CORNELL 
 
 UNIVERSITY 
 
 LIBRARY 
 
 THE 
 
 CHARLES WILLIAM WASON 
 
 COLLECTION ON CHINA 
 
 AND THE CHINESE 
 
Date Due 
 
ON FREE PUBLIC VIEW 
 
 9:00 A. M. UNTIL 6:00 P. M. 
 
 AT THE AMERICAN ART GALLERIES 
 
 MADISON SQUARE SOUTH, NEW YORK 
 FROM THURSDAY, FEBRUARY 5th, 1920 
 
 UNTIL THE DATE OF SALE, INCLUSIVE 
 
 AN EXCEPTIONALLY IMPORTANT COLLECTION 
 
 OF 
 
 RARE AND VALUABLE 
 
 JAPANESE COLOR PRINTS 
 AND PAINTINGS 
 
 TO BE SOLD AT UNRESTRICTED PUBLIC SALE 
 ON THE AFTERNOONS AND EVENINGS OF 
 
 TUESDAY AND WEDNESDAY 
 FEBRUARY 10th AND 11th, 1920 
 
 BEGINNING EACH AFTERNOON AT 2:30 O'CLOCK 
 AND EACH EVENING AT 8:15 O'CLOCK 
 
 AT THE AMERICAN ART GALLERIES 
 
 MADISON SQUARE SOUTH 
 
ILLUSTRATED CATALOGUE 
 
 OF AN 
 EXCEPTIONALLY IMPORTANT COLLECTION 
 
 OF 
 
 RARE AND VALUABLE 
 
 JAPANESE COLOR PRINTS 
 
 TOGETHER WITH A FEW 
 
 PAINTINGS OF THE UKIOYE SCHOOL 
 
 THE PROPERTY OF 
 
 Arthur Davison Ficke 
 
 AUTHOR OF 
 
 "CHATS ON JAPANESE PRINTS" 
 
 "TWELVE JAPANESE PAINTERS", ETC., ETC. 
 
 TO BE SOLD AT UNRESTRICTED PUBLIC SALE 
 
 AT THE AMERICAN ART GALLERIES 
 
 ON THE AFTERNOONS AND EVENINGS HERETOFORE STATED 
 
 CATALOGUE BY THE OWNER 
 
 THE SALE WILL BE CONDUCTED BY 
 MR. THOMAS E. KIRBY 
 
 AND HIS ASSISTANT, MR. OTTO BERNET, OF THE 
 
 AMERICAN ART ASSOCIATION, Managers 
 
 NEW YORK 
 
 1920 
 
Vj o^ Son 
 N Ei. 12 /6~' 
 
 J7^ 
 
FOREWORD 
 
 The prints herein catalogued are the fi-uit of fifteen years 
 of search, in Japan, Europe, and America, for such select speci- 
 mens of the art as seemed worthy to be preserved as a lasting 
 treasure. Design, impression, and condition have all been 
 taken into account in making the choice. Every artist of any 
 consequence is represented; the greatest are represented by 
 many and famous examples. In the collection, the experienced 
 judge will readily recognize the presence of many remarkable 
 and important specimens ; and it is hoped that he will also feel 
 that he recognizes the absence of poor ones. Long ago, the 
 owner of the collection discarded those inferior or trivial exam- 
 ples the acquisition of which is the price paid by every collector 
 for his education ; and there now remains no print that does not, 
 in the owner's opinion, contain some definite element of interest 
 and of beauty. 
 
 Special attention may perhaps be called to the pillar-prints 
 in the collection. This form of print has always been the fav- 
 orite one of the owner, and he has searched the world for them ; 
 as a result, it is perhaps not too much to say that never before, 
 in Europe, America or Japan, has so large a number of dis- 
 tinguished examples in choice condition been offered to the 
 public. The various rare prints of the Primitive and the 
 Kiyonaga Periods, and the many admirable Hiroshiges, are 
 also worthy of note. Except for a few unusually good sheets, 
 prints by the late and decadent artists are wholly absent. The 
 attentive eye will note that the majority of the prints are in 
 flawless condition, and that even those prints which show some 
 mark of time are by no means of the lifeless chocolate-coated 
 type that is so common. 
 
 To many students, Japanese prints are among the most 
 precious products of the aesthetic powers of the human spirit. 
 They contain certain perfections that exist nowhere else, either 
 in actuality or in art. The delight of the amateur when he 
 discovers one of the authentic masterpieces is something that no 
 
words can measure. This collection, like any real collection, has 
 been an absorbing passion to its owner. And it is hoped that 
 it v\dll now, as exhibited, interest many spectators who are not, 
 by any possibility, prospective buyers. Their attendance at the 
 exhibition is especially invited. 
 
 Since the owner's handbook, "Chats on Japanese Prints," 
 (published in English in London and New York, 1914, and in 
 the Japanese translation of Captain N. Ochiai in Tokyo, 1919) 
 is readily accessible to most collectors, no prints therein illus- 
 trated are again reproduced in this catalogue. When the 
 catalogue states that a print is reproduced in some other cata- 
 logue or book, the meaning is that it is the identical sheet which 
 appears there, and not merely another copy. For the sake of 
 brevity, tlie phrase "V. I. K. Paris Catalogue," is used herein 
 to designate the monumental catalogue in five volumes of the 
 Exhibitions at the jMusec des Arts Decoratifs in Paris, written 
 by M. Charles Vignier with the assistance of ]M. Inada, and 
 prefaced by ]M. Raymond Koechlin. In preparing the present 
 catalogue, the writer has been greativ assisted bv the friendly 
 co-operation of Air. Judson D. Aletzgar ; and also by the advice 
 of JMr. Frederick W. Gookin in many matters, especially those 
 relating to the histor^y of the Japanese stage. 
 
 It only remains to add that, in spite of the customary 
 formal disclaimer of responsibility that is printed under "Con- 
 ditions of Sale" herein, the owner unqualifiedly guarantees the 
 genuineness of every print in this sale ; and he definitely agrees 
 that he will, at any time during his life, repurchase, at the full 
 price paid, any print which our growing information on the 
 subject may show to be fraudulent. 
 
 Arthur Davison Ficke. 
 
CONDITIONS OF SALE 
 
 1. Any bid which is merely a nominal or fractional 
 advance may be rejected by the auctioneer if, in his judgment, 
 such bid would be likely to affect the sale injuriously. 
 
 2. The highest bidder shall be the buyer, and if any 
 dispute arise between two or more bidders, the auctioneer shall 
 either decide the same or put up for re-sale the lot so in dispute. 
 
 3. Payment shall be made of all or such part of the pur- 
 chase money as may be required, and the names and addresses 
 of the purchasers shall be given immediately on the sale of 
 every lot, in default of which the lot so purchased shall be 
 immediately put up again and re-sold 
 
 Payment of that part of the purchase money not made 
 at the time of sale, shall be made within ten days thereafter, 
 in default of which the undersigned may either continue to hold 
 the lots at the risk of the purchaser and take such action as 
 may be necessary for the enforcement of the sale, or may at 
 public or private sale, and without other than this notice, re-sell 
 the lots for the benefit of such purchaser, and the deficiency (if 
 any) arising from such re-sale shall be a charge against such 
 purchaser. 
 
 4. Delivery of any purchase will be made only upon 
 payment of the total amount due for all purchases at the sale. 
 
 Deliveries will be made on sales days between the hours of 
 9 A. M. and 1 P. M., and on other days — except holidays — 
 between the hours of 9 A. M. and 5 P. M. 
 
 Delivery of any purchase will be made only at the American 
 Art Galleries, or other place of sale, as the case may be, and 
 only on presenting the bill of purchase. 
 
 Delivery may be made, at the discretion of the Association, 
 of any purchase during the session of the sale at which it is sold. 
 
 5. Shipping, boxing or wrapping of purchases is a busi- 
 ness in which the Association is in no wise engaged, and will not 
 be performed by the Association for purchasers. The Asso- 
 ciation will, however, afford to purchasers every facility for 
 
employing at current and reasonable rates carriers and packers ; 
 doing so, however, without any assumption of responsibility on 
 its part for the acts and charges of the parties engaged for 
 such service. 
 
 6. Storage of any purchase shall be at the sole risk of 
 the purchaser. Title passes upon the fall of the hammer, and 
 thereafter, while the Association will exercise due caution m 
 caring for and delivering such purchase, it will not hold itself 
 responsible if such purchase be lost, stolen, damaged or des- 
 troyed. 
 
 Storage charges will be made upon all purchases not 
 removed within ten days from the date of the sale thereof. 
 
 7. Guarantee is not made either by the owner or the 
 Association of the correctness of the description, genuineness 
 or authenticity of any lot, and no sale will be set aside on 
 account of any incorrectness, error of cataloguing, or any 
 imperfection not noted. Every lot is on public exhibition one 
 or more days prior to its sale, after which it is sold "as is" and 
 without recourse. 
 
 The Association exercises great care to catalogue every 
 lot correctly, and will give consideration to the opinion of any 
 trustworthj' expert to the effect that any lot has been incor- 
 rectly catalogued, and, in its judgment, may either sell the lot 
 as catalogued or make mention of the opinion of such expert, 
 who thereby would become responsible for such damage as might 
 result were his opinion without proper foundation. 
 
 AMERICAN ART ASSOCIATION, 
 
 American Art Galleries, 
 Madison Square South, 
 
 New York City. 
 
CATALOGUE 
 
NOTES BY 
 
 Mr. Frederick W. Gookin 
 
 ON THE SALE OF THE 
 
 JAPANESE PRINT COLLECTION 
 
 OF 
 
 Mr. Arthur Davison Ficke 
 
 TO BE HELD ON 
 
 FEBRUARY TENTH AND ELEVENTH 
 
 NINETEEN HUNDRED TWENTY 
 
 AT THE 
 
 AMERICAN ART ASSOCIATION GALLERIES 
 
 NEW YORK CITY 
 
During the thirty-two }'ears or thereabouts since 
 the earhest collections of Japanese color-prints in the 
 United States began to be formed, buyers have found 
 dealers' stocks abundant at first, then gradually becom- 
 ing less ample, though the lure of steadily mounting 
 prices enabled the dealers to draw from their hiding 
 places many prints of the higher grades, which, in the 
 earlier years, their owners could not be induced to sell. 
 The growing scarcity has now reached the stage where 
 few dealers have stocks of any great magnitude, and it 
 seems likely that henceforth prints of the most distin- 
 guished quality will seldom be obtainable save through 
 the breaking up of existing collections. 
 
 Another factor in the situation is that the Japanese 
 have at last become keenly alive to the artistic worth 
 of the prints designed by tlie greater masters, and are 
 now eagerly collecting them; indeed, it is said that for 
 every collector in the United States there are perhaps a 
 hundred in Japan, and the number is steadily increasing. 
 One of the natural results of this awakened appreciation 
 is a large enhancement of values, especially for prints of 
 the better class; and those that fulfil the exacting re- 
 quirements of Japanese taste now command prices in 
 Tokyo that would have been looked upon a few years 
 ago as unbelieveably high, but may not improbably 
 seem astonishingly small a few years hence. 
 
 This condition of the market lends special interest 
 to Mr. Ficke's decision to sell his collection, though 
 under any circumstances that decision could not fail to 
 attract print lovers, for it is not too much to say that 
 
the collection is easily the most important that has ever 
 been offered at public sale in the United States. This 
 is not only because of its greater treasures — which can- 
 not fail to excite active competition — but rather because 
 of its general high average and the fact that every 
 print has been selected by a collector of discrimination, 
 taste, knowledge and judgment, as those who know 
 Mr. Ficke personally, or are familiar with his deserv- 
 edly popular "Chats on Japanese Prints" — a book that 
 has recently had the honor of being issued in Tokyo, in 
 a Japanese translation — do not need to be told. For 
 the small buyers, therefore, and the inexperienced col- 
 lectors, as well as "the old hands at the game", this 
 sale offers an unusual opportunity. 
 
 Frederick W. Gookin. 
 
FIRST AFTERNOON'S SALE 
 
 TUESDAY, FEBRUARY 10, 1920 
 
 AT THE AMERICAN ART GALLERIES 
 
 BEGINNING AT 2 :30 O'CLOCK 
 
 Catalogue Nos. 1 to 195, inclusive 
 
 BUDDHIST SCHOOL 
 
 -POKTEAIT OF A BuDDHIST PkIEST 
 
 He sits on a ceremonial chair, a keen-eyed solemn figure 
 with the majesty of flowing robes about him. A har- 
 mony in brown. 
 
 A paintin(f on paper, i^ize 33x15; mounted on a kakemono, size 
 60x20. Darkened by time, which has added also a certain mys- 
 tery. Unsigned. 
 
 -The Disciples of the Buddha 
 
 The Sixteen Rakan, or Disciples of the Buddha, depicted 
 in the most various attitudes of devotion, meditation, or 
 activity. The scene is a strange and mythical landscape 
 of mountains and falling waters; one's mind goes back at 
 once to the landscape background of Leonardo's Mona 
 Lisa. High over all, in the center, the Buddha himself, 
 crowned with a halo, sits lost in endless meditation. 
 
 A yaintiny in soft colors, on paper, size 56x2.5; mounted on a 
 silk kakemono, size 90x30. In perfect condition. Unsigned. 
 
First Afternoon 
 
 Early Ukioye 
 
 UNKNOWN UKIOYE PAINTER 
 
 c, 1650-1700 
 
 3 — Woman in Blue 
 
 She stands hesitant, 
 wliile her pale blue 
 robe droops in a cas- 
 cade about her, — a 
 graceful and imposing 
 figure. The work of 
 an unidentified Early 
 Ukioye painter of 
 about the Genroku 
 Period. 
 
 A pnintiiiff on paper, 
 size 3.3x12; mounted on 
 an extremely remark- 
 able embroidered silk 
 kakemono, size 66x17, 
 that is contemporane- 
 ous with the painting 
 itself. 
 
 4 — Woman in Black 
 The figure stands 
 poised ; around her 
 sweep the great black 
 folds of the drapery, 
 decorated with laro-e 
 circles of floral pat- 
 terns. Same period 
 as the preceding. 
 
 A painting on paper, 
 size 28x11; mounted on 
 an extremely fine bro- 
 caded kakemono, size 
 65x16, that is contemp- 
 oraneous teith the paint- 
 ing itself. 
 
Early Ukioye 
 
 First Afternoon 
 
 '^'^^J'KJl'ijlKKM^MJilEXMS. 
 
 v^ 
 
 jr !i_S!.; m^^Z*^f^^m3t&t 
 
 T7|j 
 
 E^^^^^'^^m^^mk 
 
 i 
 
 UNKNOWN UKIOYE PAINTER 
 
 c. 1650-1700 
 
 -The White Robe 
 An actor in the role 
 of a woman poises in a 
 strange, swaying posture. 
 Her white robe, decorated 
 with clouds and human 
 figures and birds, and her 
 rainbow sash and red- 
 lined sleeves, revive all the 
 elegance and luxury of 
 the Genroku Epoch. The 
 drawing is of an admir- 
 able precision. 
 
 A painting on paper, size 
 26x9; finely mounted on a 
 rich gold and silk brocade 
 kakemono, size 6.3x11, iwifft 
 ivory rollers. In very fine 
 condition Unsigned. 
 
First Afternoon Mokonobu 
 
 MORONOBU 
 
 Worked c. 1600-1700 
 
 -The Woman in White 
 
 A woman in silvery white robes reclines on the matting ; 
 a young girl in brilliant red is reading to her. Moro- 
 nobu's vitality and decorative sense speak in every line of 
 tliis precise and masterful work. 
 
 A painting on silk, size 14x25; mounted on a richly brocaded silk 
 and gold kakemono, size 52x.30; icith gold lacquer rollers. Signed. 
 In very fine condition. 
 
 -Two Lovers Among Flowees 
 At the edge of a little tangle of wildflowers, a young 
 samurai and a girl are seated on the ground. He is 
 embracing her with passion ; she shrinks half-shyly into 
 his arms. In the background a stream is suggested ; to 
 the right is a large rock, against which the young man's 
 sword is leaned. A decorative black border surrounds 
 the picture. 
 
 *The print is reproduced in "Asia" for July, 1919; 
 and also in "Chats on Japanese Prints," Plate 1, where 
 it is thus described. — "This print exhibits Moronobu's 
 characteristic simplicity of sweeping line, the masterly 
 use he makes of black and white contrasts, and the vivid 
 force of his renderings of movement. The firm lines live; 
 the composition is grouped to form a harmonious picture; 
 a dominating sense of form has entered to transform the 
 
 chaotic raggedness of his predecessors' attempts 
 
 The first great landmark in Japanese print history." 
 
 Size 9x1.31/,. Unsigned. Printed in black and white only. Very 
 fine impression and condition. 
 
H 
 S 
 
 z 
 
 W 
 H 
 
 b 
 
 O 
 
 z 
 
 o 
 
 o 
 
First Afternoon 
 
 MOROSHIGE 
 
 MOROSHIGE 
 
 l(i50-1700 
 
 8 — A Samt^kai and 
 His Servant 
 
 A young Samurai 
 in orange robes 
 moves elegantly 
 along, a c c o m- 
 panied by a gross 
 gesticulating ser- 
 vant. This type 
 of painting, 
 executed at the 
 time when the 
 earliest prints 
 were just coming 
 into existence, is 
 a n interesting 
 link. A glance 
 shows how easy 
 was the transition 
 that actually oc- 
 curred, when the 
 artist began to 
 print the outlines instead of painting them and then filled 
 
 in the colors by hand. 
 
 A jKiinthuj on pajier, size 17x8. Unsigned. 
 
 9 — The Green Cape 
 
 A Samurai in a beautiful malachite-green cape passes 
 toward the left. His sidling movement is vividlj' and 
 half-humorously depicted. 
 
 A painting on paper, size 17x12. 
 
 10 — The Red Robe 
 
 A woman in a flowered red robe moves toward the left. 
 
 A painting on paper, size 15x6. 
 
 11 — The Grey Roue 
 
 A woman, in a pale grey robe touched with lapis-lazuli- 
 blue, malachite-green, and intense red, stands in medita- 
 tion. 
 
 A painting on paper, size 16x7. 
 
SUKENOBU 
 
 First Afternoon 
 
 SUKENOBU 
 
 1674-1754 
 
 12- 
 
 13- 
 
 -GiRL Arranging Her 
 Hair 
 
 The young figure 
 kneels, with falling 
 robes, before a round 
 m i r r o r ; her raised 
 hands are busy with the 
 intricacies of her elabo- 
 rate coiffure. The nude 
 torso is drawn with ex- 
 ceptional charm. 
 
 Size 91/0x6; from an al- 
 hvm. A fine impression, in 
 fine condition. Unsigned. 
 
 Vine-Leaf 
 
 -Girl in 
 Robe 
 
 The quiet, youthful fig- 
 ure, in a robe touched with pale green and orange, moves 
 slowly toward the left. 
 
 ^Reproduced in "Chats on Japanese Prints," Plate 
 2; and thus described: "Nothing could exceed the deli- 
 cate harmony of line in such a design as this; the wil- 
 lowiness of the young body, the naive innocence of the 
 head, and the movement and rhythm of the flowing gar- 
 ments, are admirably depicted." 
 
 Size 9i/>x6. Unsigned. An album-sheet, printed in black and 
 ■white only, and colored by hand. A fine impression, in good 
 condition. 
 
 14 — Girl in Vine-Leaf Robe 
 
 Same as the preceding number, except that it is uncol- 
 ored. 
 
 15 — GiEL With a Hood 
 
 The richly robed figure moves toward the right, lifting 
 with her left hand the edge of a hooded cape that shades 
 her eyes. 
 
 Same as the preceding number in other respects. 
 
First Afternoon Sttkekobu 
 
 16 — Girl Tossing Ball 
 
 Clad in pale, flowing robes, she is gently tossing up a 
 ball with her right hand ; the other hand is concealed in 
 her long sleeve. 
 
 S(rme o.v the preceding nnmber. 
 
 17 — Girl Reading Letter 
 
 She kneels, liolding up a long rolled letter ; beside her 
 is a writing-box with ink-tablet and brush. 
 
 Same as the preceding number. 
 
 18 — Girl in Black Robe 
 
 Clad in a black brocaded robe of extreme richness, she 
 moves toward the right ; at her feet are a few petals of 
 fallen cherrv-blossoms. 
 
 Same (IS the preceding niunlier. 
 
 19 — The Promenade 
 
 A girl in pale robes, with black wooden sandals on her 
 feet, moves slowly to the right ; her hands are hidden in 
 the long folds of her garments. 
 
 Same as the preceding number. 
 
 20 — Battledore and Shuttlecock 
 
 A girl in pale, flowing robes stands examining these two 
 playthings. 
 
 Same as the preceding number. 
 
 21 — The Littlk Attendant 
 
 A very young giri is following a richly-robed older girl; 
 they move toward the right, looking backward. 
 
 Same as the preceding numlier. 
 
MOEOYASU 
 
 First Afternoon 
 
 MOROYASU 
 
 Worked c. 1700 
 
 22 — The Fan Vendor 
 
 A slender youth, in translucent robes 
 of blue, is carrying on his left shoul- 
 der two largo fan-boxes of black lac- 
 quer. In his right hand he holds an 
 open fan. 
 
 A painting on paper of pillar-print size, 
 1)1/ a rare pupil of Moronohu. The 
 transparency of the robe is executed 
 toith much delicacy. In perfect condition. 
 
 KWAIGETSUDO NORISHIGE 
 
 Worked c. 170.5 
 
 23— The Iuis Robe 
 
 A woman in flowing robes decorated 
 with circles of irises stands with her 
 lifted right hand concealed in her 
 long sleeve. 
 
 One of six reprints produced as 
 stated in the following certificate at- 
 tached to the back of the print. — 
 "Print made from a genuine old 
 block engraved not later than 1705, 
 on paper of the same period, with 
 ink over 300 years old. Tokyo, Oc- 
 tober, 1916. Printer: S. Watanabe. 
 (Signed and sealed.) Certified as a 
 true statement : J. S. Happer. 
 (Signed and sealed.)" 
 
 Size 2.3x11. Printed in black only. 
 
 2-1- 
 
 -The Robe of the Basket Hat 
 
 A woman in a robe decorated with 
 
 large designs of a basket hat stands 
 
 holding her girdle with her left hand. 
 
 Size 2.3x11. A modern reproduction by 
 
 J^obayashi. 
 
Fir^ Afternoon Kwaigetsudo 
 
 25 — The Robe of the Plum Blossoms 
 
 A courtesan in flowing robes of the most elaborate splen- 
 dor moves toward the left, waving her sleeve to someone 
 behind her. The lines of her garments and of her poised 
 head are drawn with that impressive force, precision, and 
 daring so characteristic of this artist. The colors, ap- 
 plied in great, simple masses, play kaleidoscopically up 
 and down the robes, and are held in check, as it were, by 
 the iron strength of the heavy black boundary-lines. 
 
 "The Kwaigetsudo work is perhaps the most power- 
 ful and imposing in the whole range of Ukioye. The 
 sheets, of large size, generally represent the single fig- 
 ure of a standing woman clad in flowing robes. So much 
 for the theme ; it is nothing. But the treatment con- 
 sists of a storm of brush-strokes whose power of move- 
 ment is like that of writhing natural forces ; out of this 
 scetliing whirl of lines is built up the structure of the 
 monumental figure." — Chats on Japanese Prints. 
 
 The authenticity and importance of this painting has 
 been repeatedly attested by the best Japanese and for- 
 eign expert opinion. It is reproduced in the Catalogue 
 of tlie Second Loan Exhibition of the Kyoto Yamatoye 
 Kiokai, (Kyoto Art Lovers' Association), held at the 
 Kyoto Public Library in December, 1911. 
 
 A painfinti on silk, size .37x16; mounted on a kakemono of bro- 
 caile, size 75x22; with ivory rollers. In perfect condition. 
 
 THE FIRST KIYONOBU 
 
 1664-1729 
 
 26 — A Coubtesan 
 
 In the elaborate robes of the epoch, she moves toward 
 the right, attended by a young girl. 
 
 A painting on paper, size 18x10; mounted on a rich silk kake- 
 mono, size 4.0x13; unth ivory rollers. Unsigned. Rather poor 
 condition. 
 
No. 25— KWAIGETSUDO. ROBE OF PLUM BLOSSOMS 
 
First Afternoon Kiyonobu I 
 
 27 — The Princess axd The Kitten 
 
 Under a branch of willow, a court lady of old time, in 
 flowing robes alight with rich touches of color, is leading 
 a spotted kitten by means of a cord. Her garments are 
 a riot of splendid patterns as she sweeps along. 
 
 Tlie picture represents the actor Kamimura Kichisa- 
 buro in the famous role of Josan no Miya, a court lady 
 of olden time, who is traditionally represented as play- 
 ing witli a white kitten. 
 
 This masterful design appears to have been given 
 much consideration by Kiyonobu. In the Buckingham 
 Collection, Chicago, is another copy of it from some- 
 what different blocks, in which the willow is placed much 
 closer to the head of the lady. This was undoubtedly 
 the original form. But it apparently did not please 
 Kiyonobu entirely; for, when opportunity was oifered 
 by the demand for a new edition, he altered this portion 
 of tlie picture, raising the willow-branch and the deco- 
 rative crest about an inch and a half, and moving them 
 farther to the right, — thereby adding incalculably to 
 the spaciousness, balance, and dignity of the composi- 
 tion. See, for the first form, Plate 18 in Gookin's Buck- 
 ingliam-Chicago Art Institute Catalogue, 1915. 
 
 A very liirije panel, size 2+xl2; colored hi/ hand with orange, 
 white find i/ellow, finely oxidized. Time hax browned the paper 
 and softened -what were oriyinalli/ harsh colors into their present 
 glowing harmony. 
 
W^MM^^^MZi9M^/M^S^li^^lS^^^^^IS^^^'^SS^^^^SM'^M^^(''/MM 
 
 No. 27— KIYONOBU I. PRINCESS AND KITTEN 
 
First Afternoon 
 
 KlYOMASU 
 
 KIYOMASU 
 
 Worked c. 1700-1750 
 
 28 — Eagle Attacking a 
 Flying Heron 
 Tlie ferocious black 
 bird of prey is 
 swooping down in a 
 great rush to seize 
 the fleeing heron. 
 The print is an ex- 
 traordinary expres- 
 sion of the same pas- 
 sion for the dark and 
 cruel elements of life 
 that appears in the 
 actor and warrior 
 portraits of this pe- 
 riod. 
 
 The design was 
 evidently a favorite 
 with Kiyomasu, for 
 he repeated it, with 
 minor changes, in 
 larger form, as illus- 
 trated in the V. I. K. 
 Paris Catalogue, 
 "Primitives," Plate 
 21. The smaller size, 
 rer, seems the more powerful design. 
 
 Size 12x6. A lacquer-print, colored very finely by hand with 
 orange, red, yellorv, grey, and black. In excellent condition. 
 
 29 — Woman With Long Swoed 
 
 The actor INIorita Kanya, in the role of a woman, is 
 lifting his left hand in a magnificent sweeping gesture, 
 and looking backward over his right shoulder. He 
 wears two swords, one an extremely long one. The 
 folds of the robes arc drawn witli that monumental sim- 
 plicity and splendor whicli passed away with the passinf^ 
 of the Primitives. 
 
 Size ll%x5. A lacquer-print, colored by hand with salmon, yel- 
 low, violet, green, and gold. Fine impression; fair condition. 
 
KlYOMASU 
 
 First Afternoon 
 
 Size 13x61/,. 
 
 30 — The Tea House Ver- 
 anda 
 A woman lifting a cup 
 of tea is seated on the 
 edge of the veranda; 
 beside her kneels a sa- 
 murai who is smoking 
 and talking to her. 
 
 This extremely inter- 
 esting print is a Dai- 
 Sho Calendar, showing 
 the short and long 
 months for the Dragon 
 Year, 1724. With ex- 
 traordinarily skillful ca- 
 ligraphy, Kiyomasu has 
 made his brush-strokes 
 serve both as contours 
 and as numerals. On 
 the man's garments are 
 the numerals 1, 4, 6, 8, 
 10, and 12, being the 
 lonsc months ; on the 
 
 woman's garments are 
 2, 3, 5, 7, 9, and 11, for 
 the short ones. 
 Extremely fine impression -and condition. 
 
 31 — Samukai With Fan 
 
 A scene from the theatre. The actor Arashi Sangoro I, 
 kneeling in robes of rich orange and yellow, holds up a 
 closed fan. Behind him stands the actor Tsugawa Ra- 
 mon, as a woman, in robes of black, orange, and yellow. 
 A peculiar composition, of admirable solidity and mas- 
 siveness; thoroughly characteristic of this artist's digni- 
 fied grace. Sangoro played in Yedo only from 1727 to 
 1729, so the print may be dated within those three years. 
 
 Size 12x6. A lacquer-print, colored by hand with orange, yellow, 
 and black. An excellent impression, in beautiful condition in 
 spite of somewhat brown paper. 
 
First Afternoon Kiyomasu 
 
 32 — Lady in White 
 
 Tall, slender, silvery, bearing herself like a princess, she 
 moves slowly toward the right. 
 
 ■ / l>aiutinij on paper, size 35x14; mounted on it kakemono, size 
 (i.'jxl.'j. In perfect condition. Unsigned. 
 
 33 — Woman Biisiiu-: Green Fence 
 
 The actor Onoye Kikugoro, in the role of a hooded 
 woman in robes of black, green, and pink, stands beside 
 a green fence, close to a small blossoming cherry tree. 
 The pale, transparent colors arc in charming contrast 
 to the black of the robe. 
 
 size 121/^x0. .4 lieni-ye print, in black, r/reen, and pink. Excel- 
 lent inipres.^ion and condition. FonnerJi/ in the ]Vakai Collection. 
 
 iH — Sajiukai Before a Gate 
 
 The actor Sanokawa Icl imatsu as a samurai, in volmni- 
 nous robes, stands holdir. g a closed fan. He is looking 
 over his slioulder at the closed gate of a garden. A 
 willow rises in the background. 
 
 Size llxl.'ji^- -•/ heni-i/e print, in black, rose, and green. Good 
 inipre.'<sioit and conditio}!. 
 
No. 32— KIYOMASU. LADY IN WHITE 
 
First Afternoon Kiyonobu II 
 
 THE SECOND KIYONOBU 
 
 Worked c. 1740-1756 
 
 35 — The Poem on the Beach at Suma 
 
 Against a background of ocean, hills, and pine-trees 
 stand three actors, two of them in the roles of women. 
 On the left, one of the women holds out a writing-tray 
 to the man ; he, poising in the center, is about to dip his 
 brush into the ink, while he extends his left hand to re- 
 ceive a strip of decorated paper from the second woman. 
 The slow, graceful gestures of the three, the delicately 
 suggested landscape, and the harmonious, rhythmic rela- 
 tion of the figures, entitle this design to a high place 
 among the known works of this artist. 
 
 Rarely in prints of this period do we find such effec- 
 tive use made of the black. It is also somewhat rare to 
 find a triptych conceived so definitely as one unified 
 picture. 
 
