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Fes oe nD ARCHITECTURAL JR" LIBRARY . pe de. Ps CREE ey OO JAPANESE COLOR PRINTS THE ANDERSON GALLERIES, INC. MADISON AVENUE AT FORTIETH STREET NEW YORK /9¥¢ N58 SPSS Cornell University Library College of Hrchitecture g ij c . : ' ) ‘ : fh DW Skrail CMSON.... 4842 400 JAPANESE COLOR PRINTS COLLECTED BY ARNOLD GENTHE NOTABLE EXAMPLES OF THE IMPORTANT UKI- YOYE ARTISTS. A PAGE FROM HARUNOBU’S MANEYEMON, UTAMARO’S EARLY PRINT AFTER A HARUNOBU PAINTING, SHUNCHO’S “PROMENADE,” HIROSHIGE’S “MISTY MOON- LIGHT,” HOKUSAI’S “RETURN FROM THE PIC- NIC.” PILLAR PRINTS BY TOYONOBU, HARUJI, KTYONAGA, KORIUSAI, MASUNOBU, YEISHIN, TRIPTYCHS BY UTAMARO, TOYOKUNI I., YEI- ZAN. EIGHTY SURIMONO IN FLAWLESS CON- DITION, INCLUDING EXAMPLES BY SHUNMAN, GAKUTEI, HOKUSAI, SHINSAI TO BE SOLD MONDAY AND TUESDAY EVENINGS JANUARY 22 AND 23 [BEGINNING AT EIGHT-FIFTEEN O’CLOCK] ON PUBLIC EXHIBITION FROM MONDAY JANUARY FIFTEENTH THE ANDERSON GALLERIES, INC. MADISON AVENUE AT FORTIETH STREET NEW YORK Ey. 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CHAPMAN Property of ~~~ College of Architecture, Cornell Universitys FOREWORD =H1E Japanese wood engravings* — “ it ]} would be more accurate to call them aij wood-cut paintings’ —which are de- b| scribed in this catalogue, were collected 2 ducue the last twenty years in Japan and heures My object has been to gradually elimi- nate all prints which could not be considered examples of the original editions. It is a known fact that of a great many prints, for which there was a popular demand, carelessly made copies from the original blocks (or even impressions from newly-cut blocks) were frequently offered for sale; such prints, though they retain often a good deal of the quality of the original, cannot compare with a good impression made under the master’s supervision. Contrary to the tendencies of some collectors, who seem to put perfect condition above everything else, I have always pre- ferred an original impression, distinguished by the refinements of careful printing—even when such a print was on defective or stained paper—to an im- pression in apparently flawless condition, when this perfection was due to the use of new blocks, new colors and new paper. A great value of the good examples of these Ukiyoye color-prints, asidefrom their intrinsic beauty, *A very instructive exhibition (open until May, 1917), at the New York Public Library, illustrating the making of wood cuts, devotes a section to the various processes used in the production of these Japanese color prints. lies, to my mind, in the fact that they constitute an admirable introduction to an intelligent appreciation of the works of the great Japanese painters and the greater art of the old Chinese masters. Being easily accessible to everyone, they are the best preparation for our Western eye for understanding the significance of Oriental line and Oriental pictorial conventions. After twenty years of profitable association with this phase of Japanese art, I am now planning to devote myself to Chinese paintings, and I feel that the time has come, when I may let others have the guidance and enjoyment which these prints have been to me for so long. In the catalogue the artists’ names are given in alphabetical order, this seeming a better method for locating a print than a chronological arrangement. The years designate the chief period of the artist’s activity, according to accepted data ; in indicating the size of a print, the length is given first (in inches). A glossary explaining the Japanese words used in this catalogue and a list of the artists repre- sented will be found at the end. If the description of some of the prints contributes, here and there, a little to a more accurate