ON THE SUMIDA RIVER.
Signed: Hiroshige ga. Size 9x14. Lent by Frank Lloyd Wright.
SNOW LANDSCAPE AT AKABANE, YEDO.
Signed: Hiroshige ga. Size 9x14. Lent by Frank Lloyd Wright.
THE NICHO-MACHI, YEDO.
Signed: Hiroshige ga. Size 9x14. Lent by Frank Lloyd Wright.
at the left are tea houses where theatre goers purchased tickets
and arranged for refreshments to be served during the play and
at its close.
616.
617.
618.
619.
620.
621.
Among Hiroshige’s later works no one is more celebrated ‘ '
ENTRANCE TO THE YOSHIWARA ON A MOON-
LIGHT NIGHT.
Signed: Hiroshige ga. Size 9x14. Lent by Frank Lloyd Wright.
VIEW ACROSS YEDO
TEMPLE SUNAMURA. .
Signed: Hiroshige hitsu. Size 14x9. Lent by Frank Lloyd Wright.
BAY FROM‘ HACHIMAN
MEGURO IN AUTUMN.
Signed: Hiroshige ga. Size 14x9. Lent by Frank Lloyd Wright.
ISHIYAKUSHI IN SNOW.
Signed: Hiroshige ga. Size 9x13%. Lent by Frank Lloyd Wright.
WINTER LANDSCAPE FROIVI MIMEGURI ON THE
SUMIDA.
Signed: Hiroshige ga. Size 7%x13%. Lent by Frank Lloyd Wright.
THE SARUBASHI (MONKEY BRIDGE) IN THE
PROVINCE OF KOSHU.
Signed: Hiroshige hitsu. Stamp: Ichiryusaai. Publisher: Tsutaya.
Size 28x9%. Lent by Clarence Buckingham.
than the Monkey Bridge. Fine copies are rarely met with.
622.
PEACOCK PERCHING ‘ON A MAPLE TREE.
Signed: Hiroshige hitsu. Size 15x5. Lent by J. Clarence Webster.
-128-—
623.
624.
625.
626.
627.
628.
629.
' 630.
631.
632.
633.
634.
HIROSHIGE
DUCK SWIMMING IN A POND IN WINTER TIME.
Signed: Hiroshige hitsu. Size 15x7. Lent by J. Clarence Webster.
BIRD PERCHING ON A BIWA (LOOUAT) TREE.
Signed: Hiroshige hitsu. Size 15x7. Lent by J. Clarence Webster.
PHEASANT ON A SNOW-LADEN PINE TREE.
Signed: Hiroshige hitsu. Size 15x5%. Lent by Frank Lloyd
Wright.
BAMBOO.
Signed with stamps only. Size 133/,x6. Lent by Frank Lloyd
Wright.
OWL UPON A PINE BRANCH.
aiigneltllz Hiroshige hitsu. Size 15x5%. Lent by Frank Lloyd
rig t.
CUCKOO FLYING THROUGH A SHOWER.
aignefilz Hiroshige hitsu. Size 15x51/1. Lent by Frank Lloyd
r1g t.
HERONS AND IRIS.
Signed: Hiroshige hitsu.
Wright.
Size 10%x7%. Lent by Frank Lloyd
SWALLOWS AND WISTARIA.
ailgnefil: Hiroshige hitsu. Size 10%x7%. Lent by Frank Lloyd
rig t.
PHEASANT AND SNOW-LADEN BAMBOO.
ailgnekcll: Hiroshige hitsu. Size 10%x7%. Lent by Frank Lloyd
r1g t.
FROGS CROAKING UNDER DROOPING BRANCH-
ES OF YAMABUKI.
Signed: Hiroshige hitsu. Size 15x6%. Lent by Frank Lloyd Wright.
HERON FLYING OVER IRIS.
Signed: Hiroshige hitsu. Size 15x63/1. Lent by Frank Lloyd Wright.