 The scene represented is from a play based on the 
 story of Yukihira, one of the episodes of that ancient 
 and famous romance, the Ise jMonogatari. Yukihira, a 
 great noble, during the period of his exile from the cap- 
 ital, sojourned in the little fishing village of Suma. 
 There he encountered two young girls of rare beauty, 
 whose daily task it was to bring up water out of the sea 
 for the making of salt. His heart was lost to them both, 
 and he became their lover, giving to one the poetic name 
 of Murasame, meaning "Little Shower Tranquilly Fall- 
 ing Over an Old Village Long Ago," and to the other 
 the name of Matsukaze, meaning "Whisper of the Wind 
 Through the Needles of the Pines." But the idyl at 
 last had its end; Yukihira's period of exile was termi- 
 nated, and he was obliged to return to resume the nor- 
 mal life of his high station, leaving behind him a hfelong 
 memory that was the treasure of ]\Iurasame and ^Matsu- 
 kaze. Perhaps it is his farewell poem which, in this pic- 
 ture, he is about to write on the flowered paper that 
 IMurasame holds out to him. 
 
 It is the famous actor Segawa Kikunojo I who takes 
 the part of the woman on the left ; Onoye Kikugoro I is 
 on the right; and the actor Nakamura Shichisaburo II 
 
CO 
 
 X 
 
 Q 
 <! 
 
 a 
 o 
 z 
 o 
 
KlYONOBU II 
 
 First Afternoon 
 
 is the man. These actors were members of tlic same 
 company for only about a month, at the end of 1747 
 and beginning of 17-18; after which, Kikunojo had to 
 leave tlie stage because of illness and died in the autumn 
 of 174'9. The performance depicted is probably the 
 shosa "Fuji-ga-c," at the Nakamura Tlieatrc, February, 
 1718. 
 
 iS'/;:e lli/oXlS. A beiii-i/e tripti/ch, in ijreen, black and rose. The 
 middle and the riyht-hand sheet have never been divided; and 
 the left sheet joins perfectli/. An extremehi fine impression in 
 beautiful rovdilion. Formerhj in the Appleton Collection; re- 
 produced in the Appleton Cataloijue, London, 1910, Plate 5. 
 
 OKUMURA MASANOBU 
 
 c. 1685-17fi8 
 
 36 — Youth Uxdee Ujibrelt^a 
 The actor Ichikawa Mon- 
 nosukc I, in the role of a 
 young man carrying an 
 open umbrella. His long, 
 intensely black robe sweeps 
 in great folds ; it is deco- 
 rated with an elaborate 
 arabesque pattern sharply 
 embossed on the black. 
 The poise and dignity of 
 the figure are notable. 
 
 Size 13x6. A lacquer- 
 print, colored by hand. 
 Very fine impression ; as 
 to condition, very brown, 
 but this desifjn is so 
 stronii that it suffers lit- 
 tle from a change that 
 wotdd have ruined many 
 other prints. Formerly 
 in the Lathrop Collection, 
 New York. 
 
Masanobu First Afternoon 
 
 37 — The Handkerchief 
 
 A woman stands with intertwined fingers, a handkerchief 
 falling across her wrists. Her long sleeves, decorated 
 with elaborate brocades, droop in great rhythmic folds. 
 This is a representation of Yaoya Oshichi, a legend- 
 ary popular heroine who acquired her fame by a curi- 
 ous exploit. When her father's house was destroj'ed by 
 fire, she was sent to a near-by temple until the house 
 could be rebuilt. There she fell in love with a young 
 page, Kichisaburo. When at last she was sent back to 
 her father's house, she proceeded to set it on fire again, 
 in the hope of being returned to the temple and to her 
 lover. The fire spread to half of Yedo ; the girl's guilt 
 was discovered ; and she was put to death. 
 
 *Reproduced in "Chats on Japanese Prints," Plate 5, 
 with the following remarks : "About 1720, ^lasanobu 
 began to do work in a medium which he is said to have 
 invented, — the urushi-ye, or lacquer-prints, in which the 
 lacquer gives a new richness and luminosity to the vari- 
 ous colors. An example of these appears in this picture." 
 
 Size 131/2x6. A lacquer-print, colored hi/ hand with orani/e, pale 
 blue, gold, and black. Extremely fine impression and condition. 
 
 38 — Courtesans at Their Toilet 
 
 Four women in gorgeously brocaded costumes of the 
 period are completing the last touches of their robing; 
 a male servant kneels before one, who, with her girl 
 attendant, is about to depart. 
 
 *Reproduced in "Chats on Japanese Prints," Plate 4. 
 
 Size 10x1.5. Unsigned. Printed in black and white. Very fine 
 impression and condition. 
 
 39 — The Samisen 
 
 A woman, clad in flowing robes of great richness, is 
 seated on a bench touching a samisen. On the bench 
 with her sit a man and a woman. To the left, a girl is 
 being embraced from behind by a young man. 
 
 Size 10x14. Unsigned. Printed in black and white only. Very 
 fine impression and condition. 
 
First Afternoon Masanobu 
 
 40 — The Diversions of a Young Man 
 
 In a spacious interior opening onto a garden, a young 
 man stands at liis ease. On one side of him sits a beau- 
 tifully robed geisha touching the samisen ; on the other 
 side sits an elegant courtesan looking at a letter. At 
 the back of the room three kakemono hang, representing 
 three of the famous Six Poets. The picture is pervaded 
 by that warmth and graciousness of feeling so charac- 
 teristic of Masanobu; the three principal figures are 
 drawn in his finest manner. 
 
 yl hicipier-print, colored hi/ hand icith bfue, brown, orange, yel- 
 low, and (jrey. Size 16x111/,. j[ ji^e impression, colored with 
 exceptional care; in very fine condition. 
 
 ■11 — Youth With Basket Hat 
 
 A young actor, in simple robes, moves toward the right, 
 placing a large basket hat on his head. 
 
 A painting on paper, size 1.3x6. Fine condition. 
 
Masanobu 
 
 First Afternoon 
 
 -J — * — " ^ — ~ "~ „„ „ t _-_; /,'' 
 
 ixxxxSs 
 
First Afternoon Masanobu 
 
 42 — Nobleman Under a Pine and Plum Tkee 
 
 The great ninth-century statesman and liumanist, Suga- 
 wara no Michizane, seated in dignified state under the 
 mingled branches of a pine and a plum. 
 
 Louis Aubcrt in "Les Maitres de I'Estampe Japon- 
 aise" writes of this design : "Une estampe de ]\Iasanobu 
 represente Sugawara no jMichizane. Exile, a la suite 
 d'intrigues de Cour, bien qu'il fut favori de I'Empereur, 
 il dut quitter Kyoto au temps de la floraison des prun- 
 iers. C'etaicnt les fleurs favorites de son jardin, ou 
 se dressait un pavilion du prunier rose. Sa poesie 
 d'adieux a ses fleurs, tout Japonais, aujourd'hui encore, 
 la connait par coeur : 
 
 Sous la brise de I'Est, 
 
 Brillez de tout votre eclat. 
 
 O fleurs de prunier ; 
 
 Bien que n'ayant plus de mattrc, 
 
 N'oubliez pas Ic printcmps. 
 
 Et comme dans la poesie Japonaise le prunier 
 est toujours associe au pin, la legende joignit un vieux 
 pin au prunier fidele, et tous deux symboliserent les 
 esprits des serviteurs qui n'avaient pas abandonne leur 
 maitre." 
 
 Another copy of this print is reproduced in the V. T. 
 K. Paris Catalogue, '"Primitives," Plate 35 ; and another 
 in the ]\Ietzgar Catalogue, 1916, Plate 9. 
 
 A very Inrt/e panel, Kize 2fixl0. A lacquer-print, colored b;/ 
 hand. Very fine impression; tjood condition. 
 
 43 — The Veeanda by the River 
 
 With the Sumida River as a background, a matron is 
 kneeling and addressing a young woman, who is deli- 
 cately adjusting a cape on her shoulders. The robes 
 sweep in the suave and rhythmic lines so characteristic 
 of this master. 
 
 Size 12x6. A heni-ye print, in delicate yelloics. A fine impres- 
 sion in fair condition. 
 
Shigenaga 
 
 First Afternoon 
 
 ™^q 
 
 SHIGENAGA 
 
 1()9T-1756 
 
 4>4! — Noble Standing Undee Pine 
 
 Sugawara no jMichizane (see No. 42), 
 
 holding a branch of plum blossoms in 
 
 his liidden hands, stands in dignified 
 
 meditation under a pine tree. His 
 
 elaborate court robes are drawn closely 
 
 about him, with an air of aloofness and 
 
 distinction. 
 
 A pillar-print, in three colors. Good impres- 
 sion and condition. 
 
 \\r 
 
 -t.5 — Youth With Folded Fan 
 
 With the long black sleeves of his bril- 
 liant robe swaying behind him, the 
 young man moves slowly toward the 
 left, balancing his folded fan between 
 his fingers. 
 
 *Reproducod in "Scribner's Maga- 
 zine" for March, 1916, with the follow- 
 ing remarks : "In this print by Shige- 
 naga may be seen such qualities of 
 rhythmic composition, of sweep and 
 flow and sway, as were never surpassed 
 in later times. The figure is simplified 
 beyond all trace of realism ; it is purely 
 a motif of movement, — the shadow of a 
 dream of form projected by the lumi- 
 nous spirit of the artist against the wall 
 of space." 
 
 Another copy is reproduced in the 
 
 Harmsworth Catalogue, London, 1913, 
 
 Plate 6; and another in the Danck- 
 
 werts Catalogue, London, 1914, Plate I. 
 
 Size 13xfi. A lacqver-print, colored by hand 
 with red, yellow, blue, </okl and black. A 
 very fine impression, in excellent condition. 
 
First Afternoon 
 
 Shigenaga 
 
 46 — The Letter 
 
 Holding a letter in her hand, a girl stands poised, with 
 the long, curving lines of her robes sweeping around her. 
 This design exhibits the simplicity and gracious dignity 
 that have made some print-lovers give to the Primi- 
 tives the first place in their affections. 
 
 Size 121/0x6. A lacquer- print, colored by hand with red, orange, 
 block and gold. A fine im;»'e.v.sioH, in beautiful condition. For- 
 merly in the Lathrop Collection, N. Y. 
 
ToSHINOBU 
 
 First Afternoon 
 
 ^ — -^ 
 
 t*sw»3«j^«i 
 
 
 TOSHINOBU 
 
 Worked c. 1725-174.2 
 
 47 — G o I N G Somewhere — 
 Where ? 
 The actor H a y a k a w a 
 Shinkatsu, as a girl with 
 a curiously interrogative 
 expression, moves slowly 
 toward the left, with volu- 
 minous draperies swaying 
 and sweeping around her 
 in balloon-like waves of 
 color. The impression of 
 movement in the draperies 
 is extraordinary. Toshin- 
 obu has always "some ele- 
 ment of strangeness in his 
 beauty"; he produced lit- 
 tle, dying young, but it 
 was all marked with a 
 highly personal impress. 
 
 Size 14x6. A lacquer-print, 
 colored by hand with yel- 
 low, orange, lacquer, and 
 gold powder. A superb im- 
 pression, in flawless condi- 
 tion. 
 
 TOYONOBU 
 
 1711-1785 
 
 48 — The Football 
 
 Two noble youths in brocaded court robes stand looking 
 up at a football that whirls in the air above them. The 
 jewel-like treatment of the garment-patterns is but one 
 element in the serene total balance of this little master- 
 piece. 
 
 Size 12x6. A three-color print; extremely fine impression in 
 beautiful condition. 
 
First Afternoon 
 
 TOYONOBU 
 
 49- 
 
 -The Dance of the 
 
 Scarves 
 A young girl, in flying 
 robes of rose .and green, 
 whirls in a dance, wav- 
 ing two long white 
 scarves beside and over 
 her. The scarves eddy 
 and circle, repeating in 
 brilliant rhythm the 
 motif of her delicate 
 dancing. 
 
 Toyonobu produced 
 other more powerful de- 
 signs, but few jaore 
 exquisite. 
 
 Size 11 yoxSy^. A br,ni-ye 
 print, in black, rose, and 
 green. An excellent im- 
 pression in good condi- 
 tion. 
 
 50- 
 
 -The Green Gihdle 
 A woman in pale robes 
 is tying the ends of her 
 girdle ; her loose garments have fallen open, revealing 
 the delicate body beneath. Toyonobu, perhaps more 
 than any other Ukioye artist, devoted himself to the 
 drawing of the nude. These rare works are among the 
 finest of his productions. 
 
 ^Reproduced in "Chats on Japanese Prints," Plate 8. 
 
 A piUar-print^ in three colors. A remarkably fine impression, 
 in superb fresh condition, very white. 
 
TOYONOBU 
 
 First Afternoon 
 
 51 — The Evening Promenade 
 
 A youth carrying an Odawara 
 paper lantern and an open um- 
 brella moves slowly toward the 
 right. His head is bent ; his 
 pale, soft-colored robe falls in 
 long, straight folds to his feet. 
 That peculiar solemnity and 
 dignity which was one of Toyo- 
 nobu's characteristics domi- 
 nates the picture. It is one of 
 his most important works. 
 
 Another copy of this print is 
 reproduced in the V. I. K. Paris 
 Catalogue, "Primitives," Plate 
 49. 
 
 A very wide pillar-print, size 31x 
 61/2. Colored by hand with light 
 shades of yellow, orange, red, and 
 pale buff. An extremely fine im- 
 pression. The condition of the 
 print is as fresh as the day it was 
 produced. 
 
First Afternoon 
 
 TOYONOBTJ 
 
 52 — The Chrysanthemum Obi 
 
 A tall, slender girl, carrying a large, 
 open umbrella, is moving toward the 
 left. Behind her sways a huge chrys- 
 anthemum-decorated obi, like a great 
 butterfly. The varied, live, and imag- 
 inative silhouette of her figure is one of 
 those felicitous triumphs of design that 
 give Toyonobu his great fame today. 
 
 A pillar-print, in three colors. Excellent 
 impression and condition. 
 
 53 — The Puppet 
 
 A girl is lifting a puppet high above 
 her head ; her long sleeves swirl grace- 
 full}' about her as she moves. 
 
 Size 11x5. A two-color print, in (jreen and 
 rose. A fine impression, in fair condition. 
 
 r 
 
 f-Zfiy^ 
 
 54 — The Spring Wind 
 
 A girl, in glowing robes swept back by 
 the wind, is hurrying toward the left. 
 A wind-tossed willow-bough repeats the 
 movement overhead. The girl's eager 
 haste and the rush of the wind against 
 her are admirably suggested. There 
 exists a print by Toyonobu in which 
 this design is exactl}' repeated. 
 
 A painting on paper, pillar-print size. Un- 
 signed. In very fine condition. 
 
KlYOMITSU 
 
 First Afternoon 
 
 KlYOMITSU 
 
 1735-1785 
 
 55 — Woman With Bamboo 
 Beanch 
 Under a willow tree 
 stands the actor Sega- 
 wa Yujiro, in the role 
 of Yaoya Oshichi (see 
 No. 37). She carries 
 tranquilly a long stem 
 of leafy bamboo across 
 her shoulder. Her trail- 
 ing robes sweep widely 
 about her feet ; her slen- 
 der figure rises in calm 
 and stately curves 
 against a delicate back- 
 ground of greenish 
 grey. This play was 
 performed by this actor 
 at the Ichimura The- 
 atre in February, 1773. 
 
 Size 11x151/0. A print in 
 four colors, yellow, rose, 
 grey, and 'purple. An 
 extremely fine impres- 
 sion, in beautiful and 
 flawless condition. 
 
 56 — The Green Hat 
 
 A tall woman in flowing robes lifts her hands to place 
 a green basket-hat upon her head. The long folds of 
 her sleeves fall free in a cascade of glowing patterns. 
 
 '■■■Reproduced in "Chats on Japanese Prints," Plate 
 10, with the following comments: "Kiyomitsu may be 
 reo-arded as one of the half-dozen greatest masters of 
 the pillar-print shape of composition. jMuch of his fin- 
 est work was in this form. Here his somewhat tight 
 curves Icngtiien out into flowing beauty ; and the dignity 
 always inherent in his drawing is at its best." 
 
 A pillar-print, in three colors. Very fine impression, in superb 
 
 condition. 
 
First Afternoon 
 
 Kn'OMiTsu 
 
 
 57 — The Fan Vendor 
 
 The actor Nakamura 
 Noshio I, in the role of 
 a youtliful vendor of 
 fans, stands poised with 
 three huge black-lac- 
 quer fan-boxes on his 
 left shoulder. His slim 
 figure, robed in pink, 
 yellow, and purple, is 
 outlined with the sharp- 
 ness of a silhouette 
 against a background 
 of faint, cool grey. 
 
 Size I21/2X.51/,. A very 
 fine impression, in re- 
 Ttiarkoble and most beau- 
 tiful condition. 
 
 w^^ 
 
 58 — The Toetoise-Shell Cat 
 
 A woman, in a dark violet bath-robe that reveals her 
 slender figure, is moving toward the right. Behind her, 
 a cat plays with her trailing robe. 
 
 A pillar-print, in three colors. Fine impression, in good condi- 
 tion. 
 
KlYOMITSU 
 
 First Afternoon 
 
 ^K^ 
 
 59 — Woman Under Umbrella 
 
 In a great curve of sweeping robe, a 
 woman moves toward the left. An um- 
 brella is held over her head by an invis- 
 ible person behind her. 
 
 A pillar-jjrint, in three colors. An excep- 
 tionaUy fine impression, in good condition. 
 
 60 — The Legend of the Frog 
 
 The actor Ichikawa Danjuro IV, in the 
 role of Ono no Tofu, stands under a 
 willow at the edge of a stream, watch- 
 ing a frog that is leaping up out of the 
 water to snatch at the trailing branches. 
 He carries a large, open, orange um- 
 brella ; his antique robes are brocaded 
 with orange, rose, and green. 
 
 The celebrated ancient caligrapher, 
 Ono no Tofu, had, in early life, tried 
 seven times, in vain, to secure appoint- 
 ment to a certain official position. 
 Walking one day by the river in de- 
 jected reflection over his blocked career, 
 he observed a frog wliose seven-times 
 repeated attempts to seize a high wil- 
 low-branch were finally, on the eighth 
 attempt, rewarded with success. There- 
 upon Ono no Tofu took into his heart 
 the lesson of unflagging endeavor, made 
 one more and successful attempt to 
 obtain the office, and eventually rose 
 to greatness. 
 
 Since the chronicles of the Japanese 
 stage show that Danjuro played this 
 role at the Nakamura Theatre in the 
 autum of 1758, and not again for 
 many years, the print may be accurately 
 dated. 
 
 Size nyox.sy,. 
 
 finel;/ printed; 
 condition due to 
 orange pigment. 
 
 A three-color print, very 
 in exceptionally beautiful 
 
 the oxidization of the 
 
First Afternoon 
 
 KlYOMITSir 
 
 ii: y^ 
 
 A': --i 
 
 li'i 
 
 61 — The Veranda 
 
 Along a narrow veranda moves a 
 woman ; from lier shoulders hang the 
 swirling folds of blue-grey bath-robe 
 which, swept open by the wind of her 
 movement, reveals her finely-drawn 
 body. The drawing of the draperies 
 and the curious perverse grace of the 
 body are equall}' facinating. 
 
 "Kiyomitsu's rare nudes take a place 
 close beside those of Toyonobu. They 
 have a keen poetic charm ; and tliough 
 their vigor is less marked than those 
 of Toyonobu, their grace and elegance 
 of movement is at least as striking." 
 — Chats on Japanese Prints. 
 
 A pillar-print, in three colors, yerij fine 
 impression and condition. 
 
 ^' 
 
 B 
 
 ^■^ 
 
 62 The Bride 
 
 A young girl stands in a shy meditative 
 attitude, holding tlie end of her long 
 striped sash in her mouth. Her robes 
 sweep in long, graceful folds. 
 
 The poem at the top of the print 
 x\W^ may be translated: "The plum-tree may 
 
 blossom in the coldest season of the 
 SCf^/ winter, untying the knot fastened upon 
 
 ' it by the snow: so the bride going to 
 
 the couch of licr lover." 
 
 A pillar-print, in three colors. Very fine 
 impression; brown, but in good condition. 
 
KlYOMITSU 
 
 First Afternoon 
 
 n 
 
 63 — Before the Bath 
 
 A nude girl is slipping a flowered bath- 
 robe off her shoulders. As she thus steps 
 out of her raiment, she moves with a 
 strange wistful delicacy of attitude that 
 makes the picture extremely noteworthy. 
 
 *This print, formerly the property of 
 JM. Charles Vignier, is reproduced in the 
 V. I. K. Paris Catalogue, "Primitives," 
 Plate 55. 
 
 A fiUar-print , in two colors. A very fine im- 
 pression; brown but in strong and beautiful 
 condition. 
 
 6i — The Plum-Blossom Robe 
 
 The actor Segawa Kikunojo II. in the 
 role of a graceful young courtesan, who 
 stands in meditation while around her 
 swirls the splendor of her gorgeous blue 
 and rose garments. 
 
 The poem at the top of the print may 
 be translated : "Her loveliness can know 
 no change; snow has no power to break 
 the supple boughs of the weeping-cherry 
 tree." 
 
 A pillar-print J in three colors. Very fine im- 
 pression; toned, but in t/ood condition. 
 
First Afternoon 
 
 KlYOMITSU 
 
 ^1 ^ 
 
 65 — The Battledore 
 
 The young girl Osome, portrayed by 
 the actor Segawa Kikunojo II., dashes 
 with flying red robes toward the left, 
 pursuing with her lifted battledore a 
 shuttlecock that poises in the air above 
 her. 
 
 The poem at the top of the picture 
 may be translated : "Oh my first love, 
 that wa.s born at the first sight of 
 Osome! Oh maiden like a flower!" 
 
 A pillar-print, in three colors. A superb im- 
 pression, in remarkable condition; the 
 orange pigment has become slightly oxi- 
 dized, with the most felicitions results. 
 
 m 
 
 ft 
 
 'm 
 
 66 — Youth and Man at Arms 
 
 The actor Onoye Tamizo, as Otsu-e 
 Wakashu, stands balancing a pile of 
 blocks on his raised hands. Behind 
 him the actor Ichimura Ozaemon IX, 
 as Otsu-e Musashibo Benkei, decked out 
 with every conceivable trapping and 
 implement of war, stands glowering at 
 him. A scene from the mimetic dance 
 "Ataka no Matsu," performed at the 
 Ichimura Theatre, December, 1769. 
 
 Size 12x6. A three-color print, in very un- 
 usual shades of grey, pale red, and pale yel- 
 low, with a pale yellow background. An ex- 
 tremely remarkable impression, both in 
 sharpness of line and in delicacy of color. 
 In brilliant and flawless condition. 
 
KlYOMITSU 
 
 First Afternoon 
 
 67 — The Flute Player 
 
 The actor Bando Hikosaburo II. 
 moves gracefully toward the left, 
 holding a flute to his lips. 
 
 The poem at the top of the print 
 is a complimentary dedication to this 
 famous actor in his youth. It may 
 be freely translated : "Like the crane, 
 which is your emblem, j'ou move with 
 gentle steps; you play the bamboo 
 flute now at the beginning of the new 
 year ; you shall be like that bamboo 
 stem which grew to be an instrument 
 of music." This actor was, however, 
 destined to die very young — before 
 the age of thirty. 
 
 A jtiUar-print, in three colors. E.rcep- 
 tionally fine impression, in excellent 
 condition. 
 
 68 — The Jar of Bamboos 
 
 The actor Segawa Kikunojo II., in 
 the role of Oshichi (see No. 37), 
 stands before a huge square jar of 
 bamboos, playing with a scarf. Her 
 long sleeves and trailing gown sweep 
 in splendid curves. This actor played 
 this role in 1759, in 1767, and in 
 1768. The style of the print indicates 
 that it must be one of tlie two latter 
 performances that is depicted. 
 
 Size IV/o-nSy^. A four-color print. A 
 fine impression, zahich in spite of hav- 
 ing grown very brown has not lost al' 
 of its beauty. 
 
 i:^^^.^■^^ . . ■~~uij'. 
 
First Afternoon 
 
 KlYOMITSU 
 
 
 69 — The Little Buddha 
 The actor Ichikawa 
 Danjuro IV., in the role 
 of Ho jo Tokimasa in 
 the play "Kaido-ichi 
 Yawarogi S o g a," is 
 lifting a small Buddha 
 in his right hand while 
 he grasps two swords 
 with his left. The extra- 
 ordinary rhythmic swirl- 
 pattern of his robes 
 gives great life to the 
 design. 
 
 Size lli/oxSy,. A two- 
 color print, in brick-red 
 and dark green. A very 
 fine impression, in 
 siiperh condition. 
 
 70 — Woman Smoking 
 
 The actor Segawa Kiku- 
 nojo II. as a woman, 
 seated on a bench. She 
 holds a long pipe in her 
 hand, gazing up at the 
 branches of a plum tree 
 that arches overhead. Her long sleeves fall in sweeping 
 folds. The role is that of Keisei Tomagiku in the drama 
 "Kawaranu Hana Sakae Hachinoke," performed at the 
 Nakamura Theatre in November, 1769. 
 
 *Reproduced in "Chats on Japanese Prints," Plate 9, 
 and there referred to as follows : "Tviyomitsu's work is 
 markedly stylistic, — even dominated by a certain manner- 
 ism ; and one comes to recognize infallibly the formula 
 he uses, and to regard as an old friend that peculiar swirl 
 of drapery and swing of body and artificial poise of 
 head which appear, as in this picture, like an accepted 
 convention throughout tlie larger number of his designs." 
 
 Size lli/„x5y,. A three-color print; very fiiie impression and 
 condition. 
 
KlYOMITSU 
 
 First Afternoon 
 
 71 — Samukai with Drum 
 The actor Sawamura 
 Sojuro II., in robes of 
 splendid decorative pat- 
 tern, stands holding up 
 a drum. He appears in 
 the role of Kudozaemon 
 Suketsune, in the play 
 "Edo no Hana Wa- 
 kayage Soga," at t h e 
 I c h i m u r a Theatre, 
 February, 17 6 9. A 
 massive composition, of 
 much dignity. 
 
 (Size 12x51/,. ^ two-color 
 jfrint, in brick-red and 
 dark green, with strong 
 use of black. Very fine 
 impression and condi- 
 tion. 
 
 V 72 — Drawing the Sword 
 
 The actor Onoye Kiku- 
 goro, in the rich ceremo- 
 nial robes of a samurai, 
 stands tense in an attitude of challenge, his hand on the 
 hilt of his half-drawn sword. A pine tree arches in the 
 background. 
 
 Size liyjX.?!^. A three-color print; extremely fine impres.non 
 and condition. 
 
 73 — Program or the Ichimuea Theatre 
 
 At the top of the picture are miniature sign-boards with 
 the names of the actors ; below, a large number of the 
 actors themselves are depicted in the costumes of their 
 roles. Among them appear the famous actor of heroic 
 parts, Matsumoto Koshiro, and the greatest of all actors 
 of women's parts, Segawa Kikunojo. 
 
 Size 12%xl8. Printed in black and white. In good condition. 
 
First Afternoon 
 
 KlYOHIEO 
 
 KIYOHIRO 
 
 Worked c. 1735-1760 
 
 74.- 
 
 -The Wind of Love 
 Under the waving 
 branches of a willow 
 moves a young girl, 
 her garments gently 
 touched by the wind. 
 In her footsteps fol- 
 lows a youth as 
 young and graceful 
 as she. The poem 
 inscribed on the back- 
 ground may be trans- 
 lated: "The wind of 
 love whispers — and 
 there is yielding of 
 the willowy limbs." 
 
 Size 101/2x51/2. A two- 
 color print, in rose 
 and (/reen. A fine im- 
 pression, in flood con- 
 dition. 
 
 75- 
 
 -The Legend of the 
 
 Fkog 
 
 A girl in the guise of 
 
 Ono no Tofu, (see 
 
 No. 60), in robes of dark green and rose, stands under 
 
 a beautifully drawn willow, watching the frog leap. A 
 
 design of peculiar grace. 
 
 Size 101/2x6. A two-color print; excellent impression and con- 
 dition. 
 
 76 — The Checked Robe 
 
 An actor of the Ichikawa School, as a samurai, stands 
 motionless and impassive, concealing his hands in the 
 long sleeves of his clicckcd robe. 
 
 Size 12x6. A two-color print, in ijreen and brick-red. Very fine 
 impression and condition. 
 
KiYOHiRo First Afternoon 
 
 77— The Flying Top 
 
 A laughing boy, whirling on one foot, tosses a top into 
 the air, where it revolves suspended for a moment. His 
 glowing robes pulsate in superb lines of motion. 
 
 Size 12x51/2. A three-color print: very fine impression and con- 
 dition. 
 
 HARUNOBU 
 
 1730-1770 
 
 78 — Forget Me Not! 
 
 An exquisite young courtesan, in luminous robes, stands 
 on the veranda of a house ; she touches with a delicate 
 caress of farewell the umbrella of a young man who has 
 just taken leave of her. 
 
 *Reproduced in "Chats on Japanese Prints," Plate 14. 
 with the following comment : "Harunobu, feeling himself 
 akin to the great classical tradition whose refined beauties 
 had been handed down from ancient China mingled with 
 the beauties of poets and sages, determined that he 
 would lift from the Ukioye School the stigma of vulgarity 
 which the theatre had given it, and invest it with some of 
 that gentle cultivation which fills like light the old Chinese 
 paintings of Ming gardens. Therefore he turned his 
 attention to the depiction of another world than the 
 theatre, — the life of aristocratic ladies, of young lovers, 
 of those famous beauties who in humbler station were the 
 flowers and sunshine of the tea-house and the festival. 
 This picture portrays one of these. His method of 
 handling the figures, — a peculiar mingling of naivete and 
 sophistication, like that of a minstrel singing incredible 
 enchanted legends with complete seriousness, was a new 
 and never-recovered note in the history of Ukioyc." 
 
 Size 11x8. A supremely fine impression, in fresh and flawless 
 
 condition. 
 
First Afternoon 
 
 Haeunobu 
 
 79 — The Happy Prince 
 
 A young prince in pale antique robes stands on a veranda. 
 To the right, a girl, whose concealed figure appears only 
 as a shadow on the paper screen, is gently leading him 
 by the hand. Delicate grey background. 
 
 The scene is from the legend of Prince Yoshitsune and 
 Jorurihime ; see No. 229. 
 
 A calendar-print ; the embossed pattern on the robes 
 of the prince contains the characters "INIeiwa II," or 
 1765, the first year of Harunobu's development of poly- 
 chrome printing. Signed "Kogan, member of the 
 Kyosen Renchu." 
 
 *Formerly in the Hayashi Collection ; reproduced in 
 the Hayashi Catalogue, Page 112. Later, when the 
 property of M. Charles Vignier, it was described in the 
 V. I. K. Paris Catalogue, "Harunobu," No. 83. 
 Size 10x7. Extremely fine impression and condition. 
 
Harunobu 
 
 First Afternoon 
 
 80 — Reading the Lettee 
 
 A young girl, in flowing draperies, is seated on a kotatsu, 
 or covered fire-box, reading a love-letter; while a youth, 
 hidden beneath the comforter, spies upon the missive. 
 Outside the window appears a glimpse of snowy bamboos. 
 