knowledge of “Things Japanese,” the catalogue will have served its purpose of being more than a mere descriptive enumeration. ARNOLD GENTHE New York, January, 1917 LIST OF ARTISTS NOS. BUNRO 1 CHINNEN 2 CHOKI see Shiko GAKUTEI 3-9a GOSHICHI see Kiyoyoshi GOSsOTE! see Toyokunt II HARUJI 10 HARUNOBU 11-23 HARUTSUGU see Haruji HIROSHIGE 24-93 HOITSU 94 HOKKEI 95-97 HOKUBA 98-104 HOKUJU 105 HOKUSAI 106-154 HOKUSUI 155 JOREN 156 KIKUMARO see Tsukimaro 311 KIYOHIRO 157, 158 KIYOMITSU " 159 KIYONAGA 160-163 KIYONOBU 164 KIYOTSUNE 165 KIYOYOSHI 166-168 KOITSU KORIUSAI KUNIHIRO KUNIMARU KUNINAGA KUNINAO KUNISADA KUNIYASU KUNIYOSHI MASUNOBU RYUKOKU RYUSAI SADAHIDE SADANOBU SHIGEMASA SHIGENOBU SHIKO SHINSAI SHOSAI SHUNCHO SHUNKI SHUNKO SHUNMAN SHUNSEI Nos. 169 170-178 179 180 320 181 182-196 197-198 199-205 206, 207 208 209 210 211 212 213 214 215-223 224 225-230 231 232-235 236-249 250 NOS. SHUNSEN 251-255 SHUNSHO 256-267 SHUNTEI 268 SHUNYEI 269-270, 338 SHUNZAN 271 SOBAI 272 sori see Hokusai 141-144, 146 TAIGAKU 273 TAITO 274-276 TAKEKIYO 277 TOYOHARU 278 TOYOHIRO 279-285 TOYOKUNI I 286-311 TOYOKUNI II 67, 93, 312-323 TOYOMARU 324 TOYONOBU 325, 326 TOYOSHIGE TOYOYOSHI TSUKIMARO UTAMARO UTAYAMA YEIRI YEISEN YEISHI YEISHIN YEISHO YEISHUN YEIZAN YOSHIHARU YOSHIKAZU YOSHITORA YUBA see Yoshiharu NOS. 327 328 329, 330 331-366 367 368 369-377 378-379 380 381 382 383-404 405 406 407 BUNRO Ca. 1800-1810 [1] YOUNG MAN AND WOMAN Each holds a falcon for hunting in their hands. Publisher Yezakiya. Signed Bunro. The work of this follower of Utamaro 1s rare. 134% «9 CHINNEN (NISHI) Ca. 1820-1840 [2] A NO DANCER with Okina mask and black hat dancing with a fan in his right hand. Rich embossing in silver and gold. Gauffrage. A perfect example. Signed with square seal ‘“Chinnen.” sURIMONO.* 734.47 * SURIMONO. This Collection is particulary rich in Surimono, most of them in flawless condition. (See under Gakutet, Hiroshige, Hokkei, Hokuba, Hokusai, Joren, Kiyoyoshi, Kunisada, Shinsai, Shunman, Takekiyo, Toyokuni, Utaya- ma, Yeisen, Yeizan.) Surimono—the word means simply “printed things’’—were not sold publicly, but made to order for art-lovers who sent them to each other as souvenirs of festive events, New Year's greetings or to convey congratulations or announcements on other occasions. They were printed with the utmost care on a special thick paper, and only in small numbers. All the refinements of the printer’s art were lavished upon them; gauffrage, embossing in gold, silver and bronze, together with a wealth of color. They constitute without a doubt the highest perfection of the Japanese wood engravers art. Since they were kept as souvenirs with greatest care by the owners, we find among them a larger number of prints which to-day are in the same perfect condition as when they left the publisher's hands. What the collector calls “Publisher’s State’’ will, therefore, be found more frequently in the surimono than in any other form of print. GAUFFRAGE (“Blindpressung’) is a process of raising in relief, with the aid of a specially cut block, (which, carefully adapted to the key block, was used without color) certain portions of the print, such as the pattern ant the folds of a dress, the plumage of birds, the water of a river, etc, so that they would stand out in relief. This gauffrage, which in the surimono is often heightened by extreme pressure, producing avery sharp and deep impression, is frequently usd on carefully printed original editions of broadsheets and other forms of prints, while it is generally omitted in cheaper editions and in reprints. GAKUTEI Ca. 1800-1830 [3] THE CHERRY BLOSSOM DANCE The third sheet of a triptych “Nagoya Odori.” Two girls in kimono decorated with the kuruma crest are dancing on a stage hung with lanterns and silks bearing the same crest. Against the black night sky, on which in golden letters is written a poem, the white of cherry trees in bloom and the green of pine trees is sharply contrasted. Signed Gakutei Sadaoka fude. SsURIMONO. 