THE CAVE TEMPLE, ENOSHIh-IA.
Signed: Ichiyusai Hiroshige ga. Series. Honcho Meisho.
10x15. Lent by Frank Lloyd Wright.
--—129—
Size
HIROSHIGE
TEN PRINTS OF THE SERIES: TOTO SAN JU ROKKEI
635.
636.
637.
638.
639.
640.
641.
642.
643.
644.
645.
646.
(THIRTY—SIX VIEWS OF YEDO).
Signed: Hiroshige ga. Size 15x10. Lent by Frank Lloyd Wright.
EVENING MIST AT'ZOJOJIN TEMPLE.
MOONLIGHT AT MIMEGURI TEMPLE.
THE NAKASU MITSUMATA IN THE SUMIDA
RIVER.
FIREWORKS AT RYOGOKU.
THE GARDEN OF KANDA TEMPLE IN WINTER.
A SUMMER SHOWER AT OHASHI.
FISHING BY NIGHT OFF TSUKUDAJIMA.
WISTARIA ARBOR IN THE GARDEN AT KAME-
IDO.
A WIDE VISTA OVER THE SNOW-COVERED
LANDSCAPE AT SUSAKI.
“FOX FIRES” AT 011.
FALCON ON A SNOW-LADEN PINE TREE.
Signed: Hiroshige hitsu. Stamp: Ichryusai. Publisher: Sanoki.
Size 29x93[;. Lent by Frank Lloyd Wright.
KISO IN SNOW.
Signed: Hiroshige hitsu. Stamp: Ichiryusai. Size 281/2x9V2.
Lent by Frank Lloyd Wright.
—130-
HIROSHIGE SECOND
The artist who signed “Second Generation Hiroshige” was
an adopted son of the first Hiroshige, whose style he closely imi-
tated. After his father’s death he seems to have fallen into dis-
grace and it is said that he was compelled to leave Yedo and aban-
don the use of the name Hiroshige, and that he settled at Yoko-
hama, where he went by the name of Hirochika.
647. NIGHT RAIN AT KARASAKI.
Signed: Ni-se (second generation) Hiroshige ga. Also by the
engraver, Koizumi. Series: Omi Hakkei. Size 9x14. Lent by
Frank Lloyd Wright.
648. SNOW ON HIRAYAMA.
Same series as the preceding number. Lent by Frank Lloyd Wright.
KEISAI EISEN
Ikeda Zenjirt') Yoshinobu, whose artist name was Keisai Eisen,
was born in Yedo in 1791 and died in 1848. He was one of the
leading artists of his day. Of his works, which, in subject,
cover a wide range, the landscapes, after the manner of Hiro—
shige, are the most notable.
649. KISO IN SNOW.
Signed: Keisai. Size 28x9%. Lent by Frank Lloyd Wright.
ARTICLEs UsED BY THE JAPANESE IN CoLoUR
PRINTING.
650. Block having engraved upon one side a large design by
Nishimura Shigenaga, showing the various stages of rice
culture, and upon the other side a portrait of an actor by
Okumura Toshinobu, and two illustrations for a book upon
the art of flower arrangement. As a matter of economy it
was customary thus to make use of both sides of the blocks.
This one, which was used about 1730, was for printing in
black only, hence there are no register marks such as were
necessary in making colour prints from several blocks.
Lent by Frederick W. Gookin.
~131—
651. Block having engraved upon both sides with portraits of
652.
~mark or notch at the lower left-hand corner.
actors by Kunisada. The registry mark is a right-angled
Used about
1845.
Lent by Frank Lloyd Wright.
(A') Nine tools used in engraving blocks for printing.
(B) Brush used in charging the blocks.
(C) Baren, or pad covered with bamboo sheath. This was
held in the printer’s hand and used to press the paper upon
the charged blocks. (See page 16, Introduction).
Lent by Arthur W. Dow, Professor of Fine Arts in Columbia
University.
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