 The theme of the print makes whimsical allusion to the 
 Ronin story ; see No. 120 hereinafter. 
 
 Size llxSy,. An extremely fine impression, in hrUliant and flaw- 
 less condition. Slight oxidization of the yrey pigment has yiven 
 a niac/ic touch to the colors. 
 
First Afternoon 
 
 Harunobu 
 
 81 — Window Opening Toward the Sea 
 
 Before a window opening onto an arm of the sea stands a 
 young courtesan in pink and white. At her feet her two 
 small girl-attendants are absorbedly playing with a doll. 
 Tlie white of her robe is printed without any key-block, 
 by tlie use of gauffragc only. 
 
 Size 11x8. A verij fine impression, in (jood condition. 
 
Hauunobu 
 
 First Afternoon 
 
 82 — The Temple Visit 
 
 A father, mother and elder sister are taking a little girl 
 to the temple for the Miyamairi Ceremony of naming. 
 The orange temple-torii rises in the background. 
 
 Another copy of this print is reproduced in the Happer 
 Catalogue, 1909, with the remark: "This is one of the 
 most superb examples of the complete mastery of the full 
 palette of colors of this ever-varying artist at the height 
 of his powers and popularity." 
 
 Size 11x81/2. Very fine impression, in good condition. 
 
First Afternoon 
 
 Harunobu 
 
 83 — The Departuee 
 
 A graceful youth in a green robe stands on the veranda 
 enclosing a garden, about to depart. A slender cour- 
 tesan, one of Harunobu's delicate butterfly-women, is ly- 
 ing at his feet and touches his robe with a gesture of 
 reluctant farewell. Soft color. 
 
 Size 11x8. An extremely fine impression, in excellent condition. 
 
Harunobu 
 
 First Afternoon 
 
 84 — The Snow-Rabbit 
 
 After the first snow-fall of the season, a graceful young 
 woman is walking across a snowy courtyard, followed by 
 a little girl bearing a tray on which is a snow-rabbit. 
 One of the delicate masterpieces of line and color that 
 have given Harunobu his fame. 
 
 Size 11x8. A remarkably fine impression, in good condition. 
 
First Afternoon 
 
 Harunobu 
 
 L% 
 
 85 — CouETESAN Riding a Carp 
 
 The rose-robed figure of the young 
 girl, holding a long love-letter in her 
 hand, is poised on the back of a huge 
 black and gold fish as it swims the 
 waves. Luminous grey background 
 and delightful color. 
 
 The subject of this print embodies 
 an amusing and most irreverent allu- 
 sion to sacred things. According to 
 the venerable legend, the ancient 
 Taoist sage Kinku Sennin, a hermit 
 of extreme holiness, having once ab- 
 sented himself for a long time from 
 the haunts of men, reappeared at 
 last, riding on the back of a huge 
 carp as it leaped from the water, and 
 bearing in his hand a copy of the 
 Buddhist scriptures. But in this de- 
 sign, it is the little "flower of joy" 
 and her love-letter that take the 
 sage's place. 
 
 A pillar-print. An extraordinarily bril- 
 liant impression, in perfect and luminous 
 condition. 
 
 86 — The Actor Bando Hickasaburo II. 
 He stands, a powerful dignified figure, 
 carrying the basket hat of a komuso. 
 
 The figure is conceived in the style 
 of the "Primitives," verj' like Kiyo- 
 mitsu ; it is printed from tliree color- 
 blocks only. Harunobu produced 
 few actor-portraits ; all of them were 
 very early. Of them, tliis is a most 
 distinguished example. 
 
 ♦Formerly in the ^Metzgar Collec- 
 tion ; reproduced in tlie INIetzgar 1916 
 Catalogue, Plate 10. 
 
 A pillar-print. Very fine impression; 
 eiecellent condition. 
 
Harunobu 
 
 First Afternoon 
 
 87 — The Thunder God 
 
 A young courtesan in robes of soft 
 luminous color crouches in terror on 
 a balcony with her child-attendant ; 
 while overhead the Thunder God 
 Kaminari-san throws down a love- 
 letter to the timorous young beauty. 
 In his excitement the god drops one 
 of his drum-sticks. The color-scheme 
 is of an unusual cool exquisiteness, 
 against a grey background. 
 
 *Formerly in the Danckwerts Col- 
 lection ; reproduced in the Danck- 
 werts Catalogue, 1914, Plate 6. 
 
 PiUar-print. A remarkahli/ hriUiant im- 
 pression, in extraordinary and flawless 
 state. Apparently it has never been 
 even rolled. 
 
 3 — The Lovers' Samisen 
 
 The two lovers are reclining before a 
 large painted screen ; she, dressed in 
 a white robe, is leaning against him 
 and holding a samisen in her hand. 
 
 Remarkably rich and luminous 
 color. The white robe is printed 
 without black outline by gauffrage 
 alone. 
 
 iS(Z« 8x11. A most hrilliant impression, 
 in wholly flawless state. 
 
First Afternoon 
 
 Harunobu 
 
 £iT\ 
 
 89 — The Evening Letter 
 
 A slender girl, in loose pale 
 night-robes that reveal her 
 delicate breast, stands before a 
 mosquito-netting, reading a 
 letter. Her robe falls in subtly 
 drawn folds. 
 
 One of Harunobu's famous 
 masterpieces. Other copies are 
 reproduced in the V. I. K. Paris 
 Catalogue, "Harunobu," Plate 
 18 ; and in Gookin's "Japanese 
 Color Prints and their Design- 
 ers," 1913, Page 22. 
 
 A piUar-print. A very fine im- 
 pression, in faded but good condi- 
 tion. 
 
 90 — Pheasant and Night Sky 
 
 An overhanging rock rises from 
 the edge of a sinuous stream ; 
 there, amid flowering peonies, 
 perches a brilliant pheasant. 
 Two birds wheel overhead, 
 against a night sky of solid 
 black. A rare print ; formerly 
 in the Lathrop Collection, N. Y. 
 
 Pillar-print. A fine impression, in 
 heatitiftd condition. 
 
Harunobu 
 
 First Afternoon 
 
 91— A Tea-House Girl 
 
 The slender young figure of the 
 beautiful tea-house girl Osen, of the 
 tea-house Kasamori, in smoothly- 
 falling pale robes, stands beside a 
 small tea tray, near where a temple- 
 torii rises. No one but Harunobu 
 ever achieved quite this grace of 
 drapery and serenity of motion. 
 
 A pillar-print. A very fine impression, 
 in excellent condition. 
 
 92 — Girl Playing with Kitten 
 
 *Reproduced in "Chats on Japanese 
 Prints," Plate 15, with the follow- 
 ing description : "The print is a soft 
 grey and lavender study of a girl. 
 Within the long, narrow space, 
 against a background of cool grey, 
 rises the figure, whose bent pensive 
 head looks down at the ball she is 
 dangling before a cat at her feet. 
 Drooping from her slender shoulders 
 fall robes whose slow curves seem 
 moulded by the faint and gentle airs 
 that breathe around her. The long 
 drapery is interwoven with hints of 
 mauve melting into rose, — more like 
 ghosts of the palette than colors, — 
 and touches of translucent salmon and 
 amber and grey are repeated like an 
 arabesque of lights down the folds." 
 
 A pillar-print. A supremely fine im- 
 pression, in superb condition. 
 
First Afternoon 
 
 Harunobu 
 
 i^^f ^^^ ; 
 
 
 93 — The Boy's Kimono 
 
 A graceful young mother is getting a robust little boy 
 into his kimono. A maid, wliom a cat is vainly trying 
 to distract, stands by with the boy's girdle. Grey back- 
 ground. A rare print. 
 
 Another copy, from the Vever Collection, is repro- 
 duced in Challaye's "Le Japon Illustre," 1915, Page 55. 
 
 Size 11x81/,. 4„ exceptionnlhi fine impression, in excellent con- 
 dition. 
 
Harunobu 
 
 First Afternoon 
 
 94 — The Comfortable Kitten 
 
 A young girlj drawn with all Harunobu's visionary 
 grace, stands before a large screen, holding a white kitten 
 in the bosom of her robe. A small girl is reaching up 
 her hands to touch the little animal. The idyllic sweet- 
 ness of the great artist's spirit pervades this picture, 
 whose luminous colors no one but he ever achieved. 
 
 *Reproduced in Scribner's Magazine for March, 1916. 
 
 Size 111/2x81/2. An impression of extraordinary quality, in flaw- 
 less and exquisite condition. 
 
First Afternoon 
 
 Harunobu 
 
 95 — The Black Akch 
 
 A young man in ceremonial dress stands before a black 
 arched window ; a young girl is helping him to tie his 
 girdle. The sky beyond the arch is a luminous grey 
 that puts the figures into fine relief. 
 
 Formerly in the Appleton and the Metzgar Collec- 
 tions. 
 
 Size llxSy,. An extremely fine impression, in flawless and lum- 
 inous condition. 
 
Haeunobu 
 
 First Afternoon 
 
 96 — "Evening Snow on the Hibachi," (Two Prints) 
 
 In a soft-toned interior, a young man sits pensively 
 smoking a slender pipe, while a young woman is shaping 
 and drying floss-silk over a small fire-box. One of the 
 famous "Zashiki Hakkei," or Eight Parlor Views, de- 
 signed by Haronobu and printed by Kyoscn. A re- 
 markable example of Harunobu's command of color. 
 
 Accompanying this print is an excellent modern repro- 
 duction, made from it by Watanabe of Tokyo in 1914. 
 The inexperienced collector may perhaps amuse himself 
 by seeing if he can tell which is which. 
 
 Size 101/2x8. An impression of exceptional quality, in flaicless 
 
 and brilliant condition. 
 
First Afternoon 
 
 Habunobu 
 
 Pg*^ 
 
 97 — Girl Under Snowy Bamboos 
 
 A beautiful young girl in robes 
 that droop in purple folds, stands 
 under branches of snow-laden 
 bamboo, while she opens the um- 
 brella which she holds. The grey 
 wintry sky contrasts with the snow 
 under foot. Full of the charac- 
 teristic Harunobu charm. 
 
 A pillar-print. An extremely fine im- 
 pression, in beautiful condition. 
 
 98 — The Tea House Kitten 
 
 Before a tea house stands an 
 extremely tall willowy girl, dangl- 
 ing a ball before a kitten. Very 
 fine color. 
 
 This print is one of the rare de- 
 signs which Harunobu produced 
 just at the close of his tragically 
 brief career, — designs in which he 
 elongated his figures far beyond 
 nature. 
 
 Pillar-print. A very fine impression, 
 in beautiful condition. 
 
Harunobu 
 
 First Afternoon 
 
 
 99 — The Flute Beside the Tama 
 River 
 The legendary hero Shirai Gom- 
 pachi, ronin-lover of the beautiful 
 Komurasaki, moves pensively along 
 the shore of the Tama River in 
 Takano. He carries the flute and 
 basket hat of a komuso, or dis- 
 honored samurai. 
 
 The translation of the poem at 
 the top of the print is : "Although 
 the travellers forget all else, they 
 will not forget to fetch water from 
 the Tamagawa in Takano," — ob- 
 viously an allusion to some legend. 
 One of the famous series, "The Six 
 Tama Rivers." 
 
 A pillar-print. An extremely fine im- 
 pression, in admirable condition. 
 
 100 — The Flute Player 
 
 The same hero as the subject of the 
 preceding print, but a wholly dif- 
 ferent design, without background. 
 A notable print ; reproduced in 
 "Chats on Japanese Prints," Plate 
 15. 
 
 A pilkir-print. An extremely fine im- 
 pression, in admirable condition. 
 
First Afternoon 
 
 Harunobu 
 
 A. 
 
 -i ''1 
 
 ■-,y 
 
 101 — The Black Hood 
 
 A girl in a black winter hood and 
 purple robes moves through a snowy 
 winter landscape ; the snow is be- 
 ginning to fall again, and she is 
 just raising her umbrella. A haunt- 
 ing figure that well merits its fame. 
 One of the Tamagawa series, the 
 Chidori no Tamagawa. 
 
 Formerly in the Lathrop Collec- 
 tion, N. Y. Another copy is repro- 
 duced in the Hayashi Catalogue, 
 Page 60. 
 
 A pillar-print. An extremely fine im- 
 pression, in beautiful condition. 
 
 102 — Girl with Samisex 
 
 A young courtesan in delicate 
 colored robes is seated on the mat- 
 ting; slie has just finished playing 
 the samisen. 
 
 Size 81/2x6. From the album "Seiro Bijin 
 Awase." A fine impre.ision in excellent 
 condition. 
 
 103— The Grey Girdle 
 
 A standing girl in flowing robes is 
 tying her obi. 
 
 Same as the preceding. 
 
Harunobu 
 
 First Afternoon 
 
 104 — Young Noble with Hawking 
 Glove 
 
 A 3'oung man in purple robes of 
 great dignity stands adjusting a 
 glove for falconry. Harunobu was 
 never a vulgar designer; but in this 
 print he expresses an aloofness and 
 distinction that is more than usually 
 superb. A rare print. 
 
 A pillar-print. A very fine impression, 
 in beautiful condition. 
 
 KIYOTSUNE 
 
 Worked c. 174.0-1770 
 
 105 — The Night Lamp at Dawn 
 
 In the foreground, a girl is ex- 
 tinguishing the night-lamp ; in the 
 backa-round are two lovers under a 
 mosquito net ; the man is still asleep, 
 but the woman is leaning on her 
 elbow to smoke. The poem at the 
 top may be translated : "The early 
 bell of dawn has come too soon ; too 
 soon the happy night is over!" 
 
 Another copy of this rare print 
 is reproduced in the Tuke Cata- 
 logue, 1911, Plate 5; and another 
 in the Happer Catalogue, 1910, 
 Plate 28. 
 
 A pillar-print. A very fine impression, 
 much faded. 
 
First Afternoon 
 
 Masunobu 
 
 "xr^. 
 
 '<z 
 
 J^ 
 
 MASUNOBU 
 
 Worked c. 1740-1770 
 
 106 — Mother and Boy 
 
 A young mother in pale blue robes 
 stands under a wind-swept willow- 
 branch, while a little boy tugs at her 
 skirt. Grey background. 
 
 A pillar-jjrint. A superb impression, in 
 flawless and beautiful condition. 
 
 107 — The Parachute Leap 
 
 A young girl, grasping an umbrella 
 as a parachute, has taken the dizzy 
 leap from the high platform of Kiyo- 
 mizu Temple. Her garments flut- 
 ter about her in windy folds. At 
 the base of the platform stands a 
 young man awaiting her. Very 
 unusual, cool color-scheme. 
 
 This print is a frivolous allusion 
 to the old superstition that if one 
 leaps from the commanding par- 
 rapet of Kiyomizu Temple in 
 Kyoto, the All-merciful Goddess 
 Kwannon may perhaps waft one 
 gently and safely to earth, and in 
 addition graiit to one the fulfillment 
 of that hopeless wish which caused 
 the desperate attempt. Here, how- 
 ever, the infatuated girl evidently 
 thinks Kwannon a less safe protec- 
 tion than a parasol ; and as to the 
 fulfillment of the wish, — is not her 
 lover alreadjr waiting for her.? 
 
 A pilJar-print. A remarkable impression, 
 in flawless and brilliant condition. 
 
Masunobu 
 
 First Afternoon 
 
 108 — The Amiable Hotei 
 
 A youth in robes of purple and 
 green stands balancing on the 
 shoulder of the fat God of Good 
 Fortune, Hotei, waving the god's 
 ceremonial fan. Remarkable color. 
 Another copy of this print is re- 
 produced in the Hayashi Catalogue, 
 1902, Page 114; and another in 
 Kurth's "Japanische Holzschnitt," 
 Plate 24. 
 
 A pillar-print. A superb impression, in 
 flawless glowing condition. 
 
 >. 
 
 V 
 
 KORIUSAl 
 
 Worked c. 1770-1781 
 
 109 — Painting the Screen 
 
 A kneeling courtesan in brilliant 
 robes of black and orange is writing 
 an inscription on a large screen. 
 Behind her, two young attendants 
 are grinding ink for her. From the 
 famous series, "Designs of Spring 
 Greenery." 
 
 Size 15x10. A very fine impression in 
 flawless condition. 
 
 110 — The Peony Robe 
 
 A courtesan in rich robes of soft 
 color is holding up a small boy who 
 claps his hands at a young girl 
 standing near by. From the same 
 series. 
 
 Size 15x10. An extremely fine impres- 
 sion, in good condition. 
 
First Afternoon 
 
 KOEIUSAI 
 
 111 — The A'aix Disguise 
 
 A slender youth in white, wearing the mask-like basket 
 hat of a komuso or wandering mendicant, stands with his 
 flute in front of the entrance to a house. A courtesan 
 and her attendant, standing on the veranda, are offer- 
 ing him the requested alms, — but offering it on a mirror, 
 which reflects and reveals to them the covered face of the 
 youth. 
 
 No reproduction can catch any trace of the delicacy 
 and splendor of this print, in which Koriusai's charac- 
 teristic color-scheme of orange and blue seems to reach 
 its highest perfection. The blue, as is so rarely the case, 
 is quite unchanged by time ; the orange is oxidized in the 
 most beautiful tones. Formerly in the Appleton Col- 
 lection. 
 
 Size 10i/,x7i/,. A matchless impression, in superb condition. 
 
KORIUSAI 
 
 First Afternoon 
 
 112 — The Blue Robe 
 
 A seated courtesan, in black and orange, is examining 
 a wide-spread blue robe which her young attendant is 
 holding up for her inspection. The extraordinary use 
 of this large mass of solid blue produces one of the most 
 striking effects in the wliole of Koriusai's work. Form- 
 erly in the Appleton Collection. 
 
 Size 13x9. A remarkably fine impression, in flawless and lum- 
 inous condition. 
 
First Afternoon 
 
 KOEIUSAI 
 
 113 — Lovers ix Gaeden 
 Reizei, the maid of 
 Jorurihime, (see No. 
 229), has just ad- 
 mitted Jorurihime's 
 lover to the garden. 
 An early design, in- 
 fluenced by Haru- 
 nobu. Very soft 
 rich color. 
 
 Size 10x8 A remark- 
 ably fine impression, 
 in beautiful condition. 
 
 114 — Girl with Hand- 
 Lantern 
 
 The young figure, 
 in sweeping robes, 
 crosses a courtyard, 
 followed by a dog. 
 An early and fine 
 design, in strong 
 Harunobu style. 
 
 Size 10 X 8. An ex- 
 tremely fine impres- 
 sion, in good condi- 
 tion. 
 
KoaiusAi 
 
 First Afternoon 
 
 115 — MooNRisE ON Yedo Bay 
 
 An exquisite little courtesan in robes 
 of white stands adjusting her hair- 
 pins. Behind her, a latticed window 
 opens onto the sea, where the moon 
 is rising out of clouds. An early 
 work, in the Harunobu style. 
 
 A piUar-print. Very fine impression, in 
 excellent condition. 
 
 :AA- 
 
 'f^-'i 
 
 116 — Mother and Boy 
 
 She stands with bared breast, her 
 grey and orange robes falling grace- 
 fully about her slim figure. The 
 boy is playing with a small dipper 
 as if it were a pipe. This is one 
 of Koriusai's finest early works in 
 the Harunobu manner. Pale grey 
 background. 
 
 *Reproduced in "Chats on Jap- 
 anese Prints," Plate 16. 
 
 A piUnr-print. A superb impression, in 
 brilliant and beautiful condition. 
 
First Afternoon 
 
 KORIUSAI 
 
 *--»< 
 
 109 
 
 M 
 
 r 
 
 117 — The Rustic Pavilion 
 
 At the gate of a small pavilion in 
 the midst of flooded rice-fields stands 
 a slim young courtesan in purple 
 robes, with a pensive expression on 
 her face. A red-robed youth 
 crouches beside her. Is this per- 
 haps a quiet little lover's holiday, 
 far from the great city? An un- 
 usual composition in rich color. 
 Formerly in the Lathrop Collection, 
 N. Y. A rare print. 
 
 A pilUir-print. A remnrkable impression, 
 in wholiif finclfss and brilliant condi- 
 tion. 
 
 118— Two Geisha 
 
 They stand, in long, glowing drap- 
 eries ; the nearer, whose black robe 
 gives the picture its character, 
 holds a lute. Other copies of this 
 print exist in which the black robe 
 is printed in a pale neutral color, 
 with a resulting loss of contrast that 
 is inmieasurablc. 
 
 *Reproduccd in "Chats on Jap- 
 anese Prints," Plate 17. with the 
 following c o m m e n t : "Koriusai 
 d r a w s the figures of these two 
 women, one behind and a little above 
 the other, the one in the background 
 luminous with soft neutral tints, tlie 
 one in tlie foreground robed in a 
 black wliose intensity cuts sharplj' 
 through the otherwise monotonous 
 sweetness of the picture." 
 
 A pillar-print. An impression that is 
 probably unrivaled: in flawless and bril- 
 liant condition. 
 
KORIUSAI 
 
 First Afternoon 
 
 y 
 
 \^m\ 
 
 ■0 ^ 
 
 119— The Fiee Tower 
 
 Before a huge black fire-tower pass 
 a richly dressed courtesan and her 
 small girl-attendant. The composi- 
 tion is unusual and striking. 
 
 A pillar-print. An extremely fine im- 
 pression, in excellent condition. 
 
 120 — The Vekanda Letter 
 
 A young samurai in purple and 
 green robes stands on a veranda and 
 looks up to find with astonishment 
 that a girl on the balcony above 
 him is leaning over and trying to 
 read the letter which he holds. 
 ]\Ieanwhile, unobserved, a man hid- 
 den beneath the veranda actually 
 does read it. The color of the 
 picture is exceptionally harmonious. 
 This print is a humorous allusion 
 to the famous episode in the story 
 of the Forty Seven Ronin, where the 
 hero, Yuranosuke, reading a letter 
 which discloses the plans of his 
 sworn enemy Moronao, is spied upon 
 by Moronao's retainer Kudaya, who 
 is hidden beneath the floor of the 
 inn-veranda. 
 
 A pillar-print. An extremely fine im- 
 pression, in fine and brilliant condition. 
 
 121 — The Veranda Letter 
 
 A wholly different treatment of the 
 same theme, — but here it is a cour- 
 tesan who takes the place of the 
 spied-upon hero, while a youth on 
 the balcony looks down, and an un- 
 shaven man-servant from beneath 
 the veranda indiscreetly peeps at the 
 young lady's legs. Rich color. 
 
 A pillar-print. Very fine impression and 
 
 condition. 
 
First Afternoon 
 
 KoHIUSAl 
 
 122- 
 
 -Mending the Roue 
 A kneeling girl in garments of 
 bluish grey and faint pink is mend- 
 ing a rip in the pale yellow robe of 
 a young man. Grey background. 
 In both drawing and color, this 
 print has an unusual and individual 
 character. A rare print. 
 
 A pillar-print. An extremely fine impres- 
 sion, in flaijL'less condition. 
 
 r 
 
 123- 
 
 k\ 
 
 ¥\ 
 
 >'^A 
 
 -COUKTESAN WITH DrAGON GiRDLE 
 
 Solomon in all his glory was doubt- 
 less less splendid and less self- 
 possessed than this young woman 
 whose dragon-girdle, pale blue 
 under-robc, and rich black and rose 
 over-robe glow as if light shone 
 through them. 
 
 *Reproduced in "Chats on Jap- 
 anese Prints," Plate 18, with the 
 comment : "She stands like a calm 
 peacock, Avith glowing orange combs 
 alight in her hair." 
 
 A pillar-print. An extremeli/ fine im- 
 pression, in flawless condition. 
 
KoiiiusAi 
 
 First Afternoon 
 
 '4^\ \ 
 
 ^#^ 
 
 w^^jA 
 
 
 P 
 
 ^?/'^\.^ 
 
 
 I'i 
 
 "*^ ^/ } 
 
 
 m 
 
 ^i-^i_jL^ 
 
 
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 r^^^^^I^?^ 
 
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 J 
 
 124^Tea House Girl 
 
 The exceptionally large figure of 
 a superbly proportioned tea- 
 house waitress stands before a 
 tea-booth. The drawing is a 
 striking example of Koriusai's 
 most individual style at its com- 
 plete maturity, when it no longer 
 resembled Harunobu's. Fenol- 
 losa wrote of it: "The figure is 
 designed to rely entirely on its 
 own dignity, eschewing all the 
 graces of embroidery or lace 
 textures. It uses a fine low tone, 
 enlivened by a dull orange. The 
 use of the perforated tea-tray as 
 a bracelet is a charming touch." 
 
 A piUar-print. An exceptionally 
 superb impression, in fn-it'less, yloxo- 
 ing, and altogether remarkable con- 
 dition. 
 
 12,5 Two LOVEKS IN THE FlELDS 
 
 The youth is carrying the girl 
 through blossoming meadows; 
 overhead, crying out its song, 
 flies the cuckoo of spring. 
 
 *Reproduced in "Chats on 
 Japanese Prints," Plate 16. 
 
 Pillar-print. An extremely fine im- 
 pression. In beautiful condition. 
 
First Afternoon 
 
 126 — The Convolvulus Gikl 
 
 A graceful young courtesan in long robes of dark blue 
 stands before a hanging box of convolvulous vines, 
 delicately tasting a bud which she has picked. The pale 
 o-rey background gives to her beautiful head a fascinat- 
 ing warmth and perspective. 
 
 A pillar-print. A very fine impression, in beautiful condition. 
 
 127 — Two LovEBS Undeu a Willow 
 
 The girl, in rose-colored robes and a pale green girdle, 
 is seated on an emerald-toned bench near a stream. The 
 youth, in faint violet robes, stands near her, playing the 
 flute. The lyric mood of the picture is one that was 
 hardly ever again matched by Koriusai. Fenollosa 
 greatly admired the drawing of the girl's figure: "The 
 sinous curves of the body are perfectly felt under the 
 rose garment," he wrote. "This is surely one of the finest 
 figures ever drawn by an Ukioye artist." 
 
 A pillar-print. An extremely fine impression, in heautifnl soft 
 
 condition. 
 
 128 — The Robe of Gauze 
 
 In a robe of pale purple gauze that reveals transparently 
 tlic contours of her pink under-robe and her delicate 
 limbs, a young woman stands holding a round fan. 
 Beyond the veranda where she stands is a background of 
 mountains in the summer evening light. Fenollosa wrote 
 of this design : "Who can deny that this most exquisite 
 work is in several senses an advance on all that precedes? 
 From the magnificent drawing of the nude parts, to the 
 costume, a dream of textures and colors ; — from the 
 broken bamboo and the back-lying hills, to the black 
 chrysanthemum on the circular white fan — an elegance 
 and a harmonj' of the unexpected ! This is one of 
 Koriusai's finest early heads." 
 
 Another but inferior copy is reproduced in the V. I. K. 
 Paris Catalogue, "Harunobu," Plate 306. 
 
 A pillar-print. Extremely fine impression and condition. 
 
KORIUSAI 
 
 First Afternoon 
 
 
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 No. 126 No. 127 No. 128 
 
 KORIUSAI, THREE PILLAR-PRINTS 
 
First Afternoon Koriusai 
 
 129 — Autumn Winds in the Willow 
 
 Two young girls pass under a willow tree, with robes 
 blown into beautiful confusion by the autumn winds. A 
 rare print. 
 
 The charming simplicity of the yellow robe, on the 
 left, is almost the heart of the picture. Yet by some 
 freak, which shows how dangerous revisions are to any 
 artist, Koriusai at a later date issued a new impression 
 of tliis design in which he added a very marked pattern 
 to these draperies. The result (see reproduction in the 
 i\Iay Catalogue, 1918, j\o. .581) was disastrous. The 
 line-rhythm of the robes vanished forever. 
 
 *This print, formerly the property of M. Charles 
 Vignicr, is reproduced in the V. I. K. Paris Catalogue, 
 "Harunobu," Plate 32. 
 
 A pillar-print. A very fine impression, in slightly soiled but 
 extremely beautiful condition. 
 
 130 — Rabbits and Moon {Two Prints) 
 
 A white and a pink rabbit crouch among convolvulous 
 vines under a pale rising moon. Koriusai's animal pic- 
 tures are rare and famous ; this, by virtue of its fine 
 composition and soft, harmonious color, may rank as one 
 of the most important of them. 
 
 Accompanying this print is a reproduction of it made 
 in 1916 by Watanabe of Tokyo, who was the former 
 owner of it. 
 
 A pillar-print. A superb impression, in beautiful condition. 
 
 131— The Well 
 
 A willowy young girl in green and grey is drawing 
 water from a well, while her companion, in purplish grey, 
 washes a robe in a flat tub. This is a particularly har- 
 monious copy of the famous design. 
 
 *This print, formerly the property of M. Charles 
 Vignier, is reproduced in the V. I. K. Paris Catalogue, 
 "Harunobu," Plate 30. Another copy is illustrated in 
 the Metzgar Catalogue, 1916, No. 37. 
 
 A pillar-print. Extremely fine impression and condition. 
 
KORIUSAI 
 
 First Afternoon 
 
 "■■>'■■>■ h 
 
 
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 5-h1 
 
 No. 129 No. 130 No. 131 
 
 KORIUSAI, THREE PILLAR-PRINTS 
 
First Afternoon Koeiusai 
 
 132 — The Tassel 
 
 A tall, slender girl in a violet-checked summer robe with 
 rose-colored girdle is pulling the tassel of a cord that 
 raises the mosquito-netting over her bed. The drawing 
 of the drapery, and the suggestion of the contours of 
 tlie slim body beneath, are executed with fine simplicity ; 
 the design is a famous one. 
 
 A pillar-print. An exceptionally fine impression, in brilliant 
 condition. 
 
 183 — Two Lovers Dressed as Komuso 
 
 The tall and dignified figures of the pair move toward 
 the left; he, carrying a flute, is in black and rose; she, 
 carrying a yellow basket-hat, is in white and violet. 
 Koriusai rarely drew more stately figures. Their cos- 
 tumes are an allusion to the story of the beautiful cour- 
 tesan Komurasaki and her ronin-lover, Gompachi. 
 
 Another copy of this print is reproduced in the Yosh- 
 ida Catalogue, Amsterdam, 1911, Plate 61 ; and another 
 in the Sotheby Sale Catalogue of January 4, 1911. 
 
 A pillar-print. A very fine impression, in beautiful condition. 
 
 13-1 — The New Year's Dancer 
 
 A girl in the archaic black hat and ornate red robes of 
 a Manzai dancer poises against a background of clouds 
 and rising sun. Fenollosa wrote of this design : "This 
 most brilliant print illustrates well all of Koriusai's 
 finest characteristics." 
 
 Another copy is reproduced in the V. I. K. Paris Cat- 
 alogue, "Harunobu," Plate 36. 
 
 A pillar-print. A very fine impression, in beautiful condition. 
 
KORIUSAI 
 
 First Afternoon 
 
 
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 No. 132 No. 13.3 No. 134 
 
 KORIUSAI, THREE PILLAR-PRINTS 
 
First Afternoon 
 
 KORIUSAI 
 
 ^. X 
 
 135 — The Lake of Golden Carp 
 
 Standing on a small orange-lac- 
 quered bridge in the grounds of the 
 Kanieido Temple in Yedo, a young 
 couple are clapping their hands to 
 call the golden carp, — while their 
 delighted youngster throws crumbs 
 down to the leaping fish. Wistaria 
 overhead ; pale grey sky ; pale, 
 luminous robes. 
 