84% «7/714 [4] TWO FAMOUS PRODUCTS OF BIZEN PROV- INCE Plum wine and plum cake with bowl and plum blossoms embossed with silver and gold. Signed Gakutet. SURIMONO. 8x7 [5] IN CHERRY BLOSSOM TIME Two girls in front of ahuge Temple gate, going up the hill; cherry blossoms (in gauffrage) above and beneath them. Signed Gakutet. SURIMONO. 8x7 [6] THE SILVER RAIN Two girls, in richly embrot- dered kimono, seeking shelter from the spring rain under the same umbrella. A plum tree in bloom at the back. Gold and silver embossing. Signed Gakutet. SURIMONO. 84 x7 [7] THE NEW YEAR SHIP The Treasure Ship of the Gods of Luck sailing into port with its load of treasures. Fuji on the right, the sun setting on the left; New Year poem above. Gauffrage and gold. Signed Gakutei Harunobu. suRIMONO. 8144%7% [8] A SAMURAI KILLING A DEER 4Holding a bow and arrow in his hand. Gauffrage, silver and gold. Signed Gakute1. SURIMONO. 8x7 [9] KIBI-NO-YE-HIME She is standing with folded arms and flowing dress on a balcony, cherry trees (gauffrage) in bloom all around her. One of a series of “Honcho Niju-shi-ko,” 24 examples of Filial Piety of Japan. Signed Gakutei. SURIMONO. Sar [9a] A FESTIVAL AT MIYAJIMA On a raft, con- sisting of three boats lashed together, flowering trees and a crowd of people surround a shrine, on top of which is a Howo bird. The Temple of Itsukushima in the background. Blue, green, rose and yellow tones. The dark blue sky is covered with phantastic clouds. Signed Gakutet Ichimaro. 934 x 14144 HARUJI (Some read the name Harutsugu) [10] A MAN WITH GEISHA GIRLS 4 young man, evidently drunk, embraces two geisha girls, while a third one, standing, 1s turning toward them. The background is formed by a folding screen (byobu), decorated with willow tree and chrysanthemum. The work of this pupil of Harunobu is very rare. Signed Harutsugu. HASHIRAYE* 27% x 434 HARUNOBU 1760-1771 [11] A PAGE FROM THE “SEIRO BIJIN AWASE” “Selected Yoshiwara Beauties.” First edition, 1770. An Oiran seated, unrolling obi cloth. 8Y44x% 5% * HASHIRAYE (or Hashirakaki) “Pillar-Prints” are the long, narrow prints (about 28 inches long and 5 inches wide) which were used to decorate the inside pillars supporting the roof of the house. [12] FROM THE SAME dn Oiran standing with folded arms. a [13] FROM THE SAME An Oiran seated, playing the samisen. Beautiful coloring. [14] A PAGE FROM THE “YEHON HARU-NO- NISHIKI” (Spring Picture Book) A woman attired in a yukata, stands after her bath on the open porch and looks at the reflection of the moon 1n the lake. A mirror with a towel over it in the background. 1771.7 «10% [15] THE APPARITION OF THE TWO FAIRIES IN THE FOREST The first leaf of Harunobu’s epoch- making work (the first Japanese book printed in colors) “Furyu enshoku Maneyemon,” “The Delightful Love Adventures of Maneyemon,” describing in word and picture, how the handsome youth Maneyemon receives from the Fairies a secret drug which enables him to transform himself into any shape, and how he, dwarfltke, becomes the invisible witness of the adventures of many lovers. The crypto-signature in the text indicates that the kneel- ing figure of the youth in a black coat is none other than Harunobu himself, while the Fairy on the right is the celebrated tea-house beauty Osen, whom Harunobu ren- dered famous through many pictures. The figure on the left is Ofuj1, another one of his charming models. The white cloud on which the Fairies have descended, is em- bossed in beautiful gauffrage. The rust-red trunks of the pines, and the red beam of the Torit of the Kasa- mort Temple on the right, form a most effective back- ground. A perfect impression of a very rare print, that shows °° Harunobuw’s art at its height. 