 *This print, formerly the prop- 
 erty of jM. Charles Vignier, is re- 
 produced in the V. I. K. Paris Cat- 
 alogue, "Harunobu," Plate 34. An- 
 other copy is illustrated in the Tuke 
 Catalogue, 1911, Plate 7. 
 
 A pillar-print. .1 superJ/ impression, in 
 faicless and aihuirahJe coniJition. 
 
 136 — A Game of Tag 
 
 A young girl in sweeping robes of 
 soft grey is being pursued by a 
 small boy around a tall black and 
 yellow screen decorated with a de- 
 sign of the sun rising over waves. 
 One of Koriusai's most darins com- 
 positions. 
 
 *Formerly in the Lathrop Collec- 
 tion, N. Y. Reproduced in "Chats 
 on Japanese Prints," Plate 17, with 
 the foUoM'ing comment : "In this 
 print Koriusai dashes the intense 
 black line of a screen down through 
 the middle of the picture, and sets 
 the delicate eddies of the child's and 
 the young girl's garments playing 
 around its base." 
 
 A pillar-print. A superb impression, in 
 f/oorf condition. 
 
First Afternoon 
 
 SHUNSHO 
 
 1726-1793 
 
 137 — The Wrestling Match 
 
 Two huge wrestlers poise in the ring, crouching, ready 
 to spring at each other at the signal of the umpire. 
 
 The magnificent brutality of the drawing, the mas- 
 siveness of the composition, and the somber intensity of 
 the coloring, combine to place this among Shunsho's 
 masterpieces. It is interesting to note that this print, 
 so greatly admired in Europe, has never met with spe- 
 cial enthusiasm from most American collectors. 
 
 Formerly in the Hayashi and the Wakai Collections. 
 Another copy is reproduced in the V. I. K. Paris Cata- 
 logue, "Harunobu," Plate 56. 
 
 A print of quite exceptional size, MVaxlS. A superb impression 
 in beautiful condition. 
 
First Afternoon 
 
 Shunsho 
 
 138— Woman With Pipe 
 
 The actor Nakamura 
 Tomijuro as a woman 
 holding a smoking- 
 tray and a slender pipe. 
 A figure drawn with 
 that curious dramatic 
 unreality so character- 
 istic of this artist's 
 manner. 
 
 Size 12x5 y,. A fine im- 
 pressioUf in excellent 
 condition. 
 
 139 — Man With Battle- 
 dore 
 The same actor, as So- 
 ga no Goro, in pale 
 orange-lighted robes, 
 stands before a pale 
 grey and orange back- 
 ground, holding a bat- 
 tledore. A quiet and 
 graceful figure. 
 
 Size 12x.5y2. An excep- 
 tionally fine impression, 
 in flawless condition. 
 
 ll-O — Woman Flower-Vendor 
 
 The actor Iwai Hanshiro IV, as a young woman holding 
 a fan. Her pale orange robes are alight with touches of 
 color. Behind her on a stand are the traditional "Flow- 
 ers of the Autumn." Formerly in the Fenollosa and the 
 Gookin Collections. 
 
 Size 12x5. Exceptionally fine impression , in flawless condition. 
 
Shui 
 
 First Afternoon 
 
 141 — A Wrestler 
 
 Tanikaze Kajinosuke, champion of all Japan, is pictured 
 walking slowly along in a great robe of red and yellow 
 over black. His massive figure and heavy face are su- 
 perbly depicted; and the contours of his robe, so sug- 
 gestive of the bulk within, are an achievement of Shunsho 
 at his best. A rare print. 
 
 Exceptionally lart/e size panel, 15x7. A remarkable impression, 
 in flawless condition. 
 
First Afternoon 
 
 Shunsho 
 
 "'''■It ^f i 
 
 142 — The Demon Killer 
 
 The legendary Shoki, famed as the 
 Demon Killer, is about to stab with 
 his sword two miserable small imps 
 who are writhing on the ground be- 
 fore him. A powerful figure, print- 
 ed chiefly in greys and pale yellow. 
 The classical canons of Chinese 
 painting lay down the rule that pic- 
 tures of Shoki should be painted in 
 one color only. Though Shunsho 
 has not obeyed the rule literally, he 
 has been distinctly influenced by the 
 spirit of it ; for this print has the 
 effect of a monotone. And this de- 
 tail, — one of a thousand that could 
 be cited, — is a perfect illustration of 
 the erroneousness of regarding the 
 Ukioye School as a mere negation 
 of classical dogma, and failing to 
 recognize the fact that, consciously 
 or unconsciously, in its own peculiar 
 way, it inherited and echoed the ra- 
 cial traditions of many thousand 
 years. 
 
 y/ pillar-print. A verij jine impression, 
 in flawless and superb condition. 
 
 143— The Red Daimyo 
 
 The actor Ichikawa Danjuro V, 
 performing a Shibaraku act in the 
 great red robes of a Daimyo holding 
 a huge sheathed sword aloft. Fine 
 color and line. 
 
 Another copy of this print is re- 
 produced in Succo's "Toyokuni," 
 I, Plate 6. 
 
 Si~e 12x6. Exfremeli) fine impression 
 in flawless condition. 
 
 144 — Warrior on a Boat 
 
 Tlie same actor as an armed Daimyo lifting up a lacquer 
 casket. Rich greens and orange against a pale grey sky. 
 
 Size 13x(i. ,-( superb impression, in wholly flawless condition. 
 
Shunsho 
 
 First Afternoon 
 
 145 — The Legend of the 
 Dwarf Trees 
 The actor Nakamur'a 
 Tomijuro, as a beau- 
 tiful young courtesaH 
 standing on a veranda 
 in rich robes, looking 
 pensively at a dwarf 
 plum-tree. It is rarely 
 that the dramatic ge- 
 nius of Shunsho ex- 
 pressed itself in such 
 delicacy and grace. 
 
 The print is an allu- 
 sion to the story of the 
 poor samurai Sano 
 Ganzaimon, who, to en- 
 tertain an unknown 
 traveler on a winter's 
 day, cut down his be- 
 loved potted trees for 
 firewood. The guest 
 proved to be the Sho- 
 gun Tokiyori in dis- 
 guise ; he later called 
 the hospitable samurai to a high place in his court. 
 
 Size 12x6. An extremely fine impression, in beautiful condition. 
 
 146 — The Woman in White 
 
 The actor Nakamura Tomijuro, as a woman in sweeping 
 robes of pure white, with an orange comb glorwing in her 
 black hair, against a background touched with orange. 
 The superb lines of the draperies and the strange, tragic 
 intensity of the pose, place this design in the first rank 
 of known Shunshos. A rare print. 
 
 ♦Reproduced in "Chats on Japanese Prints," Plate 20. 
 
 Size 11x51/2. A superb impression in flawless condition. 
 
First Afternoon 
 
 147 — Woman in Black and 
 Red Robes 
 The actor Iwai Han- 
 shiro IV, as a woman 
 carrying a black smok- 
 ing-tray. A serene fig- 
 ure, dressed in a robe 
 whose brilliant black, 
 soft grey and violet, 
 and touches of dull red 
 are very fine. 
 
 Size 121/2 X 6. Superb 
 impression in flawless 
 condition. 
 
 148 — Woman Undeh a 
 
 Blind 
 
 The same actor, as a 
 
 woman in luminous 
 
 robes of purple, green 
 
 and orange, standing 
 
 under a hanging blind 
 
 and holding a roll of 
 
 papers. 
 
 Size 12x51/2. A superb 
 impression, in brilliant 
 condition. 
 
 149 — Thk Jar of Incense 
 
 The actor Ichikawa Monnosuke II, as a stately woman, 
 sweeping along in flowing robes of purple and green 
 against a grey background. She liolds a small, smoking 
 incense-jar in her right hand. An extremely distin- 
 guished design. 
 
 Size l.'3x6. A superb impression, in flawless condition. 
 
 150 — Man in Snow-storm 
 
 The actor Nakamura Juzo II, as a samurai wandering in 
 a snow-storm, holding a large umbrella over liis head. 
 The pale colors stand out against the grey background, 
 where snowflakcs are falling. 
 
 Size 12x6. Extremeli/ fine impression in flawless condition. 
 
Shunsho 
 
 First Afternoon 
 
 151 — The Temple-Bell op 
 Dojoji 
 The great actor, Ichi- 
 kawa Danjuro V, as 
 the Buddhist priest of 
 Dojoji, walking with 
 hands clasped behind 
 him, under the great 
 bronze temple-bell. 
 The blue of the sky, 
 the touches of orange 
 at the neck and sleeves, 
 and the simplicity of 
 the black and grey 
 color-masses, are all 
 elements contributing 
 to the masterly effect. 
 Finest of all is the 
 drawing of the bent 
 shoulders and medita- 
 tive, swaying attitude ; 
 few other figures of 
 Shunsho's have quite 
 this intensity of life. 
 See No. 167 herein for 
 the story of Dojoji. 
 
 Size 13x6. A superb impression, in flawless state, with even 
 the blue unaltered. 
 
 152 — Man on Hill 
 
 The same actor in ceremonial robes of black and pale 
 violet, standing on a hill. The subtly calculated color- 
 harmony of the design is noteworthy. 
 
 Size 13x6. A magnificent impression, in wholly flawless condition. 
 
 153 — Man With Closed Fan 
 
 The same actor as a samurai in antique court robes. 
 Time has touched the luminous colors with a unique, 
 opalescent softness and brilliance. 
 
 Size 12x6. A superb impression, in superb condition. 
 
First Afternoon 
 
 Shunsho 
 
 154 — The Red Daimyo 
 
 The actor Ichikawa 
 Danzo, in a Shibaraku 
 role. The savage force 
 and color of the design 
 are memorable. A 
 rare print. 
 
 Size 12x6. A superb 
 impression, in uniquely 
 beautiful condition. 
 
 155 — The Song of the 
 
 SWOED 
 
 The actor Ichikawa 
 Danzo, as a sinister- 
 looking samurai draw- 
 ing his sword. One of 
 Shunsho's masterpieces 
 of dramatic intensity 
 and glowing color. 
 
 *R eproduced in 
 "Chats on Japanese 
 Prints," Plate 19, and 
 described on Page 174 
 of the same book. 
 
 Size 12x6. A superb 
 impression, in fine con- 
 dition. 
 
 156 — The Orange Lacquer Box 
 
 The actor Ichikawa Yaozo, as a man carrying a fan and 
 an orange lacquer box, stands on the sliorc of a river, 
 under the branches of a willow that droops across the 
 grey sky. The color is especially notable. 
 
 *Reproduced on the cover of "Chats on Japanese 
 Prints." 
 
 Size 12x6. An extremely fine impression, in beautiful condition. 
 
Shunsho 
 
 First Afternoon 
 
 157 — The Black War-Hoese 
 
 The hero Yoshitsune, in full armor, is seated on his famous 
 black horse, which paws the ground under a pine-tree. 
 Time has touched the colors of this print with peculiar 
 softness, makirg it a luminous surface of shifting name- 
 less tones. 
 
 Size 111/2x8. A superb impression, in exceptionaUy fine condition. 
 
 158 — Pkincess Uxdee, a Willow 
 
 In pale exquisite robes, she stands by a stream under a 
 willow. 
 
 Formerly in the Wakai Collection. Another copy of 
 this print is reproduced in Barboutau's "Biographies 
 d'Artistes Japonais," Page 40. 
 
 This and the following six numbers are all from Shun- 
 sho's famous series of illustrations of that ancient 
 romance, the "Ise Monogatari." All are size 8x6, and 
 all are very exceptional impressions in extremely fine con- 
 dition, with a color-quality wholly unlike the ordinary 
 copies that one knows. 
 
First Afternoon Shunsho 
 
 159 — Two Court Ladies Beside a Fence 
 
 See preceding number. 
 
 160 — A Noble and His Wife Seated in a Room 
 
 See preceding number. 
 
 161 — A Noble and a Lady on a Veranda 
 See preceding number. 
 
 163, — Seated Daimyo in a Black Robe 
 
 See preceding number. 
 
 163 — Two Nobles Watching a Swallow 
 See preceding number. 
 
 161< — Three Nobles Beside a Waterfall 
 See preceding number. 
 
 165 — Samurai With Long Sword 
 
 Tlie actor Ichikawa Yaozo in the role of a samurai hold- 
 ing up a great sword. The splendor of his robes and 
 the soft tones of the background give Sliunsho an oppor- 
 tunity for one of his most spirited color-improvizations. 
 
 Size K?x6. A .■superb imprexsion, in a nwtchlen.i condition that is 
 due to the softening effect of time on certain of the colors. 
 
 166 — ]\Ian With Lantern 
 
 The actor ]\Latsumoto Koshiro as a young sanuirai car- 
 rying a lantern and a small white box on a tray. The 
 color-sclieme of deep blues and reds and pale orange has 
 an enamel-like transparency and softness. 
 
 Size 12x.5y^,. A verg crceptional impression, in unsurpassable 
 condition. 
 
Shunsho 
 
 First Afternoon 
 
 .'- - ^' --^^^ 
 
 
 
 167 — The Temple Bell op Dojoji 
 
 The actoi- Segawa Kikunojo II, in 
 pale robes of superb geometrical 
 pattern, stands under the great bell 
 of Dojoji. Pale grey background. 
 In every respect, this rare design is 
 one of Shunsho's triumplis. 
 
 The play of which this is a repre- 
 sentation was derived from a story 
 whose scene was the Temple of Do- 
 joji, in the Province of Kii, near 
 Kyoto. Here, in the Tenth Cen- 
 tury, the monk Anchin, Jiaving re- 
 pulsed the amorous advances of the 
 infatuated girl Kiyohime, fled from 
 her wrath and hid himself in the 
 shadows beneath the great bell that 
 hung in the temple grounds. She, 
 having procured the aid of certain 
 evil spirits, pursued him ; and trans- 
 forming herself into a dragon, she 
 touched the enormous bell, which at 
 once fell to the ground, covering the 
 unfortunate priest. Thereupon the 
 revengeful dragon-woman curled her 
 fiery length about the bell, and 
 lashina- it into a white heat with her 
 flaming body, she consumed her 
 recreant lover, and perished herself 
 as the bell collapsed in a molten 
 flood. 
 
 A pillar-print. A superb impression, in 
 flawless and magnificent condition. 
 
First Afternoo7i 
 
 Shunko 
 
 SHUNKO 
 
 Worked c. 1769-1790 
 
 168 — Youth With Swoed 
 
 The actor Iwai Hanshiro 
 
 IV, in the role of Soga no 
 
 Goro, standing under a 
 
 p i n e-tree ; his purple 
 
 robes swirl in the wind. 
 
 Size 11x5. Very fine im- 
 preKxion and condition. 
 
 169— Man With Pipe 
 
 The actor Ichikawa Mon- 
 
 nosuke II, as a man with 
 
 a slender pipe, walking 
 
 on the shore of a stream. 
 
 His black robe is touched 
 
 with lights of rose. 
 
 *Reproduced in "Chats 
 
 on Japanese Prints," 
 
 Plate 24. Formerly in 
 
 the Wakai Collection. 
 
 Size 13x6. Extremely fine 
 impression and condition. 
 
 170— The Red Beggar 
 
 The actor Onoj^e Matsusuke as a ragged beggar or 
 ruffian, in a red tunic. 
 
 A magnificent design, — one of the finest of all known 
 actor-portraits. But it is far finer than Shunko ever 
 intended it to be — for the grey background and the 
 green earth have been printed in by that clever gentle- 
 man in Tokyo who "revamps" (and very often im- 
 proves!) genuine old prints, and whose devices were first 
 detected by the writer and first investigated and revealed 
 by Mr. Frederick W. Gookin. Many dealers' stocks are 
 now full of these revamped sheets ; and few collections 
 are free from them. 
 
 Size lli/jxSy,. Marvelous impression and condition. 
 
Shunko 
 
 First Afternoon 
 
 y 
 
 <T> 
 
 171 — A Wrestler 
 
 The gross, towering figure, drawn 
 in a few powerful lines, stands with 
 crafty, watchful eyes and alert 
 hands. 
 
 A rare and remarkable print. 
 Until one understands why the Jap- 
 anese loved these expressions of the 
 brutal and savage forces of life 
 quite as much as they loved the girls 
 of Harunobu, one has not begun to 
 understand Japanese art. 
 
 A pillar-print. Fine impression; all 
 color has been wiped out by time^ and 
 the print has now the efect of a ptire 
 black-and-white. 
 
 172 — The Black Daimyo 
 
 The actor Nakamura Tomijuro, in 
 
 vast black robes touched with rose. 
 
 An unusual composition. 
 
 Size 13x6. Pi7ie impression, in excellent 
 condition. 
 
 SHUNYEI 
 
 1767-1819 
 
 173— The Red Fan 
 
 An actor in a robe of smoky orange 
 stands holding an open fan. One of 
 the famous Ronin Series. 
 
 *Reproduced in "Chats on Jap- 
 anese Prints," Plate 23, with the 
 following comment : "On a grey 
 background, this powerfully de- 
 signed figure stands out with gigan- 
 tic simplicity in masses of dull color. 
 The prints of this rare type are 
 perhaps Shunyei's best." 
 
 Size 15x10. Very fine impression in 
 flawless condition. 
 
First Afternoon 
 
 Shunyei 
 
 174 — The Blue Umbkella 
 Ichikawa Monnosuke 
 II in the role of the 
 Otokodate Sukeroku, 
 carrying a large, blue 
 umbrella. 
 
 Size 12x6. A very fine 
 imp ression, in flawless 
 condition. 
 
 175 — The Green Robe 
 
 An actor in the role 
 of a samuiai stands 
 poised in a dark green 
 robe of geometrical 
 pattern. From the 
 same series as No. 173, 
 and equally fine. 
 
 Size 1.5x10. A very fine 
 impression, in flawless 
 condition. 
 
 176— Woman in Snow 
 
 The actor Iwai Hanshiro IV, in woman's costume, stands 
 under snowy Ijoughs on the banks of a stream. Grey 
 sky. 
 
 Formerly in the Hayashi Collection. 
 Size 13x6. A very fine impression, in very fine condition. 
 
Shunjo 
 
 First Afternoc 
 
 SHUNJO 
 
 (Saute at: Shuni/ei) 
 
 177 — Woman in Black 
 
 The actor Nakamura 
 Riko, as a woman, in a 
 beautifully drawn black 
 robe. The pale pink obi 
 has been slightly oxidized 
 by time, with notable 
 shadowy result. 
 
 Size 1.3x6. A superb hn- 
 pre.sskm, in flawless and 
 unique condition. 
 
 BUNCHO 
 
 Worked c. 1765-1780 
 
 178- 
 
 179- 
 
 -Actob-Fan 
 
 A fan-shaped portrait of 
 Ichikawa Danjuro V as 
 Soga no Goro, in the 
 play "Soga Aigo no Wa- 
 kaniatsu," given at the 
 Nakamura Theatre in 
 1769. He was then known as Matsumoto Koshiro III. 
 The first edition of this print, published in 1770, shows 
 him with the Koshiro emblem; the second edition, in 
 1774, has had this emblem removed by mortising the 
 block, and the Ichikawa emblem was substituted. 
 
 Size 91/0x6. Oood impression and condition. 
 
 -The Stone Lantern 
 
 The actor Ichikawa Danjuro as a Samurai standing un- 
 der bamboos beside a stone lantern. The color of the 
 print is very fine and highly characteristic of Buncho. 
 
 Size 12x5. An admirable impression, in flawless condition. 
 
First Afternoon 
 
 BUNCHO 
 
 EJ^ifiy" 
 
 180 — Samueai in Rain Stohm 
 The actor Ichikawa Yao- 
 zo II, as a samurai in a 
 shower of rain, holding 
 up a large umbrella. 
 Grey sky. The role is 
 that of Makabe no Hach- 
 iro, in the play "Neuriki 
 Yuzurika no Kagami," 
 produced at the Naka- 
 nnira Tlieatre in the au- 
 tunm of 1769. 
 
 Size 12-s.5y.,- An excellent 
 impreaainn in very fine 
 condition. 
 
 181 — The Hobby Hoese 
 
 The actor ]Matsumoto 
 Koshiro III, who later 
 became Danjuro V, as a 
 man carrj'ing a hobby- 
 horse. Very fine color. 
 
 Size 12X.51/,. A very fine 
 impression in perfect con- 
 dition. 
 
 182— The Red Fence 
 
 Before a red fence are two actors of the Ichikawa School ; 
 the standing one is playing the flute. Powerful and fine 
 
 Size l2y^x5\L. A superb impression, in fia-ic'les.t condition. 
 
BUNCHO 
 
 First Afternoon 
 
 183 — Man Before a Win- 
 dow 
 The actor Ichikawa 
 Monnosuke II, stand- 
 ing in the role of Soga 
 no Goro, before a 
 grated window. The 
 tragic story of the Re- 
 venge of the Soga 
 Brothers is one of the 
 famous Japanese pop- 
 ular legends. A char- 
 acteristically poised 
 Buncho figure, in pale 
 colors. 
 
 Size 13x6. A very fine 
 impression, in good con- 
 dition. 
 
 184 — Woman With Cat 
 
 An actor in the role of 
 Josan no Miya, leading 
 a cat by a cord. See 
 No. 27. An interior 
 opening on a balcony. 
 Size 12x51/,. Very fine 
 impression, in good con- 
 dition. 
 
 TOYOHARU 
 
 1733-1814 
 
 185 — The Scenery of Lake Biwa 
 
 A scene bringing together in one composition all the 
 Eight Famous Views of Lake Biwa. This is one of the 
 most pleasing of the designs of this earliest Ukioye land- 
 scape master, the teacher of the teacher of Hiroshige. 
 Exceptionally good color. 
 
 Size 10i/,xl.5. A superb impression, in flawless condition; even 
 the evanescent blue is entirely unaltered by time. 
 
First Afternoon Shigemasa 
 
 SHIGEMASA 
 
 1740-1819 
 
 186— The Balcony 
 
 Three women enjo_ying themselves on a balcony, from 
 which thej' watcli a cuckoo flying by. 
 
 This and the four following numbers are from the 
 album "jMirror of the Beauties of the Green Houses," 
 issued in 1776 by Shunsho and Shigemasa in collabora- 
 tion. It is generall}' regarded as the most beautiful 
 book ever produced in Japan. 
 
 EacJi print is size 81/0x12. All are exceptionally fine impressions, 
 in ijooil condition. 
 
 187— The Tea Garden 
 
 See the preceding nnmher. 
 
 188— The Gold-Fish Tank. 
 
 See the preceding number. 
 
 189 — The Game of Kitsune Ken 
 See the preceding number. 
 
 190— The Music Party 
 
 See the preceding number. 
 
Shigemasa 
 
 First Afternoon 
 
 :\\ 
 
 \^ 
 
 191 — The Grey Umbrella 
 
 A woman in dull green stands hold- 
 ing a closed umbrella ; another 
 woman in pale fawn-color is speak- 
 ing to lier. The simplicity of the 
 drawing and the originality of the 
 large, plain color-masses give this 
 print a wholly individual and very 
 distinguished quality. 
 
 The print is unsigned ; it was re- 
 garded as a Shuncho by the dealer 
 from whom it was purchased. But 
 this attribution is believed to be 
 erroneous. Mr. Frederick W. Goo- 
 kin first suggested the present at- 
 tribution ; it seems unquestionably 
 the correct one, — especially in view 
 of the fact that Shigemasa, in the 
 pride of his conscious supremacy, so 
 often disdained to affix his signa- 
 ture to his works. 
 
 A pillar-print. Superb impression and 
 condition. 
 
 192- 
 
 -The Orange Umbrella 
 Two geisha in pale robes stand un- 
 der a large, orange umbrella, which 
 is tilted at an angle that gives the 
 design half its life. 
 
 *Reproduccd in "Chats on Jap- 
 anese Prints," Plate 18, with the 
 following remarks : "Shigemasa's 
 draughtsmanship is the one quality 
 that marks him throughout all his 
 I changes ; from first to last, it is su- 
 
 -- '^ perb. With a fine firmness and ease 
 
 he produces, as in this picture, designs in which restraint 
 combines with great expressiveness." 
 
 A pillar-print. Very fine impression and condiiion. 
 
First Afternoon 
 
 Shigemasa 
 
 
 "■\.-x^ . 
 
 193 — Snowy Eaves 
 
 A graceful young girl in robes of dull 
 red and brown is sweeping the snow 
 off the eaves of a house. A grey, 
 wintry sky serves as background. One 
 of Shigeniasa's rare early works, and 
 one of tlie finest of them. 
 
 ,/ jtiUay-print. Exfremeli/ fine impression, 
 in beautiful condition. 
 
 194— The Falcon 
 
 The grey bird rests on a perch of pale 
 and elaborate rose and green, survey- 
 ing the sky. Tlie contrast between 
 the grey and the mass of luminous 
 color is carefully planned. 
 
 A pillar-print; extremely fine impression, 
 in fine clear condition. 
 
 L.... 
 
Shigemasa 
 
 First Afternoon 
 
 195 — The Red Samisen Box 
 
 Two graceful geisha, in robes of quiet richness, are fol- 
 lowed by a servant carrying a samisen box. 
 
 One of the rare and famous masterpieces of Shige- 
 masa's full maturity. FenoUosa wrote of this design: 
 "Kiyonaga at this day, with all his savage dash of 
 youthful penmanship, must have bowed to Shigemasa as 
 the one man from whom he could learn great things. 
 The line-idea of this picture, and the clear, large notan 
 spotting, recall again to us the final triumphs of Masan- 
 obu and of Harunobu." 
 
 Size 15x9y,. A beautiful impression, in fine condition. 
 
FIRST EVENING SALE 
 
 TUESDAY, FEBRUARY 10, 1920 
 
 AT THE AMERICAN ART GALLERIES 
 
 BEGINNING AT 8:15 O'CLOCK 
 Catalogue Nos. 196 to 405, inclusive 
 
 KIYONAGA 
 
 1742-1815 
 
 196 — The Ladies' Promenade 
 
 Two graceful women, in robes of green and black, are 
 walking under a large umbrella held b}^ a servant. No 
 background. 
 
 Size 10x71/,. ^ very fine impression, in flarcless condition. 
 
 197 — The Grey Screen 
 
 Before a grey screen a servant kneels with a tray : behind 
 her a woman in black and rose is talking with another 
 woman in pale purple. Faint yellow background. 
 
 One of the series, "Customs of the Eastern Capital." 
 In exceptionally fine and delicate color. 
 
 Size 9y.yx7yo. A remarkably fine impression, in fine condition. 
 
 198— The Blue Robe 
 
 Two reclining lovers who are embracing. The drawing 
 of the man's figure is extremely fine, as is also the color. 
 Nudes by Kiyonaga are rare. 
 
 Size 7y,xlO. A superb imp>ression, in flawless state. 
 
First Evenini. 
 
 KlYONAGA 
 
 199 — The Black Girdle 
 
 The actor Segawa Kiku- 
 nojo III as a woman pa- 
 rading before a decora- 
 tion of pine-trees. Among 
 the rare hoso-ye actor 
 prints of Kiyonaga's 
 earliest maturity, this 
 must take a high place. 
 In style, it marks the 
 transition from his peri- 
 od of imitation to the 
 brush-work that was his 
 mature glory. 
 
 Size 121/0x6. A very fine 
 impression : faded, but still 
 ichite and luminous. 
 
 200 — Geese Flying Down in 
 Autumn 
 Described as follows by 
 Mr. Frederick W. Goo- 
 kin in the Buckingham 
 
 ^ Catalogue: "Two women 
 
 are standing by a house, 
 and one is looking at geese flying down. The resem- 
 blance is to the style of Shigemasa, an artist highly re- 
 nowned for his brush-strokes. Kiyonaga could not fol- 
 low anyone better qualified to guide him in this regard, 
 but not for long did he follow anybody." 
 
 Size 10x7. Extremehi fine impression and condition. 
 
 201 — Two Ladies Beside a Stone Lantern 
 
 An extremely puzzling print, which the writer regards 
 as a reproduction, but which a number of other students 
 believe to be a perfectly genuine work made from recut 
 blocks in Kiyonaga's own day. It is very difficult to 
 prove the correctness of either view. 
 Size 10x7. Fine impression and condition. 
 
KlY( 
 
 First Evenins 
 
 202 — Actor Under a Plum 
 Bough 
 Ichikawa Danjuro as 
 the Otokodate Suker- 
 oku in black and rose 
 robe. Note the enor- 
 mous difference in style 
 between this and No. 
 199. That print 
 
 marked the beginnine 
 of Kiyonaga's mature 
 development; this print 
 is characterized by the 
 brilliant brush-strokes 
 of his perfect ripeness. 
 A remarkable rarity. 
 Formerly in the Lath- 
 rop Collection, N. Y. 
 
 Size 12x5yo. An excep- 
 tionally fine impression^ 
 in flawless condition. 
 
 203 — The Visit to the 
 Temple 
 TJiree slender girls in 
 luminous, soft-colored robes are proceeding with a child 
 and a servant to visit a temple. A charming print, in 
 both drawing and color. Formerly in the Appleton and 
 the Metzgar Collections. 
 
 Size 10x7. Superb impression and condition. 
 
 204 — The Balcony 
 
 Two graceful girls and a youth take their ease on a bal- 
 cony at Hakone. The brilliant line-work of the design 
 would make any two square inches of it recognizable as 
 Kiyonaga's though all the rest had perished. 
 
 Size lOxTy,. A fine impression; somewhat faded. 
 
First Evening ICtyonaga 
 
 205 — Winds of the Sumida River 
 
 At tlie prow of a boat stands a girl, her glowing gar- 
 ments the sport of the river-winds. Behind her, against 
 a background of Ryogoku Bridge trestles, her compan- 
 ions, — a young man, geishas, and attendants, — amuse 
 themselves with their river-holiday. 
 
 Kiyonaga rarely surpassed the triumph of this de- 
 sign ; nor is there any one of his characteristic splendors 
 lacking from this masterful work. Mr. Frederick W. 
 Gookin writes of the Buckingham copy of it: "The 
 yellow wooden piers and cross-ties, with the green land- 
 scape of the river-bank showing between them, form a 
 dominant note in the composition which is one of 
 Kiyonaga's finest in the manner of that year." 
 
 *This print, formerly the property of ]\I. Charles 
 Vignier, is reproduced in the V. I. K. Paris Catalogue, 
 "Kiyonaga," Plate 34. 
 
 Size, each sheet W/oxlO. A superb impression, in brilliant and 
 flawless condition. 
 
 206 — Three Women at Dusk 
 
 The three tall, majestic figures, one carrying an um- 
 brella, move in soft, simple robes against a grey back- 
 ground. These are the figures of Kiyonaga's prime, — 
 more divine than human in their calm and gracious diff- 
 nity. Tlie raised bare arm of the central figure is an 
 especially beautiful touch. This print may have been 
 revamped ; the writer is not sure. 
 
 Size 15i/;XlO. A superb impression, in beantiful condition. 
 