1768. 84%x1l% [ILLUSTRATED, PLATE 1] [16] PEEKING A young woman, barefooted, wearing a nightdress, 1s looking through the curtains (noren) into another room. Her right arm is brought up to her face in a gesture of embarrassment. A half page from the preceding work. 84 x 534 [17] ON THE RIVER BANK One of a series “Fuxzoku Ukiyo Hakkei.” This print is entitled “Evening Glow at Mazaki.” Two girls at the entrance of a tea house by the river, the one on the left, standing, arranges her hair ornaments, the one on the right is seated. The background is formed by the river (with a boat at the left) and 1ts wooded banks. Rice fields on the right. Soft coloring, gauffrage. ca 1766. Signed Harunobu. 11h x 8% [18] A RAINY DAY, STREET SCENE 4 young woman attended by her maid, who holds an umbrella over her, 1s addressing a little girl who turns her head completely around over her shoulder, while she opens her umbrella. Two dogs in the background, in front of a bath house, on which 1s a black sign, reading, “Will be closed tomorrow.” Soft colors. Gauffrage. Good condi- tion. Ca 1768. Signed Suzuki Harunobu. Ilx7% [19] WARMING SAKE WITH MAPLE LEAVES An Oiran and her Kamuro warming sake over a fire of maple leaves for a young man who sits by the hibachi, in front of a heavy screen, on which are some pictures and a poem. Through the open shoji, is seen a maple tree in the rain. Pale yellow, gray, brown and pink tones. Good condition. Ca 1766. Signed Suzuki Harunobu. 1034 x 8 [ILLUSTRATED, PLATE 1] [20] YOUNG MAN AND WOMAN PLAYING THE KOKYU They are seated on a bench beside the river, she holds the banjo-like instrument, while he is playing on it with the bow. A fence with shrubs at their back. No text. Signed Suzuki Harunobu. Ca. 1769. 1034 x74 [21] THE THUNDER GOD’S LOVE LETTER Two young women on a balcony are covering their ears to keep out the sound of thunder. The Thunder God, who is about to throw from above a love letter to the girls, has in his excitement fallen from the clouds and become entangled in a gigantic spider web. One of the drum sticks, which he uses to produce his thunder, has fallen from his belt. A charming and humorous composi- tion. Clear, crisp impression in soft tones. Gauffrage. Ca 1768. Signed Suzuki Harunobu. WASHIRAYE 28 x5 [ILLUSTRATED, PLATE I!] [22 and 22a] AN OIRAN WRITING A LETTER In front of her a tabako-bon and a hibacht. The folds of her dress in gauffrage. This is evidently an incompleted trial print for the composition represented by No. 22a, which shows two men looking at the writing girl through the window of her ‘‘cage.” The latter print 1s doubtless from amore recent block: the beginning of the hair has not the fineness of the original (a most important criter- ton for the detection of reprints), the colors are crude, the gauffrage absent. In the completed original the sky is a deep black. Signed Harunobu. Ca 1762. HASHIRAYE 28 x 434 [ILLUSTRATED, PLATE II] [23] AN OIRAN WITH HER DOG The girl, having an obi tied in front, holds a folded letter in her right hand, evidently teasing a little dog which sits upright at her feet looking at her. The quiet rhythm of the lines and the mellowness of the colors are notable. Ca 1767. Signed Suzuki Harunobu and with seal. 27 x 44 [ILLUSTRATED, PLATE XIII] HIROSHIGE 1820-1858 FROM THE TOKAIDO SET ‘Tokaido Goju-San Tsugi.” 53 Stations of the Tokaido, the highway between Yedo and Kyoto. Some of the pictures of this Series are among the finest landscapes produced by the Ukiyoye School, while others are rather indifferent compositions. Most of the important ones are here represented. All are full-size lateral plates. 944 x 14%, signed Hir- oshige. From various sets, published by Hoyeido Takeuch. [24] KAWASAKI, ROKUGOTOSHU <4 ferry boat on the Rokugo river, passengers waiting on the opposite shore. A village in the woods. Sky orange; Fuji 1s only an outline, no key block. [25] HODOGAYA, SHIN KAME BASHI 4 bridge over a deep blue river leading to a village. Many people are crossing the bridge. [26] MISHIMA, ASA GIRI Morning mist. Two travel- lers with attendants, one on horseback and one ina kago, are seen at the entrance of a temple. A famous print. [27] NUMADZU, KI KURE 24 moonlight scene. A number of pilgrims are seen walking along a path by the river, one with a grotesque mask tied to his back. The blue of the sky and water are of the same tone. [28] HARA, ASANOFUJI Morning Fuji. Two travelling women followed by a baggage bearer. Mt. Fuji 1s rising - im majestic grandeur. A beautifully graded sky. Paper damaged. [29] YOSHIWARA, HIDARI FUJI Fuji on the left. Three women on one horse. Rows of pine trees along both sides of the road. Fujt in brownish-purple against a pale yellow sky. Paper damaged. [30] KAMBARA, YORU NO YUKI Evening snow. A village in a mountain-gorge buried in snow. In the foreground three people wading through the snow. A grey sky, dark at the bottom. A perfect impression in flawless condition. [31] EJIRI, MIHO EMBO Distant view of Mtho beach from the bay of Ejiri. Boats with white sails are seen over roofs of the houses in the foreground. A range of mountain in the distance. A marvelous effect of atmos- pheric perspective. A beautiful impression. Paper slightly damaged. [32] OKABE, UTSU NO YAMA Narrow path by a rushing stream in the Utsu mountains. A pilgrim and wood cutters. Green slopes on both sides, grown with trees. Excellent coloring. [33] FUJIYEDA, JIMBA TSUGITATE Changing horses and coolies at the Fujiyeda station, of which only a part is shown. A traveller with a hat and stick, attired in black coat and red hakama, 1s seen on the right with a group of coolies. (No. 23.) [34] SHIMADA, OI-GAWA SHUNGAN Looking down the Oi River from the steep bank. Many travellers and coolies, some of them crossing the deep blue river. [35] FUKUROI, DE-CHAYA A wayside tea house. A woman keeping a fire, over which a big kettle is hanging from the tree above. A traveller resting on the bench. Foreground green. [36] MITSUKE, TENRYU-GAWA Several boats on the river, which 1s famed for its rapids. The distant misty shores are finely rendered. Two large boats in the fore- ground. Paper damaged. [37] HAMAMATSU, FUYUGARE Dreary winter. People warming themselves by a fire under a big tree. A village in the background. A perfect impression. [38] SHIRASUKA, SHIOMI-ZAKA Sea View Hill. A procession of a Daimyo descending a green slope by the blue sea. Pine trees on both sides of the hill. Softly graded yellow sky. A splendid design. Paper slightly damaged. [39] FUTAGAWA, SARU-GA-BARA 4 place where country races and horse markets were held. Three pil- grims in the foreground. In good condition. [40] CHIRYU, SHUKA UMA-ICHI. Principal summer Horse Fair. People and horses are seen in the green fields, in the middleground a pine tree. A “‘whale-back- hill, omitted in other copies, appears in this print. Beautifully graded sky. Paper slightly damaged. [41] YOKKAICHI MIYE-GAWA 4 celebrated print, showing the sweep of the wind across the river. A man running after his hat under a willow tree, another one ts Struggling against the wind on narrow bridge. The river 1s grown with reeds. On the left houses and masts of boats. A fine impression in good condition. [42] SHONO, HAKU-U_ The famous Rain Storm, one of Hiroshige’s most celebrated prints. A traveller in a kago, protected with oil cloth, 1s being carried up the