Ktyonaga 
 
 First Evening 
 
 
First Evening 
 
 KlYONAGA 
 
 207 — The jMatchmaker 
 
 Two tall and beautiful young girls stand at the right; 
 in the middle sits a young man to whom an elderly, 
 laughing man is whispering. One of Kiyonaga's mas- 
 terpieces. 
 
 Size 15x10. A it'JwJhj superb impression in flawless condition. 
 
KlYONAGA 
 
 First Evening 
 
 208— The Ferry 
 
 On the Suniifla River a ferry boat is passing from shore 
 to shore. In it stand a man in bhick robes and a woman 
 in robes of pale orange ; while a child and an exquisitely 
 drawn young girl occupy the seats. Had Kiyonaga 
 done nothing but this one girl, he would be memorable. 
 This print is the middle sheet of one of Kiyonaga's most 
 majestic triptychs. 
 
 *This copy is reproduced in the Sale Catalogue of the 
 Hotel Drouot, Paris, March 23, 1908. Another copy is 
 illustrated in the V. I. K. Paris Catalogue, "Kiyonaga," 
 Plate 33 ; and another in Fenollosa's "Epochs of Japan- 
 ese Art," Vol. 2, Appendix. 
 
 Size 1414x9%. A superJi imprexsUin, in heavtiful huiiinmis con- 
 dition. 
 
First Evening 
 
 KlYONAGA 
 
 209 — Court Lady of Olden Time 
 
 In long, antique robes, drawn with all Kiyonaga's 
 splendor of line, she stands by the edge of a stream. 
 KiA'onaga did a series of designs of this type, of which 
 this is perhaps the finest. 
 
 Size 15x10. A xiiperb imj)re.'!sion. in beautiful condition. 
 
 210— The Brazier 
 
 Four actors in heroic roles are gathered around a braz- 
 ier. The very marvelous quality of the impression 
 merits attention. 
 
 Size 10i/,x8. A most exceptional impression, in flawless condi- 
 tion. 
 
KlYONAGA 
 
 First El 
 
 211 — Music Beside the Garden 
 
 Three geishas, in a room opening onto a garden, are 
 about to begin to phiy ; while a maid brings in a sami- 
 sen-box. Tlie lovely figures and cool, delicate colors 
 mingle in a grave harmony. 
 
 Size 15x10. A nuperb impression, in flawless condition. 
 
First Evening 
 
 KlYONAGA 
 
 212 — The Evening 
 Terrace 
 In a room 
 opening onto a 
 tea-house ver- 
 anda that looks 
 out over an 
 evening sea, 
 three geishas 
 are grouped 
 with their mu- 
 sical i n s t r u- 
 ments about 
 them. The con- 
 trast between 
 the softly lu- 
 minous figures 
 and the dull 
 black sky is 
 charming. One 
 of the series, 
 "The Twelve 
 Months of the 
 South." 
 
 Size 10x7'/.. An exceptionnlli/ fine imprexxion, in superb condi- 
 tion. 
 
 213 — Shinobazu Pond in Winter 
 
 Across the delicately drawn, snowj' landscape move two 
 women and a boy; the ghostly lavender and yellow of 
 their inner robes, and the grey of the sky, form a most 
 daring contrast to the intense black of their outer gar- 
 ments. Nothing could well be more tranquil and subtle 
 than this design. This print may have been revamped; 
 the writer is not sure. 
 
 Size lOxTy^. A auperh impression, in beautifnt condition. 
 
 214) — The Flower Exhibition 
 
 Two graceful girls in robes of soft blues and purples 
 stand admiring pots of flowers in an open-air booth. A 
 small and characteristic Tviyonaga jewel. 
 Size Sy,,x(>. Superb impression and condition. 
 
KlYONAGA 
 
 First Evenins 
 
 215 — The Actor's Prome- 
 nade 
 The actor Ichikawa 
 Monnosukc II, in robes 
 of black and pale blue, 
 is walking in the coun- 
 try with a purple- 
 robed woman. Grey 
 background. Prints of 
 this rare type, repre- 
 senting actors in pri- 
 vate life, display al- 
 most a new aspect of 
 Kiyonaga's powerful 
 genius, 
 
 She 13x6. An extremely 
 fine im p r e s s io n, in 
 snperb condition. 
 
 216 — The Departure 
 
 Two servants attend 
 on a courtesan who is 
 just coming down the 
 steps of a house. 
 
 Size 9x6. A very fine 
 impression, in heantiful 
 condition. 
 
 217— The River Gate 
 
 Two graceful women, in robes of rose and purple, stand 
 at a garden-gate that opens onto the Sumida River. 
 Two children play beside them. The drawing of the 
 figures is fine and characteristic. From the series, "The 
 Twelve Months in the Southern Quarter," of which this 
 represents the Second Month. 
 
 Size lOy^xS. A fine impression, in fine condition. 
 
First Evenirii 
 
 KlYONAGA 
 
 eijt- 
 
 7. 
 
 fcf 
 
 218— The Temple States 
 
 Descending the stone stairs of a 
 temple, under cryptonieria trees, 
 comes the gracious figure of a 3'oung 
 girl. Her dull violet and green 
 robes sweep and part as she walks. 
 *This print, formerly the prop- 
 erty of M. Pierre Barboutau, is re- 
 produced in Barboutau's "Biogra- 
 phies d'Artistes Japonais," Vol. II, 
 Page 44. It is also reproduced in 
 the V. I. K. Paris Catalogue, 
 "Kiyonaga," Plate 37. Very rare. 
 
 A fiUar-print. A very fine impression, 
 in beautiful condition. 
 
 219 — The Letter ox the Vekanda 
 
 In the evening dusk, a courtesan in 
 robes of splendid green, black, and 
 orange stands reading a letter, 
 while two spies also inform them- 
 selves of its contents. The subject 
 is the same Ronin story used in 
 No. 120. 
 
 Another copy is reproduced in 
 the V. I. K. Paris Catalogue, "Kiy- 
 onaga," Plate 11. 
 
 A pillar-print. A superb impression, 
 in superb condition. 
 
 220— The New- Year's Robe 
 
 A graceful courtesan stands poised, 
 wearing tlie gay rose and green cos- 
 tume of the first day of tlie year. 
 The black touches of her outer robe 
 are in fine contrast with the light, 
 bright colors of the rest of the pic- 
 ture. 
 
 A pillar-print. A superb impression, 
 in must fla-cC'less and brilliant state. 
 
KlYONAGA 
 
 First Evening. 
 
 221- 
 
 \. 
 
 <*.' 
 
 X 
 
 222- 
 
 <— 223- 
 
 -The Snowy Plum Bkanch 
 A girl in robes of purple and rose 
 stands on a veranda quietly watch- 
 ing while snowflakes fall across a 
 grey sky. The modeling of the 
 drapery, which reveals so subtly the 
 contours of the body, is notewortliy. 
 
 A pillar-print. A snperb impression, 
 in flawless condition. 
 
 -A Geisha and Maid 
 In robes of pale violet and orange, 
 she moves along the street followed 
 by her servant, who carries a black- 
 lacquer samisen-box. Every line of 
 this masterpiece reveals those quali- 
 ties of Kiyonaga's genius that make 
 him the crowning pinnacle of 
 Ukioye art. 
 
 *Reproduced in "Chats on Jap- 
 anese Prints," Plate 30. Another 
 copy is reproduced in the V. I. K. 
 Paris Catalogue, "Kiyonaga," 
 Plate 21. 
 
 A pillar-print. A superb impression, in 
 beautiful luminous condition. 
 
 -Girl With Mirror 
 In robes whose simple rose and grey 
 and violet combine into the utmost 
 splendor of color, her lithe figure 
 stands on a veranda with a mirror 
 in her hand. 
 
 *Reproduccd in "Chats on Jap- 
 anese Prints," Plate 30. 
 
 A pillar-print. A supterb impression in 
 flawless condition. 
 
First E veiling 
 
 KiyONAGA 
 
 ^i^ 
 
 224 — The Cheeky Bough 
 
 The lordly figure of a woman in a 
 
 black robe and pale yellow obi. No 
 
 one else ever quite matched this 
 
 dignity of Kiyonaga's. 
 
 A iiiUar -print. A fine inipression, in 
 good condition. 
 
 225 — The Summer Evening 
 
 Two young courtesans in pale 
 robes ; one holds a fan, the other 
 is lying under a mosquito-netting. 
 Notable for its force of line and 
 harmony of color. A very impor- 
 tant and rare print. 
 
 *This print, formerly the prop- 
 erty of M. Charles Vignier, is re- 
 produced in the V. I. K. Paris Cat- 
 alogue, "Kiyonaga," Plate 37. Fe- 
 nollosa wrote of this design : "This 
 is a specimen of Kiyonaga's most 
 magnificent line-drawing" ; and 
 dated it 1783. 
 
 A pillar-print. A superb impression, 
 ill beautiful condition. 
 
 226— The Beown Robe 
 
 A standing girl, in a brown robe 
 and pale orange girdle, drawn with 
 the utmost simplicity. An older 
 woman is seated beside her. Here 
 Kiyonaga, carrying restraint and 
 singleness of effect to its farthest 
 point, achieves one of his master- 
 pieces. 
 
 *Reproduced full size and in col- 
 ors in Tajima's "Masterpieces Se- 
 lected from the Ukioye School," 
 Vol. Ill, Plate 88. 
 
 A pillar-print. An extremeh/ fine im- 
 pression, in good condition. 
 
KlYONAGA 
 
 First Evening 
 
 227 — The Idle Broom 
 
 A man in pale green robes stands 
 reading a letter which a girl in rich 
 brown robes is showing him. A 
 broom leans against his arm. The 
 color of this print is exceptionally 
 splendid. 
 
 This is another frivolous allusion 
 to a venerable Buddhist legend, — 
 that of the two poet-hermits, Kan- 
 zan and Jitoku. Here is the Broom 
 of Insight, with which Jitoku swept 
 away the debris of mortal troubles ; 
 but Kanzan's blank scroll, symboliz- 
 ing his power to read the unwritten 
 book of nature, is replaced by a 
 ga}' love-letter. 
 
 A jjiUar-print. A very fine impression, 
 
 in hriUiant condition. 
 
 228 — The Willow Bough 
 
 A stately woman in pale violet robes 
 stands holding a large open um- 
 brella. The delicately indicated 
 transparency of the garments is 
 noteworthy. 
 
 *Reproduced in Scribner's Mag- 
 azine for March, 1916. Another 
 copy is illustrated in the IMetzgar 
 Catalogue, 1916, Plate 11. Fenol- 
 losa writes of this design: "This is 
 the perfection of Kiyonaga's work 
 up to this date. He has deliberately 
 sacrified the fireworks of his draw- 
 ing for dehcate and elegant line, like 
 Shigemasa's. Here we strike a per- 
 fect and restrained beauty of pro- 
 portion that we may call classic." 
 A pillar-print. A quite exceptionally 
 fine impres.Hon, in very fine condition. 
 
First Evening Kiyonaga 
 
 229— The Serenade 
 
 At dusk, under a full moon, the lover plays his flute at 
 the gate ; while within the garden the beloved in her 
 inner chamber sends her maidens with lanterns to dis- 
 cover who is the player of the haunting melody. 
 
 Rose, purple and grey, with touches of black and dull 
 green, play in a superb mosaic, out of which rise the 
 Olympian figures of this most characteristic triumph of 
 Kiyonaga's. 
 
 The story which the picture illustrates is one of the 
 most beautiful of Japanese legends. Prince Yoshitsune, 
 tlie hope of the Minamoto faction in the Twelfth Century, 
 is wandering, a fugitive from his enemies ; when, in an 
 enclosed garden, he sees the young noblewoman Joruri- 
 hinie, and falls in love with her. So at dusk he returns 
 to the gate, playing upon his flute such melody as melts 
 her soul ; and she goes to him in the perilous moonlight. 
 Then for the lovers life becomes a glorious madness, — 
 until that day when Yoshitsune returns to lead the con- 
 quering hosts of the Minamoto, and when Jorurihime's 
 body is found drifting in the little stream. 
 
 *Reproduced in "Art and Life" for October, 1919. 
 Other copies of this print are reproduced in "Chats 
 on Japanese Prints," Plate 29; in the V. I. K. Paris 
 Catalogue, "Kiyonaga," Plate 26; in the Hayashi 
 Catalogue, Page 216; and in Tajima's "Masterpieces 
 Selected from the Ukioye School," Volume III, Page 89. 
 
 A triptych, size 12yox31, Both as to impression and condition, 
 prohohli/ the finest existing copy of one of Kii/onaija's most 
 famous masterpieces. Time has not touched its luminous bril- 
 liance; it is as fresh as the day it was finished. 
 
KlYONAGA 
 
 First Evening 
 
 \1Sl4^' 
 
 r _Jff '■•if 
 
 c 
 
 PS 
 H 
 
 H 
 < 
 
 o 
 5 
 
First Evening 
 
 KlYONAGA 
 
 230 — The Blue Robe and the Black Robe 
 
 A majestic girl in a pale blue robe stands beside another 
 girl in intense black. Behind them kneels a young friend 
 in green \yho examines lier lips in a mirror. One of the 
 famous scries, "Present-day Beauties of the Yoshiwara." 
 Fiize 15x10. Beautiful impression and condition. 
 
 231— The Secret 
 
 Beside the Sumida River a young girl in pale robes is 
 whi.spering to an older woman, while a child watches the 
 stream. A graceful and colorful design. 
 
 Size Sy^.xTy,. Fine impression and condition. 
 
KlVONAGA 
 
 First Eveni 
 
 <jvening 
 
 232— The Black Robe 
 
 A tall slender girl in a black robe is accompanied by a 
 boy and two women, one of them wearing a black hood. 
 One of the series, "Brocade Pictures of the Eastern Cap- 
 ital," which contains so many of Kiyonaga's supreme 
 achievements. A very important print. 
 
 Size l+VixlO. Extremely fine impression and condition. 
 
 233— The Steong Boy 
 
 Kintoki, the legendary strong boy, accompanied by a 
 servant, stands on the seashore waving a fan. A tour- 
 de-force in powerful brush-strokes. 
 
 Size 15x10. A very fine impression, in fiatc'Iess condition. 
 
First Evening 
 
 KlYONAGA 
 
 234 — The Wistakia Arbok 
 
 Under hanging blooms of white wistaria at Kameido 
 Temple, the stately figures of three women in pale robes 
 are passing. The dignity of tlieir carriage is unsur- 
 passed. 
 
 Another copy of tliis print is reproduced in the V. I. K. 
 Paris Catalogue, "Kiyonaga," Plate 29. 
 
 Size 15x10. A remarkable inqjre.ixion in luminous condition. 
 
 235 A C'OUKTESAN AND ATTENDANTS 
 
 The famous and aristocratic Hana-Ogi of Ogi-ya, parad- 
 ing witli four attendants in robes of rose and green. 
 
 *Heproduce(l in "C"h;its on Japanese Prints," Plate 25. 
 
 Size 15x10. Fine inipres.iion and condition. 
 
KlYONAGA 
 
 First Evening 
 
 
 ,.4^ 
 
 '^ 
 
 ^i" 
 
 -t'J 
 
 
 H.M, 
 
 •r^X 
 
 ^ 
 
 '^ 
 
 "i 
 
 ^ 
 
 % 
 
 1 
 
 236— The Balcony 
 
 Three women on a balcony. Tlie one on the left is in 
 blue ; the middle one in black ; and the one on the right in 
 grey. Rarely does Kiyonaga display such a variety of 
 attitudes as in these figures, or such skill in expressing 
 pose and movement. 
 
 Size 12x81/,. A superb imipres.non, in brilliant condition. 
 
First Evenirif 
 
 KlYONAGA 
 
 237— The Happy Garden 
 
 A scene in a garden of cherries, rocks, and pines, where 
 four young women are preparing a kind of confectionery. 
 The soft clear pinks and greens, and the simply drawn 
 suave figures, are full of repose and distinction. 
 
 Size 1.5x10. A perfect impression, in flawless condition. 
 
KlYONAGA 
 
 First Evening 
 
 238 — The Sumida River Embankment 
 
 Against a background of blue river and grey evening 
 sky, two very slender girls are walking along the em- 
 bankment, followed by an older woman. Their dark red 
 and purple robes are swept back in long folds by the 
 wind of their movement. 
 
 One of the rarest and most famous masterpieces of 
 Kiyonaga's later prime. Other copies are reproduced in 
 the V. I. K. Paris Catalogue, "Kiyonaga," Plate 36 ; and 
 in the British Museum Catalogue, Page 126. 
 
 Size ISi/oxlOy,. A brilliant impression, in siqierh and flamUss 
 condition, it'ith colors at full stren 
 
First Evening Shuncho 
 
 SHUNCHO 
 
 Worked c. 1775-1800 
 
 239 — Mansion Opening Onto a Garden 
 
 The scene is the ladies' appartnients of a nobleman's 
 Yasliiki. Twelve ladies, in robes of glowing rose, green, 
 black, orange, and purple, arc scattered about the large 
 rooms flooded with light. They are arranging flowers, 
 or chatting, or viewing the beauties of the garden where 
 cherry trees bloom above a stream. A brilliant scene of 
 rich color. 
 
 Triptych, size 15x.'30. An impression of the finest quaJity; in 
 flawless, untouched and luminous condition. 
 
 240 — Thk Village by the River 
 
 A girl in a yellow robe with long swinging sleeves stands 
 with her companions on high ground beside a river. 
 Size 1.5x10. Excellent impression and condition. 
 
 241 — The Wistaria Arbor 
 
 A group of women and children, in robes whose blues, 
 reds, and greens make a riot of color, are passing under 
 an arbor of purple wistarias. Pale yellow background. 
 The brilliance of this print is remarkable. 
 
 Size 1.5x10. A superb impression, in flawless and wholly un- 
 altered condition. 
 
 242 — Girl in Black Robe 
 
 A dehcately drawn girl in a black robe, accompanied by 
 two women and a man, passes toward the left. No 
 background. Formerly in the Hayashi Collection. 
 
 Size 10x71/,. A beautiful impression, in beautiful condition. 
 
Shtjncho 
 
 First Evening 
 
 jij J?-if^4^,^, 
 
First Evening 
 
 Shuncho 
 
 S;;*!'5^?3Wi'3;^=T!SKP' 
 
 243 — The Cheysaxthemum Festival Day 
 
 The princess-like courtesan, Katano of Ogi-ya, in the 
 brilliant rose and gold splendor of festal attire, followed 
 by her attendants. The richness of the colors against 
 the pale grey background is notable. 
 
 Formerly in the Appleton Collection. 
 
 Size 1.5xlO. A matchless impression, in all the untouched bril- 
 liance of its oriffinal state. 
 
Shuncho 
 
 First Evening 
 
 244 — The Boy's Festival Day 
 
 The regal courtesan Seyama of Matsuba-ya, in the bril- 
 liant purple and yellow of festal attire, followed by her 
 attendants. The richness of the colors against the pale 
 grey background is remarkable. 
 
 Formerly in the Appleton Collection. 
 
 Size 15x10. A matchless impression, in all the untouched bril- 
 liance of its original state. 
 
First Evening 
 
 Shuncho 
 
 245 — A Bench in the Countryside 
 
 A girl in flowing robes of rose stands beside a bench on 
 which sit her two girl-companions. Streams and fields 
 form the background. 
 
 Size 15x10. A superb impression, in fawiess condition. 
 
 2-t6 — A Group of Courtesans 
 
 Two courtesans and their five attendants form a group 
 of soft splendid color against the dull grey background. 
 
 Size 15x10. An extremelfi fine impression, in heanfiful condition. 
 
Shuncho 
 
 First Evening 
 
 
 1 
 
 I: 
 
 247 — Three Women in Gkey 
 
 Against a pale yellow background, which is the only 
 
 touch of color in the picture, three women move slowly 
 
 along a cherry-blossom liillside. Tlicir robes are a 
 
 symphony of greys. 
 
 Size lOi/jxTVo- ^n almost matchless impression, in flawless con- 
 dition. 
 
 248 — Boat on the Sumida River 
 
 With the far shore of the Sumida River as a barely- 
 suggested background, two graceful girls are standing 
 in robes of purple and rose. 
 
 *Reproduced in "Chats on Japanese Prints," Plate 33. 
 A piUar-print. A fine impression in good condition. 
 
First Eve-rims' 
 
 Shuncho 
 
 . -f??-^ 
 
 ^> ^■ 
 
 
 ->^ 
 
 J-^^' 
 
 249 — Cheery Viewing at Gotenyama 
 
 Two young girls in robes of pale 
 violet and rose are looking up at 
 the pink of the cherry-blossoms 
 overhead, with the yellow of the 
 hills and the blue of the sea behind 
 them. The two figures seem to 
 blend with their surroundings in a 
 mood of lyrical happiness. 
 
 A piUar-print. A fine impression, in 
 luminous condition. 
 
 n>- 
 
 -m 
 
 h 
 
 f 
 
 i\ 
 
 ('J- 
 
 250 — Courtesan Beside MosauiTO — 
 Netting 
 
 The tall purple figure, of the heroic 
 Kiyonaga type, stands just outside 
 the green mosquito netting sus- 
 pended over her bed. 
 
 ./ pittnr-print. Very fine impression 
 ond condition. SiigtUly toned. 
 
 251 — Two Ladies Under Umbrella 
 
 The two delicate and exquisite 
 figures stand under a willow branch, 
 together holding up the umbrella. 
 
 *Reproduced in "Chats on Japa- 
 nese Prints," Plate 32. 
 
 A piUar-print. A Z'eri/ fine impression 
 in faded but beautiful condition. 
 
Shuncho 
 
 First Evening 
 
 252— The Pink Fan 
 
 A woman in translucent robes of 
 black stands holding a pink fan and 
 a blue umbrella. 
 
 A pillar-prmt. A fine impression, in 
 fine condition. 
 
 253 — The Chrysanthemum Robe 
 
 A lady in a pale blue robe stands 
 under a leafy branch. The calm 
 and dignity of her figure are not- 
 able. 
 
 A piUar-print. A very fine impression, 
 considerahly faded. 
 
 254 — Courtesan Under Cherry Bough 
 In robes of pale purple and rose, 
 with her green-clad little attendant 
 behind her, she stands as calm and 
 brilliant as the cherry flowers them- 
 selves. 
 
 A pillar-print. A fine impression in 
 fine luminous condition. 
 
 255 — Window by the River 
 
 Hana-ogi of Ogi-ya, the most re- 
 nowned and beautiful courtesan of 
 her time, stands, in robes of blue 
 and rose, before a latticed window 
 that looks out upon the blue Sum- 
 ida River. This is one of the most 
 regal figures that Shuncho ever 
 drew. 
 
 *Reproduced in "Chats on Jap- 
 anese Prints," Plate 32. 
 
 A pillar-print. A remarkably fine im- 
 pression, in superb condition. 
 
First Evening 
 
 Shuncho 
 
 ( / 
 
 - -i'S^X 
 
 256— The Gold Obi 
 
 A courtesan in robes of black stands 
 before a pale grey and yellow back- 
 ground. Her gorgeous obi and the 
 edges of her robe are printed in 
 pure metallic gold-bronze — a most 
 unusual and effective piece of tech- 
 nique wliich appears in no other 
 known pillar-print, so far as has 
 been observed. Very rare. 
 
 .-) pillar-print. A super}> iniprei^sion, 
 in jl(fwtes/i and brilliant condition. 
 
 2.57 — The Laxtekn 
 
 A young servant carrying a lantern 
 follows her young mistress through 
 the street. A small sheet, touched 
 witli all the charm of Shuncho's 
 larger designs. 
 
 Size 9x6. A superb impre.i.iion, in 
 flawies.H condition. 
 
 2.58 — Amoxg Rice Fields 
 
 Two women and two girls stand on 
 a road in the country. Their sim- 
 ple robes are of rich, harmonious 
 color. 
 
 Size 15x10. A very fine iwpre.'ision in 
 excellent condition. 
 
 A.\ 
 
 259 — Brixging in the Tk.\y 
 
 In a kaleidoscope of blue and orange 
 and green, three ladies and two girls 
 divert themselves in a large, bril- 
 liant room. 
 
 Size 1.5x10. A .tuperb impre.'ision in 
 flazc'le.^.t and luminous condition. 
 
Shunzan 
 
 First Evening 
 
 \^n 
 
 : ■/ 
 
 SHUNZAN 
 
 Worked c. 1780-1800 
 
 260 — After the Bath 
 
 A girl in a wliitc bath-robe spotted 
 with purple stars is seated at the 
 edge of a veranda drying her ear. 
 Behind her stands another girl in 
 loose robes of blue and rose. Grey 
 background. The colors of this ex- 
 ceptional work are highly individual 
 and striking. 
 
 A fUlar-'print. A uniquely fine impres- 
 sion, in flawless and immaculate condi- 
 tion. 
 
 "J 
 
 ^ 
 
 .'261 — AcTOB With Basket Hat 
 
 An actor in luminous violet robes 
 stands before a window where 
 cherry-blossoms show against a blue 
 sky. An early, rare, and fine work. 
 
 Size llx.5. A superb impression, in 
 brilliant condition. 
 
 4^ 
 
First Evening Shunzan 
 
 262 — SuMiDA River Festival 
 
 On a summer evening of festival, when gay boats crowd 
 the Sumida River, this group of young men and women 
 are idling at a tea-house on the shore. The variety and 
 grace of their attitudes, the rich kaleidoscope of colors 
 in the different robes, and the drawing of the draperies, 
 combine to make this one of Shunzan's masterpieces. 
 
 Another copy is reproduced in the Hayashi Catalogue, 
 Page 170. 
 
 A tripfi/ch, size 15x30. A matchless impression, in wholly flaw- 
 less anil mnipiificent condition. 
 
 YUMIAKI 
 
 Worked c. 1780-1790 
 
 263— The Stair 
 
 A girl in pale robes is mounting a stair, to where an- 
 other girl sits talking to a man whose shadow appears 
 on the screen. A curious and rare print, by an almost 
 unknown artist. The line-work carries Kiyonaga's 
 vigor of brusli-stroke to extraordinary lengths. 
 
 A pillar-print. Very fine impression and condition. 
 
 KITAO MASANOBU 
 
 1761-1816 
 
 264< — The Umbrella 
 
 A woman in black robes decorated with pale blue and 
 rose circles is holding up a green umbrella. She is at- 
 tended by a man-servant in brown and green. A qjiiet 
 and decorative design. 
 
 A pillar-print. Very fine impression and condition. 
 
 265 — A God of Good Luck 
 
 The god Fukurokuju looks over the shoulder of a pur- 
 ple-robed girl, as she holds up a kakemono. 
 
 A pillar-print. Superb impression and condition. 
 
Shunzan 
 
 First Eveni 
 
 enmg 
 
 
 
 H 
 
 Pi 
 > 
 
 Q 
 
 I— ( 
 
 en 
 
 Z 
 < 
 
 Z 
 
 en 
 I 
 
 
 ^^^, 
 
First Evening 
 
 KiTAo Masanobu 
 
 266 — Three Girls and a Kitten 
 
 The exquisite geisha Yamashita Hana, in a transparent 
 black-gauze robe and green girdle, is playing with a 
 kitten. Behind her stands a companion in pale summer 
 garments ; while a second companion sits at her feet. 
 
 Few known prints display such mastery of the differ- 
 ent textures of draperies as this. It is one of the most 
 famous masterpieces of tliis rare artist. Another copy 
 is reproduced in the Appleton Catalogue, 1910, No. 192. 
 
 Size 15x10. A cuperb impression, in hriUiant and beautiful con- 
 dition. 
 
Shunman 
 
 First Evening 
 
 SHUNMAN 
 
 1757-1820 
 
 267— The Showee 
 
 Holding up a large blue umbrella, 
 a tall girl in rose and black is walk- 
 ing along the river-bank in a gusty 
 shower of rain. A fine design, of 
 the utmost rarity. 
 
 A piUar-print. A superb impression, in 
 sujyerb condition. 
 
 268 — The Maple Tree 
 
 Two women in robes of pure grey 
 are pausing beneath a maple-tree 
 where hang a few bright autumn 
 leaves. The standing figure is one 
 of strange ghostly grace ; both 
 have a fascinating pale unreality. 
 Shunman's harmonies in grey are 
 rare and famous. 
 
 *Roproduced in "Chats on Jap- 
 anese Prints," Plate 45. 
 
 A pillar-print. Very fine impression 
 and condition. 
 
First Eve Jims' 
 
 Shunman 
 
 
 269 — The Tama River of Koya 
 
 Three women, all in grey, are traveling along a road ; 
 
 one stoops to tie her sandal. The only color consists of 
 
 vague touches of green and 3'ellow in the background, 
 
 resulting in a landscape that is as ghostly and pale as 
 
 the figures. 
 
 This and the following print are from Shunman's 
 
 masterpiece, the six-piece composition, "The Tama- 
 
 gawa." Other copies are reproduced in the Japanese 
 
 translation of "C'hats on Japanese Prints" ; in the V. I. K. 
 
 Paris Catalogue, "Yeishi," Plate 41 ; and in the British 
 
 Museum Catalogue, Page 144. Very rare. 
 
 Size 1.5x10. A siiperb impresxion, in flarc'less aiid luminous con- 
 dition. 
 
Shunman 
 
 First Evening 
 
 270 — The Tama River of Chofu 
 
 A girl is washing long strips of linen in the stream, 
 while a youth and two ladies look on. All the robes are 
 grey; the landscape is faintly touched with green and 
 yellow. See the preceding number. Very rare. 
 
 Other copies arc reproduced in the Waida Catalogue, 
 Amsterdam, 1909, No. 296 ; and in Succo's "Toyokuni," 
 Vol. I, Plate 13. 
 
 Size 1.5x10. A marvelonsly delicate impre>:don, in flawless and 
 
 luminous condition. 
 
First Evening 
 
 Choki 
 
 CHOKI 
 
 Worked c. 1785-1810 
 271 — The Taxabata Festival 
 
 A girl rolled in transparent grey is hanging festival 
 ornaments on a bamboo tree, while a youth simultane- 
 ously helps her and makes love to her. Soft, clear colors 
 against a pale grey background. A very fine and rare 
 print. 
 
 Size 1.5x10. ^4 votnhle impre.i.iion , in flawlexs condition. 
 
Choki First Evening 
 
 272— The Black Box 
 
 A servant with a lantern carries a black samisen-box ; 
 behind her follows her mistress, a geisha. 
 
 *Reproduced in "Chats on Japanese Prints," Plate 46. 
 A jnllar-print. Extremely fine impression and condition. 
 
 273 — Courtesan and Her Lover 
 
 She stands biting the edge of her robe, which falls in 
 long, fine folds. 
 
 *Reproduced in "Chats on Japanese Prints," Plate 46. 
 Another copy is reproduced in the V. I. K. Paris Cata- 
 logue, "Yeishi," Plate 24. 
 
 A pillar-print. A fine impression in good condition. 
 
 274 — Courtesan and Attendant 
 
 Robed in violet and grey, they pass toward the right, 
 at a chrysanthemum show. 
 
 *Reproduced in "Chats on Japanese Prints," Plate 45, 
 with the remark : "The face and figure seem at first 
 sight almost purely of the Kiyonaga variety ; but on 
 closer examination differences appear; and most striking 
 of all is the fact that the color-scheme is that peculiar 
 combination of yellow, grey, violet, blue, and black which 
 was distinctive of some of Yeishi's finest work." 
 