slope, while two other travellers are running down the hill. Roofs of houses on the right. The dark tree tops bending in the heavy storm. A good impression. [43] SEKI, HAYA-DACHI Early start from Headquar- ters. Decorative hangings with huge blue crests. The scene 1s at dawn and the sky is still dark. [44] TSUCHIYAMA, HARU NO AME 4 procession passing over a small bridge in a spring shower. On the left several houses are seen under dark trees. The green and red coats and the blue of the rushing brook relieve the grey of a rainy day. In perfect condition. [45] OTSU, SOI CHAYA 2 view in front of a tea house. Three carts heavily loaded are drawn by oxen in the foreground. A good impression in soft colors. FROM THE TOTO MEISHO SERIES Views of Yedo. Signed Hiroshige. Full size horizontal plates. [46] NIHON-BASHI NO SHIRASAME. Vtew of Nihon- bashi in the rain. Several people with umbrellas crossing the bridge. On the other side a group of store houses with white walls. Mt. Fuji, a grey silhouette, looming in the center. Beautifully graded evening sky. An excellent impression. [47] ASAKUSA KINRIYU-SAN Asakusa Temple in the snow. An enormous crowd attending the Toshinoicht Fair, 1s thronging the grounds in a heavy snow storm. Paper rubbed. [48] SHIBA ATAGO SAN View from the summit of Atago hill at Shiba. In the foreground tea houses and a group of people. On the left the entrance of a temple. A rainbow crossing the sky back of a tree. A good impression. Worm holes. [49] KAMEIDO TEMPLE GROUNDS IN THE SNOW Two drum bridges, buildings and a grove of trees beyond. The blue of the water 1s particularly beautiful. Paper damaged. [50] UYENO TOYEIZAN NO ZU View of the Toyeizan shrine at Uyeno. The red shrine 1s seen through pine trees and cherry trees in full bloom. [51] KAIANJI MONUJI NO ZU Maple trees in the autumn at Kaianji. In the foreground tea houses, people, maple and pine trees. At the foot of the hill the deep blue sea. A perfect impression. FROM THE MEISHO YEDO HYAKKEI SERIES Full size upright prints, dated 1856-1858, Publisher Uwoya Yetkichi. [52] KAMEIDO TENJIN KEIDAI View of the garden of the Kameido Temple. A drum bridge over a deep blue pond. Wisteria blossoms above. Two swallows flying across the pond. An excellent impression in perfect condition. [53] MAMA NO MOMIJI, TEKONO NO YASHIRO Maples of Mama, Tekona Temple. A view through the over-hanging branches of a maple tree over the plain of Yedo. An excellent impression of one of Hiroshige’s most original compositions. [54] ASAKUSAGAWA, SHUBI NO MATSU OMMAYA- GASHI Pine tree of Shubi, Asakusa river. Night scene with stars in a black sky. In a covered boat under a dark pine tree the shadow of a woman on the green blind. Blue river. A charming nocturne. Good condition. [55] RYOGOKU HANABI Fireworks at the Ryogoku bridge. A rocket and stars bursting in a blue-black sky. Many pleasure boats on the river. Fine contrast between the blue tone of the river and the dark sky. Good condi- tion. [56] TONEGAWA BARABARA MATSU_ 4 oiew of Tone river. From one of the fishing boats a net is being cast,—‘“‘a veritable snap-shot.”’ Two herons flying across the evening sky. Good condition. FROM THE YESAKI TOKAIDO SERIES = Smail horizontal prints 644 by 8, signed Hiroshige [57] SHIMADA 4A procession of travellers crossing the Oi-gawa. [58] ARAI Several sail boats off the coast. The mountain 1s in dark grey. [9] KYOTO The last station of the Tokaido. People walk- ing on the famous Sanjo bridge over the Kamo riverin Kyoto. On the opposite side of the river the city and mountains are seen. Harmonious coloring of great beauty. FROM THE KISO KAIDO SERIES Full sized horizontal prints, signed. Hiroshige [60] MOCHIZUKI People on the highway by a row of pine trees, two of them leading horses laden with