 A pillar-print. Extremely fine impression and condition. 
 
 YEISHI 
 
 Worked c. 1780-1800 
 
 275 — Poetesses (Three Prints) 
 
 In costumes of ancient times, they float in the midst of 
 a whirlwind of jeweled color, their black hair in vivid 
 contrast to their luminous robes. This and the follow- 
 ing numbers are sheets from Yeishi's famous album, 
 "The Thirty-six Poetesses." They are purely and sim- 
 ply delirious dissipations in delicate color ; as such, they 
 have no equal. 
 
 Size lOxTy, each. Matchless impression and state. 
 
 276 — Poetesses (Three Prints) 
 277 — Poetesses (Two Prints) 
 278 — Poetesses (Two Prints) 
 
First Evening 
 
 Yeisp 
 
 279 — Passage of the Sumida Rivee 
 
 A tall lady in a black robe with 
 roRC-colored girdle stands in a boat 
 on the Sumida River. A compan- 
 ion in a rose-colored robe sits at her 
 feet. This represents Yeishi's most 
 serene and dignified style, touched 
 l)y the influence of Kiyonaga. 
 
 A piUnr-print. A very fine impression, 
 in (food condition. 
 
 280 — On the Veranda 
 
 A woman in a black summer robe 
 with rose-colored girdle is hanging 
 up a bowl of gold-fish. The gauzy 
 garment reveals the lines of her 
 body ; tlie transparency is finely 
 rendered. At lier feet sits a girl in 
 cool green and white. 
 
 A piUar-print. ^In exceptional! 1/ fine 
 impression in ftaroless condition. 
 
 281— The River Gate 
 
 A slender girl in brilliant, translu- 
 cent robes of white and rose stands 
 outside a gate on the river-bank. 
 Another copy is reproduced in the 
 Japanese translation of "Chats on 
 Japanese Prints." 
 
 A piUar-print. Superb impression and 
 condition. 
 
Yeishi 
 
 First Evening 
 
 282— The Saki-Cup Tree 
 
 A standing woman in pale purple, and a seated woman 
 in black, yellow, and rose, appear against a faint yellow 
 background. Behind them hangs an ornament on which 
 saki-cups are placed as if they were the blossoms of a 
 tree. Both the drawing of tlic figures and the color are 
 exceptionally fine. 
 
 Size 15x10. A remarkably fine impression in flawless and lum- 
 inous condition. 
 
First Evening Yeishi 
 
 283— The Treasure Ship 
 
 "Among Yeishi's triptyclis, 'The Treasure Ship' is espe- 
 cially notable. In this print, a barge whose prow is 
 shaped like the head and breast of the mythical Hoho 
 bird seems adrift on a river of peace ; its wonderful 
 freight, — nine noble ladies engaged in the refined enter- 
 tainments of paintings, games, and poetry, — express the 
 nostalgia of Watteau's figures and the line-beauty of 
 Botticelli's. The repose of heaven is upon them, and 
 the delicate satiety of heavenly beings." — ("Chats on 
 Japanese Prints.") 
 
 A triptych, size 1.5x80. A fine impression, in fair condition. 
 
 284 — Lady With Tobacco Pipe 
 
 In luminous robes of rose and purple, she kneels beside 
 a brazier. Pale yellow background. 
 
 *Reproduced in "Chats on Japanese Prints," Plate 
 36, with the comment : "Yeishi produced a considerable 
 number of notable full-size sheets depicting single fig- 
 ures of women seated or kneeling. Some of these are 
 without background ; others have backgrounds of pale 
 grey ; while still others, perhaps the finest of all, stand 
 out against luminous yellow grounds. In these prints 
 is displayed Yeishi's power to draw exquisitely the long, 
 sweeping curves of draperies ; and the strangely pensive, 
 hieratic quality of his faces is at its best." 
 
 Reproduced also in "Asia" for July, 1919. Formerly 
 in the Hayashi Collection. 
 
 Size 1.5x10. A superb impression, in flarcless nnd luniinons con- 
 dition. 
 
 285 — Three Ladies by the Seashore 
 
 "These figures arc wholly in the Kiyonaga manner, ex- 
 cept that they have a touch of fragility and delicacy 
 that is alien to Kiyonaga." 
 
 *"Reproduced in "Chats on Japanese Prints," Plate 35. 
 
 Size 15x10. A fine impression; the colors have almost entirely 
 vanished, leaving a p^ire hlack-and-white effect. 
 
Yeishi 
 
 First Evening 
 
 
First Evening 
 
 Yeishi 
 
 286 — Beside the River 
 
 Three women are grouped around a tub. Colored 
 chiefly in grey, with some hints of blue and pale yellow. 
 One of the "Seven Komachi" Series. 
 
 "Yeishi was one of the few painters beside Shunman 
 who successfully managed grey as a dominant tone. In 
 certain of his prints he produced notable results in this 
 manner, using a style in which lights of yellow and pur- 
 ple are arranged with beautiful effect." — ("Chats on 
 Japanese Prints.") 
 
 Size 15x10. An exceptionaUy fine impression, in heautifnl con- 
 dition. 
 
Yeishi 
 
 First Evening 
 
 287 — A Poetess 
 
 Dressed in brilliant black, she sits pensive; behind her is 
 a pale yellow background. A fine and characteristic 
 figure. 
 
 Size 1-5x10. An exceptionally fine impression, in most beautiful 
 condition. 
 
First Evening Yeishi 
 
 288 — The Reconciliation With Prince Genji 
 
 This is one of the famous series of triptychs entitled 
 "Furyu Yatsushi Genji," or Stylish Transformed Genji 
 Monogatari, in which scenes from the classical romance 
 Genji Monogatari are presented with women of Yeishi's 
 own time dressed in the current fashions of the day, put 
 in place of the tenth-century nobles described in the 
 ancient talc. The subject of this print is the reconcilia- 
 tion between Prince Genji and an old friend from whom 
 he had been estranged ; but instead of a nobleman com- 
 ing to call upon the prince, preceded by an attendant 
 bearing as a symbol of friendship a branch of wistaria 
 with the figure of a swallow perched upon it, Yeishi 
 shows a richly dressed woman of the middle class coming 
 forward from a court wagon, surrounded by a number 
 of women-attendants, one of whom offers the peace-sym- 
 bol to the prince. There is therefore in the picture the 
 same kind of intentional confusion of subject that would 
 result were a modern artist to represent for us the Cin- 
 derella story by means of figures from contemporary 
 society. 
 
 A triptych, size 15x.30. A very fine impression, in perfect and 
 exceptionally soft-colored state. 
 
 289 — Kneeling Girl 
 
 Against a pale yellow background her delicate figure 
 poises, robed in purple, with a girdle of yellow and green. 
 All of Yeishi's characteristic grace is in this figure. 
 
 Size 9x7. An extremely beautiful impression, in flawless con- 
 dition. 
 
 290— The Bronze Gong 
 
 Beside a large bronze gong kneels a lady in gauzy black. 
 Near her stands another very tall, slender lady in vio- 
 let. This print well illustrates Yeishi's later manner, 
 when he sought for an unearthly attenuation in his 
 figures. 
 
 Size 15x10. An extremely sharp and fine impression, in very 
 fine condition. 
 
Yeishi 
 
 First Evenins 
 
First Evening Yeishi 
 
 291 — The Princess' Cherry Festival 
 
 In the midst of a cloud of pale pink cherrj'-blooms, a 
 princess sits in a bullock-cart, surrounded by her ladies- 
 in-waiting. These, robed in pale green, pale rose, pale 
 grey, or pale lavondar, move in a splendor of varied 
 color and delicate line that charms and bewilders the eye. 
 Yeishi's aristocratic refinement of temper, and his love 
 of the gracious and harmonious, find full expression here. 
 
 A triptt/ch, size 1.5x.30. A remarkably delicate impression, in 
 ffazt'less and Inminons state. 
 
 292— The Snowy Pine 
 
 Three ladies on a veranda are looking down on a snowy 
 pine branch. 
 
 Size 10x7i/>. Extremely fine impression and condition. 
 
 293 — The Riverside 
 
 A group of travelers, — tw-o women and a man in a sedan 
 chair, — pause on the river bank. 
 
 Size 10x71/;- Extremely fine impression and condition. 
 
 294 — Three Ladies on a Veranda 
 
 In robes of black, purple, blue, and rose, three ladies 
 stand grouped on a veranda. Behind them lies a garden 
 and a little stream. Both in design and color, this is 
 one of Yeishi's small masterpieces. 
 
 Size 10x7. An impression of exceptional softness and. delicacy, 
 in flarcless condition. 
 
Yeishi 
 
 First Evening 
 
First Evening Yeishi 
 
 295 — The Boat and the Willow 
 
 A court lady of olden time, in flowing robes touched 
 with sparing notes of color, sits in a boat under a willow- 
 bough. The tone of the picture is grey ; and in the ar- 
 rangement of its few and simple touches is an order of 
 genius that speaks of a wholly different world than the 
 world of prints. 
 
 Few examples of this side of Yeishi are known. Paint- 
 ings by him are not uncommon, but they are principally 
 in the style of the prints. This, however, is purely in 
 the style of the great classical tradition. Yeishi was 
 originally a noble of liigh rank who studied under Kano 
 Yeisen, the court painter ; he was attached in j'outh to 
 the household of the Shogun. Out of this stronghold 
 of tradition he eventually fled to take up the vie de 
 Boheme of a painter of the popular school, and as such 
 made his great fame. But this painting is the work of 
 the earlier, classical Yeishi, — the elegant court gentle- 
 man, — the heir of the traditions of two thousand years. 
 
 The subject is the lady Asazuma, mistress of the Sho- 
 gun lyetsuma, who in the Fujiwara Epoch neglected 
 the cares of government for endless boating parties in 
 her company. She is always represented thus, — in 
 marvelous robes drifting alone amid the peace of the 
 waters. 
 
 As a composition, the simplicity and subtlety of this 
 painting are perhaps finer tlian anything Yeishi ever 
 did in the Ukioye manner. 
 
 A painting, size 32x12, mounted on a kakemono, size 64x17. In 
 excellent condition. 
 
Yeishi 
 
 First El 
 
 
 r 
 
 i 
 
 iff^f;f^i!:i^iilKr 
 
 No. 295— YEISHI. THE BOAT AND THE WIIJ.OW 
 
First Evening 
 
 Yeishi 
 
 296— Two Ladies 
 By a Toeii 
 T o understand 
 the significance 
 of this remark- 
 able sheet, one 
 must observe 
 that it is not a 
 print but a paint- 
 ing produced 
 from a printed 
 key-block impres- 
 sion. As is well 
 known, the art- 
 tist's original de- 
 sign was in black 
 and white only. 
 When the key- 
 block had been 
 cut from this, and 
 an impression had 
 been taken, the 
 artist evidently 
 then proceeded to 
 take his brush in 
 hand again and invent the color-design for the future 
 print. This is such a design, from tlie hand of Yeishi 
 himself, giving his instructions to the engraver for the 
 next step toward the production of the finished print. 
 
 Nothing like it has ever come to the attention of the 
 most experienced of French and American collectors. 
 One may therefore presume that few others have sur- 
 vived. This sheet, and the two others which follow, were 
 discovered a year ago in an obscure book-stall in Paris; 
 the vendor, quite ignorant of their nature, recommended 
 them highly as "real Chinese paintings, at least a thou- 
 sand years old !" 
 
 Size 9xfii/„. In extremehi fine condition. 
 
 297 — Two Women and a Child 
 
 The same kind of painting by Yeishi as the preceding. 
 
 298— Two Ladies 
 
 The same as preceding. 
 
Yeisho 
 
 First Evening 
 
 YEISHO 
 
 Worked c. 1785-1800 
 
 299 — Large Head 
 
 Portrait of a woman in a white batli-robe touched with 
 purple. The finely drawn blac]<; masses of her hair, the 
 simple curves of her drapery, and the outline of her 
 poised head all lend a distinguished quality to this 
 design. Very rare. 
 
 Size 15x10. A svperb impressinn in nvperb condition. 
 
First Evening Yeisho 
 
 300 — The Investiture of a Prince 
 
 A young prince, at the time of his coming of age, is be- 
 ing invested with the sword and other symbols of his 
 majority. The attendants are superbly robed ladies. 
 In its ricli translucency of color, this is one of the finest 
 known copies of a famous print. 
 
 A triptych, size 1.5x.30. An almost matchless impression, in 
 flawless condition. 
 
 301 — Woman With Book 
 
 In a robe of highly decorative black and rose, she sits 
 with a book in her lap, before a pale grey background. 
 
 Size 13x81/;. Extremely fine impression and condition. 
 
 302 — Youth and Girl on Veranda 
 
 She is seated, holding a pipe ; he stands beside her. Both 
 graceful figures are chiefly dominated by a peculiar pale 
 purple whicl), against the pale grey background, makes 
 an unusual color-scheme. 
 
 Size 13x9. An extremely fine impression, in flawless condition. 
 
 303— Girl With Print 
 
 A standing girl is holding up a color-print in the style 
 of Yeisho himself; another girl in richly colored robes 
 sits at her feet. 
 
 A jnllar-print. Unsigned. Fine impression and state. 
 
 304— The Balcony 
 
 A standing girl in blue and rose, and a seated girl in 
 yellow, are looking down from a balcony. 
 
 A pillar-print. Excellent condition and impression. 
 
 305 — After the Bath 
 
 Two semi-nude girls, with blue bath-robes thrown around 
 them, are completing their toilets. A distinguished print, 
 both in drawing and color. 
 
 *Reproduced in "Chats on Japanese Prints," Plate 
 33. Another copy is reproduced in the Hayashi Cata- 
 logue, Page 180. 
 
 A pillar-print. Exceptionally fine impression and condition. 
 
Yeisho 
 
 First Evening 
 
 
 .^"^^^ 
 
 
 
 -^ 
 
 J51I^ 
 
 '3^^^,^v< 
 
 O 
 
 ^ 2 
 
 itt^i?^ 
 
First Evcnins 
 
 Yeisho 
 
 306 — Laege Head 
 
 A girl with elaborate coiffure of transparent combs 
 holds up a red saki cup. Pale blue background. 
 
 Size 15x10. Fine impression and condition. 
 
 307 — The Wistaria Branch 
 
 A graceful girl in pale, sweeping robes stands under 
 wistaria flowers, holding up a fan. 
 
 A piUar-print. Fine Impression and condition. 
 
Yf.isho 
 
 First Evenino; 
 
 308 — Girl in a Storm 
 
 111 black robes she sweeps along 
 under a raised umbrella; while, 
 above, the Storm God in a whirl 
 of cloud beats his drums. A very 
 rare and distinguished print. 
 
 A pillar-print. A superb impression 
 in flawless condition. 
 
 309 — The Cherry Branch 
 
 A courtesan in robes of excep- 
 tional splendor stands with her 
 small attendant under cherry 
 flowers. 
 
 A pillar-print. A superb impression 
 in beautiful condition. 
 
 YEISUI 
 
 Worked c. 1785-1810 
 
 310 — Large Head 
 
 A woman in pale pink and green 
 
 robes is adjusting a hair-pin; 
 
 she holds a transparent fan in 
 
 her hand. 
 
 Size 15x10. An exeeptionally fine 
 impression, in fjawless state. 
 
 r@- 
 
 REKISENTI YEIRI 
 
 Worked c. 1785-1810 
 
 311 — Rustic Scene 
 
 A tall woman and two children 
 stand on a country road. Behind 
 them, a landscape of fields and 
 far mountains is rendered with 
 great originality. A rare print. 
 
 Size 13x81/2. Excellent impression 
 
 and condition. 
 
First Evening 
 
 Yeiju 
 
 YEIJU 
 
 Worked r. 1790-1800 ^ 
 
 312 — Large Head 
 
 Against a dark mica background appears the quarter- 
 lengtli portrait of a woman writing a letter. The dark 
 colors of the print are very striking. Yeiju is an almost 
 unknown artist whose works are rarely met with. 
 
 Size 1.5x10. !'«)■(/ fne impression, in yood state. 
 
Sharaku 
 
 First Evening 
 
 (*f,S^^i^''!P#*»ffi5S;*«»li-?^'?|<*R-|»S*a!^^ 
 
 SHARAKU 
 
 Worked c. 1790-1795 
 
 313 — The Daimyo Moronao 
 
 The actor Ishikawa Danjuro V as Moronao, Governor 
 of Kamakura, the villain of the Ronin Play. His cruel 
 and lustful image is here pictured in robes of dull red and 
 blue against a dark mica background. He is grinding 
 his hands against each other as he regards the distance 
 with dilating eyes. This play was given at the Kawar- 
 azaki Theatre from October 14, 1794, onward. 
 
 *Reproduced in "Chats on Japanese Prints," Plate 43. 
 Other copies are reproduced in the V. I. K. Paris Cata- 
 logue, "Kiyonaga," Plate 65 ; and in Kurth's "Shar- 
 aku," Plate 38. 
 
 Size 15x11. Extremely fine impression and state. 
 
First Evenine 
 
 Sharaku 
 
 31 4< — Seevitor With Swoed 
 
 The actor Otani Tokuji, perhaps in the role of Sagisaka 
 Bannai, Moronao's cringing and oppressive retainer. 
 His brown robes and shifty, cunning face appear against 
 a dark mica background. 
 
 *Rcproduccd in Scribncr's IMagazine for March, 
 1916. Other copies arc reproduced in Kurtli's "Shar- 
 aku," Plate 4.8; and in the V. I. K. Paris Catalogue, 
 "Kiyonaga," Plate 65. 
 
 Size 15x10. Very fine impression and state. 
 
Shaeaku 
 
 First Evening 
 
 315 — WoMAx IX Red 
 
 The actor Kosagawa Tsuneyo as Tonase, wife of one 
 of the Ronins. His stupid and empty stare has an insis- 
 tence so fixed that it becomes ahiiost a profound search- 
 ing into the depths of the universe. The dull red robe 
 stands out against a dark mica background. 
 
 Other copies are reproduced in "Chats on Japanese 
 Prints," Plate 44; and in the V. I. K. Paris Catalogue, 
 "Kiyonaga," Plate 74; and in Kurth's "Sharaku," 
 Plate 52. 
 
 Size 15x10. Very fine ini'pression and state. 
 
First Evening 
 
 Sharaku 
 
 SCHOOL OF SHARAKU 
 
 316 A SUEIMONO 
 
 /»: 
 
 .'/< 
 
 ,:> 
 
 # 
 
 
 '1 
 
 : I > 
 
 : ■■■ 
 
 
 J 
 
 ;. 
 
 '-:■ "* 
 
 Pz 
 
 
 
 An extremely curious 
 work, of uncertain au- 
 thorship. The signa- 
 ture, "SHUNMON," 
 is not that of any 
 known artist ; and 
 since the literal mean- 
 ing of the characters is 
 "spring gate" they are 
 probably to be regard- 
 ed as a merely playful 
 or allegorical designa- 
 tion of the artist. A 
 peculiar and interest- 
 ing little masterpiece. 
 
 Size 7 X 41/,. A superb 
 impression, in beautiful 
 conflition. Probably 
 unique. 
 
 UTAMARO 
 
 1753-1806 
 
 317 — A YouxG Prince and Ladies 
 
 A group of graceful women in soft-colored robes are 
 attending upon a young prince. The large, black coif- 
 fures, slender bodies, and sinuous draperies present the 
 typical Utamaro woman of the last decade of tlie century. 
 *Reproduccd in "Chats on Japanese Prints," Plate 41. 
 
 Size 15x10. An impression of remarkable delicact/, in perfect 
 condition. 
 
 318— Two Lovers 
 
 In the gorgeous-colored robes of ancient times, they are 
 seated, holding hands. Pale grey background. 
 Size 13x9. Veri/ fine impression and condition. 
 
Utamaro 
 
 First Evening 
 
 319— The Awabi Diver 
 
 A woman Awabi diver, in the Province of Ise, wringing 
 the water from her garment upon emerging from the sea. 
 
 The right-hand sheet of Utamaro's most famous trip- 
 tych. Other copies arc reproduced in the V. I. K. Pans 
 Catalogue, "Utamaro," Plate 36; Von Seidlitz, Page 48; 
 Morrison's "Painters of Japan," Plate 22 and British 
 Museum Catalogue, Page 214. 
 
 Size 15x10. An excellent impre.i«ion, in fair condition. 
 
First Evening 
 
 Utamaro 
 
 320 — Woman and Puppies 
 
 She stands in robes of purple and green, a tall, slender 
 figure of much charm. The background is shaded from 
 grey into black, with fine effect. 
 
 Size 15x10. Superb impression, in flawless state. 
 
 321 — Two Women and Infant 
 
 They stand conversing ; one holds a pipe. The beauty 
 of the color is particularly noteworthy. 
 
 Size 15x10. Superb impression and condition. 
 
Utamaro 
 
 First Evening 
 
 322 — Large Head 
 
 A woman with marvelously rendered streaming hair 
 looks upward, holding a fan. The restrained touches of 
 color and the superb drawing are characteristic of 
 Utamaro at the height of his powers. Very rare. 
 Size 15x10. Superb impression and condition. 
 
 323— Two Lovers 
 
 The pair represented are the famous lovers, Gompachi 
 and Komurasaki. The man, in a translucent black robe, 
 stands beside the seated girl. His tall figure, in greys 
 and blacks, is particularly fine. Grey background. 
 Size 1.5x10. Very fine impression and condition. 
 
First Evening 
 
 Utamaro 
 
 324 — Large Head 
 
 Tlie courtesan Takigawa, in a pale bath-robe. Grey 
 backtrround. The vigor and siniphcity of Utamaro's 
 drawing at the height of his career is nowhere more evi- 
 dent than here. 
 
 Other copies are reproduced in the V. I. K. Paris Cat- 
 alogue, "Utamaro," Plate 100; and in the Gillot Cata- 
 logue, 1904, Page 82. 
 
 Size 15x9y2. ExceUent impression and condition. 
 
 325 — Two Lovers 
 
 She lies with half-open purple robe ; he is drinking tea. 
 
 Size 7x5. Fine impression and condition. 
 
Utamaro 
 
 First Evening 
 
 326 — Silver Portrait 
 
 A girl in moss-green and purple, with bare bosom, is 
 holding up a small cricket-cage. The colors are particu- 
 larly luminous against the pale mica background. Rare. 
 
 Size 15x9y,. Superb impression and condition. 
 
 327— The Red Screen 
 
 A graceful girl and a seated youth are conversing before 
 a red-bordered screen. 
 
 Size 13x9. Fine impression and condition. 
 
First EveninL 
 
 Utamaeo 
 
 328 — Two Lovers Under Umbrella 
 
 In dark robes, tliey move along together. A rich and 
 dignified composition. 
 
 Size 15x10. Svperb impression and condition. 
 
 329— Seated Woman 
 
 She is slipping her feet into lier sandals as she sits on 
 the veranda edge. 
 
 *Reproduced in "Chats in Japanese Prints," Plate 40. 
 
 Size 1.3x7y,. A fine impression in good state. 
 
Utamaro 
 
 First Evening 
 
 330 — The Island of Enoshima 
 
 Two ladies in exquisitely colored robes stand on the 
 rocks where the sea washes the island. 
 
 Size 15x10. A superh imjiression, in most beautiful and lumin- 
 ous condition. 
 
 331 — GiEL AND Her Lover 
 
 She stands with clasped hands ; only his head and shoul- 
 ders are visible bcliind her. The large, rich color-masses 
 of her robe are striking against the grey background. 
 
 Size 1.5x10. Superb impression and condition. 
 
First Evening 
 
 Utamaeo 
 
 332— Large Head 
 
 A poetess, about to write. There is a ghostly beauty 
 in both the color and tlio drawing that make this design 
 noteworthy. Grey background. 
 
 Size 1.5x10. Snperb impression and condition. 
 
 333 — Large Head 
 
 A tea-house waitress carrying a bowl. 
 
 A modern reproduction, carefully "aged" by some 
 enterprising dealer. It is inserted here merely to show 
 to inexperienced collectors one type of fake. 
 
Utamaro 
 
 First Eveninfr 
 
 w, 
 
 ->! 
 
 334i — The Flight of the Lovers 
 Mumegawa and Chubei under 
 an umbrella ; slic wears a trans- 
 parent black liood. In some 
 respects, this is Utamaro's fin- 
 est composition in pillar-print 
 form. 
 
 A wide pillar-print. Exception- 
 ally fine impression and state. 
 
 335 — Three Women's Heads 
 
 The delicately drawn faces and 
 tlio unusual charm of the clear 
 soft color give this print a dis- 
 tinct character of its own. 
 Grey background. 
 
 Size 14x9yo. Superb impression 
 and condition. 
 
 "5 
 
 M^ 
 
 M 
 
 0' 
 
 lllllll 
 llllll 
 lilll. 
 llllll 
 
 Jll 
 
 JIN 
 
 1^1 
 
 336 — Moonlight Landscape 
 
 A scene of hills and waters, 
 with two men crossing a small 
 bridge in the middle distance. 
 Printed in delicate greys. One 
 of the two greatest of Utam- 
 aro's rare landscapes. 
 
 Another copy is reproduced 
 in Kurth's "Japanische Holz- 
 
 schnitt," Page 47. 
 
 Size 9x15. 
 and state. 
 
 Superb impressU 
 
First Evening 
 
 Utamaro 
 
 337 — Flower Design 
 
 The subtly curving 
 leaves and stems rise 
 from a wicker bas- 
 ket ; all is printed 
 in the most delicate 
 greys, with one 
 touch of faint yel- 
 low on the blossoms. 
 
 Size 91/0x7. A match- 
 less impression, in 
 svperh state. 
 
 338 — Buddhist Priest 
 
 A Buddhist priest 
 stands on the sea- 
 shore, with a back- 
 ground of conven- 
 tionalized pines and 
 waves. An extremely exceptional composition. 
 
 The original signature on this print has been removed 
 by some vandal and that of Utamaro has been added. 
 The real authorship is entirely unknown. 
 Size 15x10. A superb impression in good state. 
 
 339 — Woman ix Pcrple 
 
 She sits liohiing a pipe and adjusting her hair-pin. 
 Yellow background. One of Utamaro's famous master- 
 pieces. Very rare. 
 
 Another copy is rej)roduced in the \. I. K. Paris Cat- 
 alogue, "Utamaro," Plate 87. 
 
 Size 15x10. A superb impression in brilliant condition. The yel- 
 low bacl;(jromid has been revamped. 
 
 340 — Two Courtesans 
 
 Half-length portraits of two women. The drawing and 
 tlie pale, evanescent coloring are Utamaro at his best. 
 
 *Reproduced in "Chats on Japanese Prints," Plate 
 39, and there described at lengtli. 
 
 Size 15x10. Excellent impression and condition. 
 
Utamaro 
 
 First Evenini 
 
 wm 
 
 '■ll 
 
 ri 
 
 341 — Youth With Football 
 
 He stands under a willow, about 
 to kick the descending ball. His 
 figure is drawn with Utamaro's 
 finest simplicity and distinction. 
 A great rarity. 
 
 A pillar-print. A superb impression 
 in flawless condition. 
 
 
 342— Two Lovers 
 
 Two half-length portraits of Osh- 
 ichi and Kichisaburo. (See No. 
 37.) The man is looking down 
 at the girl. The black masses of 
 the design are striking. 
 
 A pillar-print. Very fine impression 
 and state. 
 
 343 — Two Girls 
 
 Half-length portraits in delicate 
 colors. One girl is looking down 
 at the other. 
 
 A pillar-print. Very fine impres- 
 sion and condition. 
 
 344 — After the Bath 
 
 A girl in a pale blue bath-robe, 
 moving toward the left. A late 
 work by the Second Utamaro. 
 
 A very larye panel, size .30x10. A 
 fine impression in poor state. 
 
First Evening 
 
 TOYOKUNI 
 
 
 TOYOKUNI 
 
 1769-1825 
 
 3i5 — Summer Cooling 
 
 A man in a white and blue robe sits 
 on a bench ; behind him stands a 
 slender tea-house girl with trans- 
 parent sleeves. A very rare and 
 fine example of Toyokuni's early 
 and most distinguished style. 
 
 PiUar-prlnt. Very fine Impresxion and 
 state. 
 
 3-i6 — A Window by the Sea 
 
 The figures of a man and woman 
 .stand before a grating. Very early 
 work, in the Shuncho manner. 
 
 A pillar-print. Veri/ fine impression 
 and condition. 
 
 S-il — Thk A'eranda by the Sea 
 
 A graceful tea-house girl stands 
 on a veranda overlooking the sea, 
 holding a saki-kettle. The figure 
 has a quiet charm that is unusual. 
 
 y1 pillar-print. Fine impression in good 
 condition. 
 
 348— The Green Fan 
 
 An actor in rich robes of black, pale 
 green, and rose, in the role of a 
 woman. 
 
 Size 15x10. A fine impression in flaw- 
 less condition. 
 
TOYOKUNI 
 
 First Evening 
 
 349 — The Maple Branch 
 
 The actor Ichikawa Yaozo, in a purple robe, stands 
 under a glowing autumn maple-branch, against a grey 
 background. 
 
 One of the finest of Toyokuni's most notable series of 
 actor-portraits, — the "Yakusha Butai no Sugata-ye." 
 Size 15x10. An exceptionally fine impression, in flawless and 
 beautiful condition. 
 
 350 — The Yellow Robe 
 
 Half-length portrait of an actor in pale yellow and 
 brown. He carries a rose-colored fan. 
 Size 15x10. Superb impression and condition. 
 
First Evening 
 
 TOYOKUNI 
 
 351 — The Okaxge Gikdle 
 
 Iwai Hanshiro IV, as a woman in orange and green, 
 stands in an attitude of expectation. From the same 
 series as No. 349. 
 
 Size 1.5x10. Superb impression and condition. 
 
 352— The Rain Storm 
 
 Two actors strike dramatic attitudes in the midst of a 
 pelting rain. They are Matsumoto Koshiro V and Ogino 
 Isaburo II. Grey background. 
 
 Size 1.3x6. Wholhj exceptional impression and state. 
 
ToYOKUNI 
 
 First Evening 
 
 353— Two Geisha 
 
 Against a grey night background these extraordinary 
 figure rise up, in pale grey and rose and violet robes. 
 Their strange distortions carry to tlie ultimate extreme 
 that morbid and fantastic beauty which was a passion 
 to the public and the artists of the end of the eighteenth 
 century. 
 
 Hize. 15x10. Exceptionally fine impression and state. 
 
 354 — Actor in Black Robe 
 
 Ichikawa Yaozo as Sukeroku. A powerful half-length 
 portrait in robes of deep rose and intense black. 
 Size 15x10. Superb impression and condition. 
 
First Evening Toyohiro 
 
 TOYOHIRO 
 
 1773-1828 
 
 355 — The Revei^ by the River 
 
 Beneath a black night sky, on a platform built out over 
 the rushing torrent of a river, a youth is reveling among 
 geishas. A feast is spread ; the wine-cup circulates ; 
 music and song ecjio through the night. 
 
 A peculiarly dramatic and intense design. It is diffi- 
 cult to escape the conviction that Toyohiro had in mind 
 here the fundamental Buddhist conception of Ukioye, "the 
 passing world." This seems his superb and melancholy 
 picture of mortal existence, — at best, a delirious revel 
 poised precariously for a moment over a stream that is, 
 like life itself, rapidljf rushing away toward the darkness. 
 
 One of a series of triptychs, "The Twelve Months," 
 of which this represents the Sixth. 
 
 A triptych^ size 14x29. A remnrknhU and svperb impression, in 
 fine and brilliant condition. 
 
 356— The Grey Hawk 
 
 On a flowering cherry-tree, the bird perches motionless, 
 witli watchful and menacing eye. No color except the 
 pale yellow background. 
 
 A piUar-print. Superb impression and condition. 
 
 357 — Woman Before a Mirror 
 
 With calm dignity the young courtesan kneels before her 
 black-lacquer toilet-stand, rouging her lips. 
 A pillar-print. Excellent impres.non and state. 
 
TOYOHIRO 
 
 First Evening 
 
 
 
 o 
 
Fir at Eveninsr 
 
 TOYOHIEO 
 
 358 — The Vase of Ibises 
 
 A youth with a curious air of mel- 
 ancholy distraction is placing irises 
 in a vase. 
 
 A pillar-print. Fine impression, in fair 
 condition. 
 
 359 — A Daimyo's Kite-Party 
 
 One of Toyohiro's masterpieces. 
 
 *Reproducecl in "Chats on Jap- 
 anese Prints," Plate 48, and there 
 described in great detail. Rare. 
 
 A triptych, size 15x30. Snjierb impres- 
 sion and condition. 
 
 
 d 
 
 360 — Kneeling Girl and Youth 
 
 In pale robes, they poise near each 
 other. 
 
 Size 8x6. Pine impression and state. 
 
 KIYOMINE 
 
 1787-1868 
 
 361~Two Girls 
 
 A double bust-portrait against a 
 grey background. The white parts 
 of the draperies are printed with 
 mica. 
 
 Size 15x10. T'pry fine impression and 
 condition. 
 
 HAKUGA 
 
 c. 1800-1810 
 
 362 — Portrait 
 
 The head of a girl, about to drink 
 from a saki-cup. This artist's work 
 is very rare. 
 
 Size 9x7. Fine impression and state. 
 
HisANOBU First Evening 
 
 HISANOBU 
 
 c. 1800-1820 
 
 363— The Grey Robe 
 
 The 3'oung courtesan XTtanosukc of ]Mat.suba-ya in a 
 pale, bluish-grey robe, on her way to the bath. Beside 
 her a companion in purple is kneeling. Yellow and grey 
 background. An unusually good work by a rare artist. 
 Formerly in the collection of Sir Daniel Hall ; repro- 
 duced in the Hall Catalogue, London, 1918 ; Plate 5. 
 Size 12x9. Extremely fine impression inid state. 
 
 HIDEMARO 
 
 c. 1800-1810 
 
 364 — A Geisha Singing 
 
 With a yoving girl beside her, she sits touching a samisen. 
 Size 1.3x8. Fine impression : brown but i/ood state. 
 
 KUNISADA 
 
 1786-186.5 
 
 365 — The Gheex Cuktains 
 
 A M'oman in a robe beautifully oxidized by time peers 
 out from between curtains. 
 
 Size 1.5x10. 1'ery fine impression and state. 
 
 366 — A Samurai 
 
 Nature has turned the robe into a finely oxidized, mot- 
 tled surface. 
 
 Size 15x10. ^"erl/ fine impression and state. 
 
 367— A Ghost 
 
 The melancholy, grey spectre rises like a candle-flame 
 against a grey background. 
 
 Size 15x10. Superb impression and state. 
 
 368--GIRL With Dog 
 
 Black-robed, she stands amid falling snow-flakes, the 
 dog beside her. 
 
 Size 15x10. Superb impression and condition. 
 
First Evening 
 
 KUNISADA 
 
 369 — Girl in Snow 
 
 In the role of the Sagi ]\Iusunie, the spirit of the snow, 
 an actor, in a white robe decorated with pale blue herons, 
 stands under an open purple umbrella. Snowy willow 
 branches droop on one side of her, blossoming plum 
 branches on the other. 
 
 Size 1.5x10. Superb impresdon and condition. 
 
KUNISADA 
 
 First Evenins' 
 
 
 370— The Mad Priest 
 
 Amid tempestuous rain and the gre_yness of night, this 
 maniac-spirit prowls desperately through the shadows. 
 The story is that of the Buddhist priest Seigen, who 
 was driven insane by his love for the princess Sakura- 
 hime. He fled from the temple, murdered his parents, 
 who had given him shelter for the night, and wandered 
 off raving until he was finally pursued and killed. Usu- 
 ally Kunisada was merely silly when he tried to depict 
 horrors ; but here he achieves an effect beside which even 
 Hokusai's famous ghosts seem unconvincing. Very rare. 
 Size 1.5x10. Superb impression and condition. 
 
 371 — Memorial Portrait of Hiroshige 
 
 A masterpiece too well known to require description. 
 Size 1.5x10. Extremely fine impression and state. 
 
First Evenins: 
 
 KUNIYOSHI 
 
 KUNIYOSHI 
 
 1797-1861 
 
 372 — Woman in Blue 
 
 A composition in shades of blue, with a few pale reddish 
 touches. Another copy is reproduced in colors in 
 Strange's "Japanese Illustration," Page 52. One of 
 the finest of the "blue prints." 
 
 Size 15x10. Superb impression and condition. 
 
 373 — Woman With Halbekd 
 
 She holds up a lantern; the colors of her robe are soft. 
 Size 1-5x10. Perfect impression and condition. 
 
KUNIYOSHI 
 
 First Evening 
 
 374 — Sxow Scene 
 
 Across a blue lake rise snowy trees and hills, and the 
 red masses of temples and pagodas, — all a fantastic 
 snow-world. 
 
 Size 9x14. Superb imfression and condition. 
 
 375— The Wind 
 
 A eirl in rich reddish robes stands amid letters scattered 
 by the wind. 
 
 Size 15x10. Extremely fine impression and state. 
 
 HOKUSHU 
 
 c. 1820-1840 
 
 376 — Three Actoks in a Garden 
 
 Rich flowers surround tliem ; but all the interest centers 
 in the faces, which are extremely vivid and intense cari- 
 cature-portraits. 
 
 Size 15x10. Superb impression and state. 
 
First Evening 
 
 Gakutei 
 
 GAKUTEI 
 
 c. 1730-1740 
 
 377 — Two Humanists 
 Before a painted 
 screen they move 
 in an atmosphere 
 of books and clas- 
 s i c a 1 painting. 
 Tlie color is not- 
 able. 
 
 A svrimono, size 
 8y2x7y2. Superb 
 impression and 
 condition. 
 
 378— A Waekiok 
 
 He is seated, in 
 
 the silver and bronze splendor of full armor. 
 
 A suriniono, size 8y2x7. Superb inijiression : fair condition. 
 
 SHINSAI 
 
 c. 1830-1850 
 
 379— The Pine Tree 
 
 A scene from a N5 play. In exquisite color. 
 A surimono, size 8x11. Siiperli impression and state. 
 
 HOKKEI 
 
 1780-1859 
 
 380 — The Rope and the Moon 
 
 Against a black night sky, where a crescent moon hangs, 
 a warrior is climbing a rope, — perhaps toward some 
 height of hostile parapet. A striking composition. 
 
 Size 7x51/0. Superb impression and state. 
 
HOKUYEI 
 
 First Evening 
 
 HOKUYEI 
 
 c. 1835-1850 
 
 i 381 — Snow Scene 
 A blue river winds 
 down between 
 snowy hills. A 
 rare print. 
 
 Size Oy, X 8. 
 Svyerh impres- 
 sion and condi- 
 tion. 
 
 SADANOBU 
 
 c. 1850-1875 
 
 382— The Inlet 
 
 Shore and sea rendered in a few delicate touches. 
 Size 9x11. Very fine impression and state. 
 
 JAKUCHU 
 
 c. 1840-1860 
 
 384 — Bird and Flower 
 
 A bird is descending toward a flower, against an intense 
 black sky. Note how the beautiful seal is half the com- 
 position. A stone-print. 
 
 Size 9x81/2. Su2Jerh impression and state. 
 
 SEKIJO 
 
 c. 1800-1830 
 
 38.5— Two Lovers 
 
 He holds a fan, she a battledore. 
 
 A pillar-print. Fine impression and state. 
 
First Evenirif^ 
 
 Banj 
 
 tr.t 
 
 .^ 
 
 rvv 
 
 386- 
 
 BANKI 
 
 Worked c. 1790-1810 
 
 -Two Lovers in Snow 
 They are robed in moss-green 
 and rose, with touches of blue. 
 Bcliind tliem is a pale grey sky 
 with falling snow-flakes. An ex- 
 tremely unusual composition, in 
 color of remarkable quality. 
 
 A pillar-print. A superb impres- 
 sion in wholly flawless and un- 
 touched condition. 
 
 38", 
 
 -GiEL AND Mirror 
 A girl is examining her face in a 
 mirror while her lover bends over 
 her. 
 
 Pillar-print. Extremeli) fine impres- 
 sion and condition. 
 
Shunsen 
 
 First Evening 
 
 388- 
 
 SHUNSEN 
 
 c 1830-1850 
 
 -Max in Black 
 I n black robes, h e 
 stands holding a pur- 
 ple umbrella. One of 
 the finest of all the 
 large panels of this 
 period. 
 
 ^'ery large panel, size 
 30x10. Superb impres- 
 sion and condition. 
 
 389- 
 
 -The Peacock 
 A courtesan in rich 
 robes decorated with 
 peacock's feathers. 
 
 Very large panel, size 
 30x10. Fine impression 
 and condition. 
 
First Evening 
 
 KlOSAl 
 
 KIOSAI 
 
 1831-1889 
 
 390— Two Ckows 
 
 They perch on a 
 grey plum-branch ; 
 beliind them is the 
 setting sun. The 
 masterpiece of this 
 rare artist. 
 
 Very large panel, 
 size 30x10. Superb 
 impression, in flaw- 
 less untouched con- 
 dition. 
 
 YEIZAN 
 
 Worked c. 1800-18+0 
 
 391— W OMAN With 
 Flute 
 Her ricli robe is dis- 
 posed in fine masses 
 of color. 
 
 A very large panel, 
 size 30x10. Superb 
 iuipressioii and con- 
 dition. 
 
 392— Girl in the Wind 
 Her pale robe is 
 blown back from her 
 feet in long folds. 
 
 ^'ery 1 a r </ e panel, 
 size 30x10. Fine im- 
 pression and state. 
 
HOKUSAI 
 
 First Evenim 
 
 HOKUSAI 
 
 17(30-1849 
 
 393— The Bridge at Sano 
 
 A curving pontoon-bridge crosses the blue stream, from 
 snowy shore to snowy sliore. At tlie right, a slender 
 tree rises against the grey sky. One of the Series of 
 Bridges. 
 
 Size 15x10. Superb impression in flawless state. 
 
 39-t — Wag-Tail and Wistaria 
 
 A bird and flower design from the well-known Small 
 Series. 
 
 Size 6x71/0. Very fine impression and state. 
 
 395 — The Monkey Bridge 
 
 Twilight and rising moon over the torrent as it pours 
 down under the bridge. 
 
 *Reproduced in "Chats on Japanese Prints," Plate 51. 
 Size 1414x61/2. Very fine impres.non and state. 
 
First Evening 
 
 HOKUSAI 
 
 396 — Fuji Seen Across Lake Suwa 
 
 In the Province of Shinano, a promontory rises in the 
 middle of the scene ; on both sides stretch the lake and 
 its rocky shores, in a series of far expanses. Printed in 
 various shades of blue orAy. This and the following 
 prints are all from the famous series, "The Thirty-Six 
 Views of Fuji." 
 
 Size 10x15. Very fine impression and state. 
 
 397 — Fuji and the Great Tree 
 
 On the Pass of jMishinia, in the Province of Kai, a ring 
 
 of travelers arc encircling a great tree with their arms, 
 
 while Fuji towers immense and aloof in the background. 
 
 *Reproduced in "Chats on Japanese Prints," Plate 50. 
 
 Size 10x16. Exceptionallji fine impression and state. 
 
 398 — Fuji From the Island of Enoshima 
 
 In the Province of Sagami, Fuji appears far-off, above 
 the waters that surround the island. 
 
 Size 10x1.5. ExceptionaUy fine impression and state. 
 
HOKUSAI 
 
 First Evening 
 
 399 — Fuji and the Fisherman 
 
 At Kajikazawa, in the Province of Kai, a lonely fisher- 
 man stands on a green, rocky promontory that juts out 
 over the foaming blue waves. Fuji appears across the 
 bay, above strata of mist. One of Hokusai's supreme 
 compositions. 
 
 Size 10x15. Excellent impression and state. 
 
 400 — The Wood-Saweks and Fuji 
 
 In the Province of Totomi, workmen are laboriously 
 sawing a huge log into boards beside a smoking camp- 
 fire. Fuji looms afar. 
 
 Size 10x15. Exeeptionalli/ fine impression and state. 
 
 iOl — Fuji and the Tama River 
 
 In the Province of Musashi, Fuji looms above mists, 
 across the current of the river. A boatman is crossing 
 the stream. 
 
 *Reproduced in "Chats on Japanese Prints," Plate 49. 
 Size 10x15. Superb impression and condition. 
 
First Evcnins; 
 
 HOKUSAI 
 
 ■102 — Ft-ji axi) the Full-Sailed Ship 
 
 In the Province of Kazusa, a large ship is saihng the 
 sea; far off across the water Fuji appears on the hori- 
 zon. One of Hokusai's very daring color-schemes. 
 Size 10x15. Snperb impression and condition. 
 
 J*03 — Fuji and the Coopee 
 
 At Fujimi-ga-hara, in the Province of Awari, a cooper 
 is making a huge cask; through the circle of this, Fuji 
 appears with a kind of sublime intimacy that is lost on 
 the absorbed laborer. 
 
 Size 10x1.5. Excellent impression rind condition. 
 
HOKUSAI 
 
 First Evening 
 
 404 — Fuji and the Moored Boat 
 
 At Ushibori in the Province of Hitachi, a large boat is 
 moored among rushes. Fuji loom.s in the distance. 
 Printed in blue and faint green only. 
 
 Another copy is reproduced in Gookin's "Japanese 
 Color Prints," No. 218. 
 
 A very remarkable impression, in fine state. 
 
 405 — The Goldex Carp 
 
 The glowing, golden fish leaps out of the blue pool, 
 leaving behind it luminous circles of ripples. A highly 
 decorative design in rich color. Signed "Taito." 
 
 Size 13x6. An exceptionally fine impression, in beautiful condi- 
 tion. 
 
SECOND AFTERNOON SALE 
 
 WEDNESDAY, FEBRUARY 11, 1920 
 
 AT THE AMERICAN ART GALLERIES 
 
 BEGINNING AT 2 :30 O'CLOCK 
 
 Catalogue Nos. 4<06 to 653, inclusive 
 
 HIROSHIGE 
 
 1797-1858 
 
 THE FIRST TOKAIDO SERIES 
 
 The first and best-known Tokaido series was that pub- 
 lished by Senkakudo and Hoyedo betiveen 1830 and 1831. 
 This series was Hiroshige's first great triumph: it brought him 
 immediate fame, and would alone have suffieed to give him last- 
 ing immortality. Its endless variety, its superb romantic 
 composition, and its subtlety in rendering the mood of a land- 
 scape have never been surpassed. So great was its popidarity 
 that many editions were issued, each one more carelessly printed 
 than the preceding; and today, though poor impress ons from, 
 this series are common, fine ones are extremely rare. 
 
 The set here catalogued consists of excellent impressions 
 in flawless condition, unless otherwise stated. It includes the 
 original 55 views, and all of the important variation-plates, 16 
 in number. 
 
Second Afteriioon 
 
 First Tokaido 
 
 ■i06 NiHONBASHI, 1 a 
 
 At dawn, under rosy skies where blue clouds float, a 
 daimyo's procession is coming with flying banners up 
 over the curved bridge, on the first stage of its journey 
 out of Tokyo and down the long Tokaido Road. Six 
 fish-vendors cluster in the foreground. 
 
 407 NiHONBASHI, 1 b 
 
 A variation-plate, omitting the blue clouds in the sky. 
 
 408 NiHONBASHI, 1 c 
 
 A variation-plate, adding twenty-two figures to the fore- 
 gr 
 
 id. 
 
 409 — Shinagawa, 2 a 
 
 Over the bay arc spread wide stretches of blue cloud 
 against a rosy moniing sky. To the right, between the 
 hills and the line of houses at the edge of the sea, runs 
 an uphill road, on which appear the last six retainers of 
 the passing daimyo-procession. 
 
First Tokaido Second Afternoon 
 
 410 — Shinagawa, 2 b 
 
 A variation-plate ; four retainers arc added to the pro- 
 cession. 
 
 Exceptionally fine impression. 
 
 411 — Kawasaki, 3 a 
 
 Between the rosy-streaked sky where Fuji is outlined 
 and the blue river that flows right across the picture, a 
 little thatched village stands on the shore among cluster- 
 ing trees. A ferry-boat is in midstream ; a man is moor- 
 ing a raft to the far shore. 
 Worn condition. 
 
 412 — Kawasaki, 3 b 
 
 A variation-plate ; the man is gone from the raft. 
 
 Exceptional] y fine impression. 
 
 413 — Kanagawa, 4 a 
 
 A steep road bordered with very sharp-peaked houses 
 runs alongside the blue Bay of Yedo, under a sky whose 
 blue clouds float at the left. 
 
 414 — Kanagawa, 4 b 
 
 A variation-plate ; the cloud is at the right, and the 
 roofs are more flat than pointed. 
 
 415 — Hodogaya, 5 
 
 A small bridge crosses a stream to a village, set amid 
 trees at the foot of a low, rounded hill. 
 
 416 — ToTSUKA, 6 a 
 
 Before an open wayside tea-house, a man is dismounting 
 from his horse. In the background, the roofs of a vil- 
 lage stretch away toward the fields, the hills, and the 
 streaked blue sky. 
 
 Exceptionally fine impression. 
 
 417— ToTsuKA, 6 b 
 
 A variation-plate ; the tea-house is boarded up, and the 
 man is mounting the horse. 
 
Second Afternoon 
 
 First Tokaido 
 
 418 — FujisAWA, 7 
 
 Beyond a Torii that stands by the river, and beyond a 
 little bridge and a village, rises a dark wooded hill 
 crowded with temples. 
 
 419 HiRATSTIKA, 8 
 
 The roadway zigzags across a great open plain toward 
 grey hills, beyond which Fuji rises white. 
 
 420— Oiso, 9 
 
 From tlie savage yellow sky, rain is beating down on a 
 little village that stands between the grey hills and the 
 pale blue sea. 
 
 An exceptionally fine impression. 
 
 421 — Odawaea, 10 a 
 
 Far off, across a blue river and wide sandy river-flats, 
 rises a heaped mass of jagged mountains. Two naked 
 coolies stand on the nearer shore. 
 Slightly soiled. 
 
First Tokaido Second Afternoon 
 
 422 — Odawaba, 10 b 
 
 A variation-plate. The hills are more rounded ; there 
 are four coolies on the shore. 
 
 Exceptionally fine impression. 
 
 423 — Odawara, 10 c 
 
 A variation-plate. The hills are somewhat pointed, and 
 there are five coolies on the shore. 
 
 424 — Odawara, 10 d 
 
 A variation-plate. The hills are entirely rounded, with- 
 out a single sharp peak ; and there are five coolies on 
 the shore. 
 
 A remarkable and perhaps unequaled iinpression, 
 
 425 — Hakone, 11 
 
 A huge green-mottled mountain towers precipitously in 
 the foreground at the edge of Lake Hakone ; far across 
 the lake, Fuji looks down over its circle of foot-hills. 
 
 426— MisHiMA, 12 
 
 The grey mists of early morning enfold in ghostly dim- 
 ness a village through which travelers are journeying. 
 
 Exceptionally fine Impression. 
 
 427 — NuMADzu, 13 
 
 A huge round moon is rising over a winding stream, 
 where the fields and woods meet the edge of a little vil- 
 lage. Through the early summer evening light, a pil- 
 grim trudges along, bearing on liis back the grotesque 
 Tengu mask always brought home by pilgrims who have 
 been to Kompira Temple. 
 
 An exceptionally fine impression. 
 
 428— Hara, 14 
 
 The enormous snowy Fuji, flushed with sunrise, towers 
 across wide snowy rice-fields. 
 
 Exceptionally fine impression. 
 
 429 — YosHiwARA, 15 a 
 
 A tree-bordered road, on which are several equestrians, 
 zigzags across the fields toward distant Fuji. 
 
 430— YosHiwARA, 15 b 
 
 A variation-plate. Fuji looms higher, and the title of 
 the picture is written across it. 
 
Second Afternoon 
 
 First Tokaido 
 
 431 — Kambara, 16 
 
 Winter evening cold and silence lie on a little village in 
 the hills, where the deep snow has spread its heavy white- 
 ness over everything. 
 
 Jn. unsnr passed impression of this superb desit/n. 
 
 1.32— Yui, 17 
 
 From the edge of a reddish cliff, where gnarled pine trees 
 rise on a jutting promontory, the blue-green water 
 stretches across Suruga Bay to where Fuji rises against 
 an evening sky. 
 
 ./ famous print. 
 
 133— Okitsu, 18 
 
 Near the flat pine-covered seashore, two wrestlers are 
 being carried across a stream by coolies. 
 .In. exceplionaitif fine impression. 
 
 431— Ejiri, 19 a 
 
 The blue and white streaked waters of the wide bay are 
 dotted with numberless sails; far off, a dark line of 
 mountains rises. 
 
 Rarelii is tlic water printed as well as in this cnpi/. 
 
First Tokaido Second Afternoon 
 
 435— Ejiui, 19 b 
 
 A variation-plate. The blocks are unchanged, but the 
 mountains are printed in harder colors, givinw them a 
 more angular effect. 
 
 4-36— FucHU, 20 
 
 At the foot of a dark grey hill, travelers are fording 
 the green-blue stream. 
 
 437— Maeiko, 21 
 
 A soft flush of rose-color overspreads the whole sky, 
 making a luminous background for a grey hill, a grey 
 tea-house, and a white-blossomed plum-tree. 
 Exceptionally fine impression. 
 
 438— Okabe, 22 a 
 
 Down through a cleft in the dark green wooded hills, 
 a stream rushes along beside a road. A flaming maple 
 arches above it, against a little glimpse of sky. 
 An exceptionally fine impression. 
 
 439— Okabe, 22 b 
 
 A variation-plate. The left hill-slope is a greenish yel- 
 low, very different from the right-hand slope. 
 
 440— Fujieda, 23 
 
 In a village street that is shaded in color from claret to 
 green, a group of coolies are repacking their loads. 
 
 Exceptionally fine impression. 
 
 441 — Shimada, 24 
 
 A view from hills down upon the wide, sandy bed of the 
 Oi River, where many travelers are awaiting their turns 
 to cross the ford. 
 
 Exceptionally fine imp>ression. 
 
 442— Kanaya, 2.5 
 
 Beyond the wide sandy flats of the river rises a long 
 line of curiously shaped humped hills. 
 
Second Afternoon First Tokaido 
 
 443— NissAKA, 26 a 
 
 A steep yellow road descends from the right into a hol- 
 low of the mountains, where a large stone lies in the 
 middle of the path. Blue mountains appear far off 
 down the notch. 
 
 444 — NissAKA, 26 b 
 
 A variation-plate. The road is printed in green. 
 
 445 — Kakegawa, 27 
 
 In the midst of rice-fields, a small Ijridge arches high 
 over a stream. Kites are in the sky ; a dark mountain 
 hems in the horizon to the right. 
 Fine copy. 
 
 446— FrKUKOi, 28 
 
 At a wayside tea-house, under a large grey tree, coolies 
 are tending a smoking fire ; while to the right stretches 
 a long vista of gre^^ rice-fields. 
 
 J'JxcejitioiKilh/ fine imiiression. 
 
 447— MiTsuKE, 29 
 
 Strata of pale mist lie over the wide sandy river-flats 
 and tlie moored boats ; in the distance, ghostly wooded 
 hills loom vaguely through the dim veils. 
 yln exceptlonnUy fine copy of this famous print. 
 
 448 — Hamamatsu, 30 
 
 In the center of the picture, coolies are warming them- 
 selves at a smoking fire which they have kindled near a 
 tree. Behind them stretches a wide vista of grey autumn 
 rice-fields and distant houses and hills. 
 An e.rceptiotidlly fine iinpre.ision. 
 
 449— Maizaka, 31 
 
 Against a yellow sunset, a huge dark promontory rises 
 up out of a wide stretch of pale blue water. 
 
 Exceptionally fine iynpression. 
 
 450— Aeai, 32 
 
 Gay bannered boats are crossing the wide blue river 
 under a golden sky. 
 
 Exceptionally fine i7npre.<ision. 
 
First Tokaido 
 
 Second Afternoon 
 
 451 — Shirasuka, 33 
 
 From a high valle}^ between grey hills, one looks down 
 upon a wide prospect of open sea and luminous sky. 
 An except ionalh/ fine impression. 
 
 452 FUTAGAWA, 34 
 
 A wide stretch of green and grey rolling country, dotted 
 with sparse dwarf-pine trees. 
 Exceptionalhj fine copy. 
 
 453— YosHiDA, 35 
 
 Scaffolding rises beside the river, where workmen are re- 
 pairing a castle roof. On the left, a long bridge 
 stretches away to the wooded farther bank and the pur- 
 ple-streaked sky. 
 
 Very good impression. 
 
 454— Goru, 36 
 
 Twihght has descended on the darkening street of a vil- 
 lage, where hotel-servants are using both eloquence and 
 force to capture guests. 
 Exceptionally fine copy. 
 
Second Afternoon Fiest Tokaido 
 
 455 — Akasaka, 37 
 
 A sago-palm rises in the courtyard of an inn ; through 
 the open doors the guests and servants are visible. 
 
 UnusuaUij fine impression. 
 
 456 — Fujikawa, 38 
 
 At the entrance to a village, where grey walls and trees 
 meet the open country, peasants are respectfully kneel- 
 ing as the head of a daimyo-procession enters the town. 
 
 Exceptionally fine impression, 
 
 457 — Okasaki, 39 
 
 In a wide sweep, the trestled curving bridge, bearing a 
 long daimyo-procession, crosses the river toward a dis- 
 tant castle and blue hills. 
 Exceptionally fine copy. 
 
 458— Chieyu, 40 a 
 
 On grassy plains, many horses are tethered near a 
 spreading tree. A long low black hill cuts the horizon. 
 
 ExceptionaUji fine impression of a very rare print 
 
 459— Chieyu, 40 b 
 
 A variation-plate. The low black hill is absent. 
 Extremely fine impression. 
 
 46'0 — Narumi, 41 
 
 At dusk, travelers are coming down a wide village street, 
 where open cloth-shops display their wares. 
 ExceptionalU/ fine impression. 
 
 461— IMiYA, 42 
 
 Beyond an orange templc-torii, two bands of coolies in 
 wild chase are dragging along the ropes attached to two 
 festival-cars. 
 
 Exceptionally fine impression. 
 
 462 — KuwANA, 43 
 
 Just off a grey-walled promontory, where the River 
 Kiso joins the sea, two sailing- junks arc tossing in the 
 green waves. To the left, the sea stretches far away 
 down a long line of coast, to where the capes and bays 
 of Ise are lost in the golden evening light. 
 
 *Reproduced in "Chats on Japanese Prints," Plate 53. 
 Exceptionally fine impression. 
 
First Tokaido 
 
 Second Afternoon 
 
 463 YOKKAICHI, 441 
 
 Wind is sweeping across tlic pale green marshes, tossing 
 the brandies of the grey willo\v-tree, and phiying tricks 
 with the hat and the cloak of two travelers who find 
 themselves on the narrow causeway and bridges of this 
 marsh-land. 
 
 ExceptionuUy fine impression. 
 
 464 ISHIYAKUSHI, 45 
 
 A road crosses a grey harvest-plain toward a small vil- 
 lage set amid dark trees. Beyond it, hill after hill rises 
 in broad-sloped masses against a sunset sky. 
 
 Fxceptionalli/ fine imi>ressiuu. From the DeG'oiicourt Collection. 
 
 465 — Shono, 46 
 
 Through beating gusts of grey rain that lash the toss- 
 ing tree-tops, coolies are hurrying along the drenched 
 pass. 
 
 An early and extremely fine impression of this famous master- 
 
Second Afternoon 
 
 First Tokaido 
 
 466 — Kameyama, 47 
 
 Against the cold rosy dawn-light, the steep snow-cov- 
 ered slope lifts up its white flanks and its snowy pines, 
 in one great sweep from the village in the valley to the 
 castle on the height. 
 
 ExceptionaUy fine imprexsion of this masterpiece. 
 
 467— Seki, 48 
 
 Before the first dawn-light, there is a stir of the daimyo's 
 retainers with lanterns in the open space outside his inn, 
 as they prepare for the departure. 
 
 468 — Sakanoshita, 49 
 
 A tea-house stands at the edge of a gorge ; across the 
 gulf rises the pale peak of Fude Sute Mine, or "Throw- 
 ing-Away-the-Brush Peak." 
 
 469 — TsucHiYAMA, 50 
 
 Under a steady grey downpour of rain, in the midst of 
 a grey wood, a daimyo-procession in red and green robes 
 is crossing a bridge across a small torrent. 
 Exceptionally fine impression. 
 
First Tokaido Second Afternoon 
 
 470 MiNAKUCHI, 51 
 
 Outside a village that lies at the foot of blue hills, women 
 are preparing strips of dried gourd. 
 
 Very fine copy. 
 
 471 ISHIBE, 52 
 
 Tea-houses and shrubbery line the wide road, where 
 travelers are passing; the misty hills stretch along the 
 horizon. 
 
 Exceptionally fine impression. 
 
 472 — KusATsu, 53 
 
 In the street before an inn, at dusk, two groups of 
 coolies hurry by, carrying their heavy loads. 
 
 473 — Otsu, 54 a 
 
 Bullock-carts are passing down a road in front of three 
 grey-roofed tea-houses. A huge green hill appears 
 faintly in the background. 
 Very rare in this state. 
 
 474 — Otsu, 54 b 
 
 A variation-plate. The green hill is gone. 
 
 475 — Otsu, 54 c 
 
 A variation-plate. The roofs are shaded with red and 
 black. 
 
 476 — Kyoto, 55 
 
 The long bridge stretches across the sandy flats of the 
 Kamo River toward the city, which lies outspread at the 
 foot of high grey and red hills. 
 
 477 — Enoshima (An Extra Sheet) 
 
 From a pine-covered hill, one looks out to where the 
 island-peninsula of Enoshima lies amid the seas. Whether 
 this extremely rare print was, as is usually thought, 
 really intended as a supplement to this series, seems some- 
 what questionable to the writer. 
 
 An exceptionally fine impression, slightly soiled. 
 