baggage. In the distance the moon is rising above the mountain and the pine trees. Pale blue sky. Paper damaged. [61] MIYA-NO-KOSHI Misty moonlight. In the fore- ground the family of a peasant is walking on a small bridge under some trees. Through the thick mist the vague silhouette of trees and of a solitary peasant 1s dimly seen. “The finest picture of mist and moonlight .by a Japanese artist.” The simplicity with which the effect 1s produced is astounding. In beautiful condition. [ILLUSTRATED, PLATE III] [62] NUMADZU View of Mt. Fuji and Ashigara-yama in the snow. A village, trees and bridge buried in the snow. Sky and river in blue. A perfect impression. Upright plate. From the Goju-san Tsugt Meisho Zu-Awase Series. [63] YOSHIWARA View of Fuji from Ukishima-ga- Hara pond below the mountain, the lower part of which 1s inacloud. Houses and pine trees are seen in the distance with a flock of birds flying across the moun- tain. From the Goju-san Tsugt Meisho Zu-Awase Series. Upright plate. [64] YOSHIWARA § Snow-covered Fuji rises majestically behind some pine trees. A woman on horseback and other travellers on the right under pine trees. From the Maruzet Tokaido Series. Oblong print. [65] A VIEW OF THE FIREWORKS ON THE SUM- IDA RIVER Boats decorated with lanterns under a large bridge on which crowds of people are seen. Fire- works bursting in the |evening sky. From the Maruzet Tokaido Series. [66] OHASHI NO MITSUMATA J view under the Ohashi. Swimmers jumping from the bridge. One has landed in a boat gust passing. Several others are seen swimming tn the river. Fuji in the distance. [67] OCHIAI HOTARU Fire-flies at Ochiai. A woman and a girl are pursuing fire-flies with a fan by a stream. A small hill in the distance is seen against a dark sky. In collaboration with Toyokunt. [68] FUJI SANJUROKKEI, KAZUSAKANOSAN Mz. Fuji from Kano mountain of Kazusa province. The mountain is seen beyond a bay. In the foreground a woman on horseback about to pass through a Tortt beside a large cedar tree. [69] A NOCTURNE Shinano, Sarashina Tagoto no Tsuki, Kyodai-Yama. Full moon reflected in the rice terraces at Kyodai Hill. From the base of a high moun- tain mists are arising. Houses are seen above the rice fields; below flows a stream. An extraordinary composi- tion of haunting beauty. [ILLUSTRATED, PLATE II!| [70] OMI HAKKEI, KARASAKI NO YAU Evening rain at Karasaki. The famous old pine tree, its spread- ing branches supported by posts, 1s veiled in a steady summer rain. The sea wall 1s in blue. Paper damaged. [71] AN ILLUSTRATION FROM THE “CHUSHIN- GURA” Act XI The 47 Ronin crossing the bridge; two, disguised as boatmen, are seen in the foreground. It is a winter night. [72] NATSU, RYOGOKU NO TSUKI The summer moon from Ryogoku Bridge. A boat laden with vege- tables is passing under the bridge. On the opposite shore a small village. From the Shiki Koto Metsho Series (Upright panel prints; The four seasonsin Yedo). 15 x5 [73] AKI KAIANJI MOMIJI Maples at Kaian Temple in autumn. Two visitors are seen on the hill looking toward the sea, on which are several boats. A part of the town below. From the Shiki Koto Meisho Series. 15% 5 FROM THE BIRD AND FLOWER SERIES Narrow upright panels. [74] A PHEASANT ON A SNOW COVERED PINE TREE 4 famous print, but in defective condition. [75] BLUE BIRD AND FUYO FLOWER Gauffrage. A good copy of the original issue. [ILLUSTRATED, PLATE Iv] [76] A LONG TAILED BIRD AND PEACH BLOS- SOMS Paper stained. - [77] TWO SWALLOWS AND IRIS [78] A SPARROW AND DOUBLE CHERRY BLOS- SOMS Gauffrage. A good impression of the first issue. Repaired. 1434 x7 [79] ABIRD AND LOQUAT 4 beautiful blue print with red seals. A Chinese poem in upper corner. A very important and rare print in excellent condition. 15 x 634 [ILLUSTRATED, PLATE Iv| [80] A WINTER SCENE 4 woman with folded um- brella standing on the snow-covered river bank. 10 x 744 [81] A GIRL WITH AN UMBRELLA In the background people at the temple festival, houses and the sea. Birds are flying across the sky. Full size upright sheet. [82] A MOONLIGHT SCENE Under a willow tree, the branches of which are silhouetted against the full moon, a woman is standing with a fan in her mouth. Full size upright print. [83] NARUMIGATA HOSHIZAKI Sea view off the coast of Narumibay. A large wave is dashing against the rock over which a group of sanderlings is flying. 634x514 [84] TSUCHIYAMA A rain at Tsuchiyama below the Suzuka mountain. Paper stained. 634.x%5 [85] MOONLIGHT IN THE MOUNTAINS The full moon is half hidden by a high cliff. A water-fall in the foreground rushing by two gnarled pine trees. A great picture in a small size. No signature. 10 5 [ILLUSTRATED, PLATE Iv] [86] A STILL LIFE 4 red fish and an awabi shell on yellow ground. [87] THE SILVER BIRD A nightingale is perched on a flowering plum branch. Spring flowers at the foot of the tree. SURIMONO. Gold and silver embossing. In good condition. Surimono by Hiroshige are rare. 5x7 [ILLUSTRATED, PLATE V] [88] SUNRISE IN THE COUNTRY The red disc of the rising sun is seen through the branches of a flowering plum tree. A little house with a pine tree in front on the right. Gauffrage and silver. A charming composition. Signed Hiroshige. sURIMONO. . IMGxnlhK [ILLUSTRATED, PLATE Vv] [89] THE TOKONOMA DECORATED FOR THE NEW YEAR Flowers in a vase, kakemono, fan and -Sambo. Silver and gold embossing. One corner stained. Signature of Hiroshige. sURIMONO. 8x7% [90] THE SNOW GORGE) A crisp impression on brown- ish paper of the celebrated print, which has something of the grandeur of the Chinese masters. KAKEMONOYE.* 28 x 9% [91] THE SURVIVAL OF THE FITTEST Karashishi with young one. According to the Japanese tradition the Shishi (the legendary lion) tested the vitality of their young by throwing them from the top of a cliff. Large peontes are growing on the rock. KAKEMONOYE. 2834 x 91h [92] A VIEW OF ASUKAYAMA HILL 4 picnic on a spring day. Pine trees and cherry trees in the distance. Snow clad Fuji in the center. TRIPTYCH. [93] IN A MOONLIGHT NIGHT 4 poet is composing a verse about maple trees. A young woman is offer- ing him ink for writing. Beyond the rice-fields, in which the full moon 1s reflected, a range of mountains. *Kakemonoye is the technical word for the large panel prints, about 28x 94, which were printed from two full sized upright blocks and then joined. HOITSU Ca, 1820-40 [94] A BEGGAR KNEELING IN FRONT OF A STONE LANTERN under a willow tree before a nobleman in court dress. Heavy gauffrage and deep lacquer-like blacks. Diptych. Signed Hottsu in a large square seal. Good impression. SURIMONO. Size of each sheet 134%41% HOKKEI Ca. 1830-48 [95] WHITE ROOSTER AND AHEN = The white plum- age of the rooster 1s done entirely in gauffrage, without outlines. A marvelous example of perfect printing. Signed Hokket. SuRIMONO. 8x7% [ILLUSTRATED, PLATE Ix] [96] URASHIMA CROSSING THE SEA ON THE BACK OF A GIANT TURTLE Signed Hokkei. SURIMONO. 8144x%7% [97] THE MOUNTAIN WITCH YAMA-UBA The wild woman of the mountain. A legendary figure said to be Kintaro’s mother. The background gold on green. A rather involved composition. Signed Hokket. SURIMONO. 84x77 HOKUBA Ca. 1800-1830 [98] THE GOBLIN WOMAN OF ADACHIGAHARA The legendary cannibal woman who killed children. Scene from a No drama. A young man with a rosary in his outstretched hands in an imploring attitude before her. Signed Hokuba. surRimMono. 84 x7 [99] SCENE FROM A NO PLAY Yama-Uba, the mountain witch, is leaning on a staff. A seated figure at her feet. SURIMONO. BU, x7 [100] SCENE FROM A NO PLAY =