Second Afternoon 
 
 Lake Biwa 
 
 THE EIGHT VIEWS OF LAKE BIWA 
 
 A series of masterpieces, in which the poetic quality of 
 Hiroshige's genius reaches its highest point. They are so well 
 known that, in place of description, there will be quoted Mr. 
 Laurence Binyons translations of the poems inscribed on each 
 one. 
 
 i18 — Clearing Weather at Awadzu 
 "White as when the wind clears 
 scatters it, the sails of a liundred 
 Awadzu." 
 
 An iiiipre.ixian of e.rtremelt/ renwrkahh hedutt/; flawles 
 
 •i79 — Night Rain at Kakasaki 
 
 "Elsewhere will they talk of the 
 breeze that has made tlie pine of 
 the voice of the wind is not heard 
 the rain in the night." 
 
 ExceptinnaUy fine and ffawlesa imprt 
 
 480 — Evening Sun on Seta 
 
 "Soft and fitful rain passes far 
 tains ; the evening light streams 
 Seta." 
 
 Fine hnprei^^ion. 
 
 away the cloud and 
 boats come flying to 
 
 music of the evening 
 Karasaki famed ; for 
 through the sound of 
 
 away over the moun- 
 along the bridge of 
 
Lake Biwa Second Afternoon 
 
 481 — Return of the Boats to Yahase 
 
 "The boats that come with swelling sails to Yabase have 
 been chased by the wind along the coasts of Uchide." 
 Fine impression. 
 
 482 — Autumn ]\Ioon at Ishiyama 
 
 "0 Hill of Stone, the image of the moon that thou seest 
 appear on Niwo Sea, is it not more beautiful than even 
 the moonlit Akashi, or Suma?" 
 Superb and flawless copy. 
 
 483 — Wild Geese Alighting at Katata 
 
 "After crossing many a mountain range, the wild geese 
 alight in Katata for a while, soon to continue their flislit 
 to northern Koshiji." 
 
 *A superb impression, reproduced in "Chats on Japanese 
 Prints," Plate 52. 
 
 484 — Evening Bell From Mii Temple 
 
 "At the sound of the bell beginning from ]Mii-dera, 
 Hark ! says the traveler, I am one step nearer to the 
 twilight." 
 
 Verji pie impression. 
 
 485 — Evening Snow on Hiea-San 
 
 "He wlio would see the beauty of the evening on the 
 peaks of Hira must behold it after the snows have fallen 
 and before the flowers are fully blown." 
 
 THE HALF-PLATE LAKE BIWA SERIES 
 
 Wholly different in conception from the larger series, this 
 set contains some of Hiroshige's finest work in small size. All 
 the sheets are extremely fine impressions in flaidess condition. 
 
 486 — Clearing Weather at Awadzu 
 
 487 — Night Rain at Karasaki 
 
 488 — Evening Sun on Seta 
 
Second Afternoon Lake Biwa 
 
 489 — Return of the Boats to Yabase 
 ■i90 — Autumn ^Ioon at Ishiyama 
 491 — Wild Geese Alighting at Katata 
 492 — Evening Bell Fkom ~Slu Temple 
 493 — Evening Snow on Hira-San 
 
 THE TEN VIEWS OF KYOTO 
 
 A rare series that comprises a number of famous prints. 
 
 494 — The Cool of the Evening at Shijo 
 
 On the sandy flats of the Kanio River, man_y picnic par- 
 ties are enjoying the evening dusk. 
 Fine imprexxlon. 
 
 495 — Ft'll ;\Ioon on the Yodo Ria'er 
 
 A Lirge boat is being poled along the blue stream, under 
 a large full moon. 
 
 Fine intpresfiion. 
 
 496 — KiNKAKuji, the Golden Pavilion 
 
 On the shores of a small lake stands the Golden Pavilion 
 with a background of grey hill. 
 
 Fine i)npres,'<ii)n. 
 
 497 — Cherry Blossoms at Akashiyajia 
 
 A raft is being poled down the blue river, past grey 
 banks tliat arc alight with pink cherry-blossoms. 
 ^"erl/ fine impre.t.tion. 
 
 498 — The Bridge of Heaven at Tofukuji 
 
 A stream, scattered witli fallen maple-leaves, flows down 
 between two steep liills where picnickers arc enjoying 
 the autumn foliage. 
 
 An exceptionalli/ fine imjireasion. 
 
 499 — KiYOMiDzu Temple Amid Cherries 
 
 From a cloud of pink blossoms, the temple rises against 
 a grey hillside. 
 
Kyoto 
 
 Second Afternoon 
 
 
 
 : ^ tf 
 
 
 
 
 
 i > ^ 
 
 500 — Giox Temple ix Sxow 
 
 Snow falls from the dark sky ; before the dark roofs and 
 pale blue gate of the temple stand three women with 
 umbrellas. 
 
 An e.rceiitioiiaUi/ fine copy of this famoun print. 
 
 501 — The PIamlet of Yase 
 
 Peasants carrying loads on their heads arc passing along 
 a narrow path through rolling fields. 
 
 An impression of entirely matchless quality, in fjaialess state. 
 
 502 — Dusk at Shimbara Gate 
 
 A staggering reveler is being assisted away from the 
 Flowerjr Quarter, under an evening sky and sickle-moon. 
 
 THE THIRTY-SIX VIEWS OF FUJI 
 
 In 1858 Hiroshige delivered the drawings for this series 
 to his publisher with the statement that it was his last work, 
 since he wished to put aside his brush before old age .should rob 
 him of his skill. His words had an unforeseen prophetic truth, 
 for even before the prints were engraved, the great artist was 
 
Second Afternoon 
 
 Fuji 
 
 dead; and his eyes never looked on a single one of them. The 
 series contains many poor prints, probably hecanse the master 
 could not supervise the arrangement of the coloring. Only the 
 finest sheets have been selected for inclusion here. 
 
 503 — Fttji From Noge in Yokohama 
 
 Against a luminous yellow sky, the ])eak towers over 
 the dark foothills and tlie calm bav. 
 
 .1 .superb iiiiprex.yinn. 
 
 50-1 — Fi'ji From Sata in Suri'ga Bay 
 
 A great wave is leaping up against rocks; Fuji appears 
 far off, beyond the liilly sliore. 
 
 SK/ierh linjirex.':ii)n. 
 
 505 — Fttji From Sukiya-Gashi in Tokyo 
 
 Beyond a castlc-moat and roofs covered with snow, Fuji 
 appears far ofF against a delicate pink glow. 
 Superb impre.i.iit}!!. 
 
Fuji Second Aft 
 
 crnoon 
 
 506 — Fuji From RIiuka in Sagami 
 
 Beyond a low reef and a lieadland grown witli pines, 
 Fuji appears across the calm, luminous bay. 
 
 An imj/rexxlon of e.rtremeli/ remarknJile uiul perhapx miiijue 
 quality. 
 
 507 — Fuji From Enoshima 
 
 The peak appears framed in a tall grey torii that stands 
 on the beach. 
 
 508 — Fuji From Koshigaya in JMusachi 
 
 Two flowering plum-trees stand on a hill in the fore- 
 ground ; through their branches appears a wide land- 
 scape of field and river, with Fuji towering bej'ond. 
 
 All extremely remarkable impression. 
 
 509 — Fuji From Ryogoku in Tokyo 
 
 From a landing-stage under a willow, one sees the Su- 
 mida River, the long Ryogoku Bridge, and Fuji beyond. 
 
 Very fine impres.non. 
 
 510 — Fuji From Hommoku Beach in JMusachi 
 
 The sea foams around the feet of a rocky green and 
 yellow cliff. Fuji appears far across the bay. 
 
 An impression of remarkable and perhaps unique quality. 
 
 THE FAMOUS PLACES IN THE SIXTY-ODD 
 PROVINCES 
 
 This extremely ambitious series was issued between 1853 
 and 1856. Certain of the designs are so poor that they have 
 been omitted from the sale; others are among Hiroshige's 
 greatest masterpieces. Early impressions in this series bear 
 five seals on the face of each print: late ones have only four. 
 All the prints here included are not only of the first edition, 
 but are cdso impressions of such uniformly fine quality as are 
 rarely seen. All are in flawless condition. 
 
Second Afternoon 
 
 The Peovinces 
 
 511 — Yamasiiieo Province, 1 
 
 At Arashiyama, near Kyoto, flowcriiif; cherries and red- 
 tinged clouds liglit u}) a green liillside that looks down 
 on a soft blue river and long bridge. 
 
 512 — Yamato Province, 2 
 
 The blue Totsu River flows down between soft green and 
 grey hills, where the dull orange of autumn maples lights 
 the slopes. 
 
 An impression of marrelous and perhaps unique quality. 
 
 513 — IzijMi Province, 4 
 
 From the pine-dotted, green slope, one looks out across 
 the broad sweep of Osaka Bay toward distant hills and 
 the soft orange glow of a sunset. 
 Remarkable imjn'fission. 
 
The Pkovinces Second Afternoon 
 
 514 — Settsu Province, 5 
 
 From a hill where a tall stone lantern stands among 
 small pines, one looks out across a village and the wide 
 Bay of Osaka toward white sails and a sunset. 
 
 515 — MiKAWA Pkovince, 10 
 
 The crags, winding stairs, temples and mists of Mt. 
 Horai are unfolded in a highly romantic scene. 
 
 516 — ToTOMi Province, 11 
 
 The long lagoon of Hamana winds away toward the left 
 between green and grey hills. 
 
 517 — SuRUGA Province, 12 
 
 Across Suruga Bay, Fuji looms enormous over its dark 
 foot-hills, with sunset clouds around it. 
 
 518— Kai Province, 13 
 
 The ^Monkey Bridge, high above the blue torrent, joins 
 the two yellowish cliffs ; rich autumn maples half hide it. 
 ^^erif fine iinpres.^ion. 
 
 519 — Izu Province, 14 
 
 At the village of Shuzenji, a blue stream pours down 
 from the green hills, breaking into several wide water- 
 falls in its course. 
 Veiy fine impression. 
 
 520 — Sagami Province, 15 
 
 On the right are the sea-washed caves and wooded heights 
 of Enoshima; on the left, Fuji is partly visible. 
 
 521 — MiisASHi Province, 16 
 
 Beyond the snow-covered shores and the pale blue Su- 
 mida River hang mists touched with red dawn-light. 
 
 522— MusASHi Province, 17 
 
 A festival-crowd is gathered at night in the grounds of 
 Asakusa Temple, Tokyo. Stars shine in the grey sky. 
 Veri/ fine Impression. 
 
Second Afternoon The Provinces 
 
 523 — AwA Province, 18 
 
 A narrow patli leads down to a blue bay, where five 
 junks are at anchor. Be3i'ond, there rises a green head- 
 land, piled mountains, and a glowing golden sunset. 
 An htipres.yion of extreineli/ reiiiorkable (jualift/. 
 
 524< — Kazusa Province, 19 
 
 On the wide shore, two gangs of men are hauling up a 
 boat. 
 
 .52.5 — Shimosa Province, 20 
 
 Three boats in a channel between two rocky headlands ; 
 Fuji far off across the tranquil blue bay. 
 
 526 — Hitachi Province, 21 
 
 A torii stands in the water before a little village, behind 
 which the wooded coast stretches away toward the sunset. 
 
 The priitfiin/ of the icnter /.s- iuifaJ>le. 
 
 527 — Omi Province, 22 
 
 The full moon hangs over the darkness of Lake Biwa ; 
 the long Seta Bridge appears in the middle-ground. 
 
 528— ]Mixo Province, 23 
 
 Between dark cliffs, the tremendous foamless weight of 
 a waterfall pours steadily downward. 
 Fine imprct^sion. 
 
 529 — Hida Province, 24 
 
 Across a gorge ropes arc fastened, and travelers are 
 being hauletl across in baskets. 
 Fbie hiijire.ssioii. 
 
 530 — Shinano Province, 25 
 
 On a steep dark hill, at evening, the watery rice-terraces 
 reflect repeatedly the full moon that sails high overhead. 
 A misty valley to the left. 
 
 531 — KoTsiTKE Province, 26 
 
 Under a dark winter sky, a blanket of snow covers the 
 fantastic crags and pines of Mt. Haruna. All is white 
 except the small red bridge and temple and the blue 
 stream. 
 
 Very fine impression. 
 
The Provinces Second Afternoon 
 
 532 — Dewa Province, 29 
 
 Yellow-sailed boats on an inlet between dark hills. 
 
 533 — Wakasa Province, 30 
 
 Fishermen in a large boat are hauling in the net with 
 its catch of fish and crabs. 
 
 Fine inifression. 
 
 534' — Kaga Province, 32 
 
 Under a night sky, fishing boats with flares are moving 
 about in the lake ; dark hills beyond. 
 
 535 — NoTO Province, 33 
 
 A fantastically carven cliff leans over a narrow blue 
 inlet ; to the right, green slopes, cherries, and a waterfall. 
 
 An hiipressioii of remarkahle qiiaUti/. 
 
 536 — Etchu Province, 3-i 
 
 A curving pontoon-bridge crosses the smooth blue river 
 toward green hills. 
 
 An impression of extraordiiinry quality. 
 
 537 — EcHiGo Province, 35 
 
 A dark promontory honeycombed with caves fronts the 
 sea. 
 
 538 — Sado Province, 36 
 
 A green and yellow hill, at whose base are three open- 
 ings to gold mines. 
 
 539— Tango Province, 38 
 
 The long, pine-covered jjeninsula of Amonohashidate 
 stretches across an ex])ansc of blue sea. 
 
 540 — Inaba Province, 4'0 
 
 A green pine and a rufldy plum-tree stand on a green 
 hill overlooking bays and islands. 
 
 541 — HoKi Province, 41 
 
 In a beating rain, peasants are transplanting rice in 
 the fields. Groves of trees and i\It. Oyama appear dimly 
 in the background througli the liaze. 
 T'ery fine copy. 
 
Second Afternoon 
 
 The Pboviicces 
 
 5-12 — IzuMO PRO\'iNC'ii, -ta 
 
 Through tlie sacred cryptonieria groves figures are 
 wandering \vraj)ped in the mystery of grey mist. 
 
 A superb and perhaps matchless impression of tiiis famous print. 
 
 543 — IwAMi Provixce, 43 
 
 Near a green promontory, salt-makers are at work on 
 the beach. 
 
 T'eny fine impression. 
 
 544 — Oki Pkovince, 44 
 
 The towering prows of two great junks cut the blue 
 waves just off a green shore. 
 
 Extremely remarkable rapy: the printinq of the tenter is exrep- 
 tional. 
 
The Provinces 
 
 Second Afternoon 
 
 545 — Haeima Province, 45 
 
 On the sandy beach by the sea's edge, lordly pines twine 
 their brown trunks and green foliage in arabesques 
 across the sky. 
 
 A superb copy of this famous masterpiece. 
 
 546 — MiMASAKA Province, 46 
 
 Slashing gusts of torrential rain are sweeping down on 
 two belated travelers who plod through the night. 
 An extremely remnrkabte impression. 
 
 547 — Bingo Province, 49 
 
 In grey evening light, a precipitous crag crowned with 
 a temple looms over the sea. 
 Very fine impression. 
 
Second Afternoon The Provinces 
 
 5-i8 — Kii Peovixce, 53 
 
 A flight of cranes over islands and bays. 
 
 549 — AwAji Province, 54 
 
 Off' a low coast, fishermen are hauling in a seine. 
 
 550 — AwA Province, 55 
 
 The Naruto Whirlpool dashing against rocks and leap- 
 ing higli into foam. 
 
 551 — Sanuki Province, 56 
 
 A group of travelers mount the road ; behind them rises 
 the curiousl_v-shaj)ed "Elephant's Head ^Mountain." 
 
 Extreiiieli/ fine impression. 
 
 55il — Iyo Province, 57 
 
 Against a streaked sky, wild geese Hj over a harbor. 
 
 55!3 — TosA Province, 58 
 
 j\Ien fishing with rods, on a rolling sea. 
 Fine impression. 
 
 554 — Chikuzen Province, 59 
 
 A zigzag strip of land extends out into a blue harbor. 
 A small, green hill rises in the background. 
 
 Fine eopt/. 
 
 555 — BrzEN Province, 61 
 
 Beyond a blue river rises an orange cliff honeycombed 
 with galleries. 
 
 556 — BiTNGo Province, 62 
 
 Beyond a harljor, curious conical hills rise against the 
 dull orange sunset glow. 
 
 557 — HizEN Province, 63 
 
 A striped sail cuts the foreground; beyond lie an in- 
 dented bay, ])uri)lc sunset mists, and mountains. 
 
The Provinces 
 
 Second Afternoon 
 
 558 — HiGO Pkovince, 64 
 
 A fallen tree-trunk bridges a misty chasm ; across it a 
 peasant is carrying fagots. Beyond him rises a huge 
 blue peak wreathed in fleecy clouds, against a blue sky. 
 A superb impresxion of thi.i famous print. 
 
 559 — HiGO Pkovince, 64 
 
 Another impression ; the mountain is grey, and the sky 
 is touched with yellow. 
 T'eci/ fine. 
 
 560— Iki Province, 68 
 
 Desolate winter and falling snow over the land-locket 
 
 harbor. 
 
 A svperb impression of this masterpiece. 
 
 561 — TsusHiMi Province, 69 
 
 A rainbow arches over a bay and distant coasts. 
 Extremely pie impres.non of this famous design. 
 
Second Afternoon 
 
 Yedo 
 
 VARIOUS HORIZONTAL YEDO SERIES 
 
 At various times, from 1830 to 18-iO, Hiroshige produced 
 a number of series of horizontal vieics of Yedo that include 
 some of his finest designs. 
 
 562 — Lotus Poxd at Shixoiu'gaoka 
 
 Red sunrise clouds light the sky beyond the blue pond 
 and the green foliage. One of the Earliest Yedo Series; 
 second edition. 
 
 Vert/ fine iinprexsiDii. 
 
 563 — ^Morning C'herkies at Yoshiwaka 
 
 Above the dark gate, sunrise breaks on the pale cherry- 
 trees. A peculiar imijrossionistic effect of splintering 
 light. From the same scries. 
 Veri/ fine impression. 
 
 56-1 — Evening Rain at Azujia No jMori 
 
 Darkness, rain and silence lie over the wide plain across 
 which a causeway runs toward a temple-grove. From 
 tlie famous series, "Yedo Kinko Hakkei." 
 
 yl fine impre.ision which, niruD very brarvn, lia.s iiainetj as much 
 in mi/sfery as it has lo.it in freshness. 
 
Yedo 
 
 Second Afternoon 
 
 565 — Falling Skow ix Kameido Temple Gardens 
 
 The grey wintry landscape is relieved only by a few 
 touches of blue in tlie water and of dull red in the temple 
 and bridge. 
 
 An extremelji fine copy of thin famous frint. 
 
 -The Steps to Miojin Shrine 
 The shrine and tea-house crown the hill to tlie right; to 
 the left, the flat roofs of Yedo stretch away under an 
 orange sky with blue clouds. 
 Very fine impression. 
 
 566- 
 
 567- 
 
 -Yedo Sunset 
 
 A green wooded hill rises over the roofs and canals, with 
 a low orange sunset burning behind it. 
 
 Fine copy. 
 
 568 — Incoming Boats at Tsuktjda 
 
 The finely curving sails sweep by against a background 
 of water, dark shore, and low orange sunset. 
 Fine copy. 
 
 569 — Twilight at Takanawa 
 
 Three tall sails are outlined against the sunset and the 
 blue clouds; carts and travelers crowd the wharf in the 
 foreground. 
 
Second Afternoon 
 
 Yedo 
 
 570 — White Raix ox Niiionbashi 
 
 The pale blue of the water, and the pale orange touches 
 along the horizon, light up the greyncss of the shore 
 and sky. 
 
 Very fine impresxion of this famous print, 
 
 571 — Picnic at Gotenyama 
 
 On a green cliff that fronts the blue sea, many merry- 
 makers are enjoying themselves under the pale pink 
 cherry-trees. 
 
 Fine copy. 
 
 572 — Path Trough Rice-Fields 
 
 A winding path leads across the pale green plain to the 
 Temple of the Five Hundred Rakan ; a single slender 
 tree cuts the foreground. 
 
 Superb copy of this famous print. 
 
 573 — The Fair at Asakfsa Temple 
 
 A wide evening view over the roofs, woods and o-rey 
 evening mists of Asakusa Temple. 
 
 An impression of very exceptional qualitij. 
 
Ye] 
 
 Second Afternoon 
 
 
 
 574 — Snow at Shiba Akabaxe 
 
 Against the grey sky and tlie white earth, the few 
 touclies of color hght up the scene. 
 An extremelji jine impression. 
 
 575 — The Rainbow 
 
 Scene from Atago Hill, Shiba, looking out over flat 
 roofs toward the bay. At the left, partly hidden by a 
 dark tree, a rainbow arches across the blue sky. 
 ^'er^/ fine copy. 
 
 576 — IMooNLiGHT Picnic at Dokwan-Yama 
 
 Picnickers are seated on a green knoll to the right; m 
 the center two women and a child with a fire-fly cage are 
 climbing the path ; to the left, the large pale moon comes 
 up over the dim grey fields. 
 
 An impression of exceptionni cpudihi. 
 
 577 — Evening Fkstivat- at RvoGOKir Bridge 
 
 Boats with lanterns throng tlie water; above, the dark 
 brido-e stretches across the dark skv where fireworks are 
 
 o 
 
 bursting. 
 
 ExceptionaUy fine copy. 
 
 578 — Same, but later edition, from changed blocks. 
 
Second Afternoon Yedo 
 
 579 — The Banks of the Sumida in Cherry-Blossom Time 
 To the left, the green banks crowned with pink cherries 
 rise from the delicate blue water. 
 
 Very retnnrlinble copy. 
 
 580 — Evening Fikeworks on the Sumida River Bank 
 
 From the crowded shore one looks across the stream to 
 the dark farther shore and the beautiful evening sky. 
 Es'tretiiely fine i)t)pre.si<ion. 
 
 581 — ]\Io()NLiT Cherries at Yoshiwara 
 
 People are hurrying to and fro before the dark gate; 
 while, above, the white blossoms of cherries show pale 
 against the moon and the evening sky. 
 A very fine copy of tliix famous print. 
 
 582 — Incoming Ji'nks at Yetai-Bashi 
 
 Beyond the bridge, the white sails rise up against the 
 blue water and faint orange sunset glow. 
 Fine copy. 
 
 583 — The Roofs of the City at Dusk 
 
 A view from Atago Hill over the wide dark plain of Yedo 
 housetops. 
 
 584 — Azuma Wood 
 
 A temple stands to left, almost hidden by a dark grove; 
 to the right stretch the grey autumn rice-fields under a 
 blue-streaked sky. 
 Pine impre.'!.'.-iov. 
 
 685 — Evening at Gotenyama 
 
 Many people arc wandering about on a dark green hill- 
 side that fronts the sea; from the slopes, dark pines and 
 glowing autumn maples are outlined against the orange 
 sunset and the blue water. 
 
 A remarkable and perhaji.^ uniqve impression: the colors have 
 the qualify of enamels. 
 
 586— The Temple Stairs 
 
 A steep flight of steps leads up to a torii, beyond which 
 appear lacy trees, dark against a delicate glow of pink 
 clouds. 
 
 Very fine impression. 
 
^ ^^o Second Afternoon 
 
 587- — Evening Mist at Megueo Temple 
 
 A red shrine is in the foreground ; beyond it rises a stair 
 and a dark grove streaked with dark mist. 
 
 588 — The Canal Embankment 
 
 Many people are passing along the embankment, beyond 
 which rises a dark grove and the roofs of a temple. 
 Fine copy. 
 
 589 — A Road in the Subukbs 
 
 The grey causeway stretches along the top of a green 
 embankment, with many tea-booths. Pale streaked sky. 
 
 A veri/ fine cnpi/ of a rare print, from a verij niicoinmoti series. 
 
 590 NiHONBASHI AT DaWN 
 
 Fish-vendors crowd the bridge-head; beyond, the roofs 
 emerge from the morning mist, and Fuji looks down 
 from afar. 
 
 Exceptionoli ji fine impres.tion of a rare print. 
 
 591 — Temple Grove in Snow 
 
 The red temple stands to the left on a platform ; toward 
 the right appear the snowy trees and roofs. 
 
 Extrenieli/ fine impre.-<sion of tlii.f rare and fine ilesijiii. 
 
 592 — Canal in Snow 
 
 Three figures have descended from a boat and are mount- 
 ing the snowy bank toward a tea-house. To the left 
 the pale blue canal stretches away toward a dark bridge 
 and grey wintry sky. 
 Extremeli/ fine copy. 
 
 A PAINTING 
 
 593 — The Sumida Rivee 
 
 To the left appears a bridge which stretches ;icross the 
 pale blue water; on the fartlier sliore, many figures and 
 a temple are suggested. Tlic picture is a small master- 
 piece in whicli Hiroshige has used tlic fewest and simplest 
 of touches to j)roduce his effect. 
 Size ."Ji/.xSi/j ; in perfect condition. 
 
Second Afternoon 
 
 Various Horizontal Series 
 
 PRINTS FROM VARIOUS HORIZONTAL 
 SERIES 
 
 594 — Kanazawa Series : Sails at Otomi 
 
 Beyond the fields, the path, and the blue sea, a faint 
 yellow flush appears in the sky. 
 
 This extremely remarkable copy of this very rare 'print is 
 printed almost entirely in blue; its quality is exceptional and 
 perhaps unique. 
 
 595 — HoNCHo Meisho Series: Nunobiki Cascade 
 
 The blue waterfall rushes down a grey wooded hill to 
 the left; on the right, travelers are descending a steep 
 road along green and red cliffs. 
 
 Very fine copy of a rare print. 
 
 596 — Harbors of Japan Series: Snow at Ukaga 
 
 Between two snowy hills lies a small village, whose feet 
 is washed by the blue sea on one side and by an inlet on 
 the other. Grey wintry sky with falling snow. 
 
 A superb impression of this rare design. 
 
Various Horizontal Series 
 
 Second Afte 
 
 597 — Tamagama Series : Moonlight at Kinuta 
 
 Beside a stream, two women are pounding clotli ; beyond 
 
 them stretches a mysterious misty landscape bathed in 
 
 the pale light of the full autumn moon. 
 
 A most remarkahJe impression of one of Hiroshiye's (jreatest 
 renderings nf mist and moonlight. 
 
 598 — Mountain and Sea as Wrestlers Series: Snow^ at 
 
 BiZEN 
 
 Beyond great hills and valleys of snow, there appears 
 one touch of pale blue sea under a grey sky where snow 
 is falling. 
 
 A superb impression of this rare p>rint. 
 
 THE RONIN SERIES 
 
 This interesting and superb series is seldom found in 
 really fine impression. All of the following are of excep- 
 tional quality. They are the pick of four complete series 
 which the owner at various times purchased for the sake 
 of some one or two .iheets. 
 
 599 — Act I: The Blue Temfle Stairs 
 
 The Lady Kaoyo, followed by two men carrying the box 
 of helmets, mounts toward the council of nobles. 
 Fine color. 
 
Second Afternoon Ronins 
 
 600 — Act II: The Yellow Screen 
 
 In a blue-wallcd room, Tonase crouches behind the screen 
 wliile her daughter Konami receives her fiance, RiJviya. 
 
 ^'eri/ fine color. 
 
 601 — Act III : Before the Castle of ]\Ioroxao 
 
 Honzo, tlie retainer and counselor of Wakasanosuke, 
 brings presents to avert the anger of Jloronao. Delicate 
 sunset sky beyond the blue moat and the grey battle- 
 ments. 
 
 602 — Act IV: The Pixk Flowers 
 
 The Lady Kaoyo sits on a veranda arranging flowers ; 
 along a gallery at the back come the messengers of the 
 Shogun. 
 
 UiiKxiiiilli/ fine color. 
 
 603 — Act Y : Night Rain Ajioxg Moi'ntaix Gorges 
 
 One of the ronins, Sadakuri, having turned highwayman, 
 tlircatens to kill the aged peasant Yoichibei. The scene 
 is a dark hillside beneath two great ])ines ; to the left, 
 beyond a gorge, appear mountains dim in the rain. 
 
 An imjiression of remarknhle quaJiti/. 
 
 60-1 — Act \T: Three Hunters in a Valley 
 
 They have just carried home the body of the murdered 
 Yoichibei, and are now returnine; across a small bridsre 
 under the shadow of a gre_y mountain. 
 
 605 — Act VII : Evening Carousal at a Tea-House 
 
 Yuranosuke, pretending to lead a life of dissipation, de- 
 ceives the spies who have been sent by iMoronao to find 
 if the young man has forgotton his vow of revenge. 
 
 606 — Act ATII : Travelers and the Pine 
 
 The bridal-journey of Konami, who is going to the 
 capit/d to meet her betrothed. She and her mother are 
 coming down a green slope: behind them towers a mag- 
 nificent pine-trunk wreathed with autumn ivy. 
 An ii}iprexslon of e.rtrenieli/ remarlaMe quality. 
 
RoNiNS Second Afternoon 
 
 607 — Act IX : Death in the Snowy Gardi';n 
 
 Honzo, disguised as a komuso, stands in the snowy gar- 
 den where he is soon to meet his tragic death. 
 
 608 — Act X: The Night Visit to the Arjigrer 
 
 In the dark street outside the armorer Gihei's house, 
 the black-chxd ronins seek admittance. 
 
 Remarkably fine copy. 
 
 609 — Act XI. First Episode: The Night Bridge 
 
 Under a dark sky, the black figures of the ronins are 
 crossing the snowy bridge to enter boats on the near shore. 
 An exceptional! 1/ fine imprexsion of this fainoii.i ))\axterpiece. 
 
 610 — Act XI, Second Episode: The Attack on the Gate 
 The ronins, in the snowy court of jNIoronao's castle, have 
 placed bamboo bows under the lintels, and by simulta- 
 neously cutting the bowstrings they lift the hntel and the 
 doors fall. 
 
 An impression of superb quality. 
 
 611 — Act XI, Third Episode: The Killing of Moronao 
 
 :Moronao, awakened from sleep, has fled to an outhouse ; 
 thence he is dragged, and is slain by the ronins. 
 Superb copy. 
 
 612 Act XI, Fourth Episode : The Three Ruffians 
 
 The ronins are halted in the snowy street by three ruf- 
 fians with poles and swords. 
 A superb impression. 
 
 613 Act XI, Fifth Episode: The Halt on the Bridge 
 
 On the great curving bridge the head of the ronin 
 column is halted by a horseman with a lance. 
 Superb copy. 
 
 Q14, — Act XI, Sixth Episode: The Snowy Sunrise 
 
 The ronin column enters a gate near the sea ; to the right 
 is a snowy clifF, wonderfully shaded; in the background 
 the red sun is rising. 
 Superb impression. 
 
Sceond Afternoon Upright Tokaido 
 
 THE UPRIGHT TOKAIDO SERIES 
 
 This series, published in 1855, was the first and only 
 attempt made by Hiroshige to treat these, his favorite 
 subjects, in the upright form of composition which had 
 by this date become his favorite one. The series is 
 characterized chiefly by the sense of vast distance that 
 it conveys, especially in the sea-pieces. Poor impressions 
 of this series are plentiful, hut those of fine quality are 
 rare. Only the best designs from the series have been 
 included here. 
 
 615 — Kawasaki, 3 
 
 Pale blue Fuji rises beyond the bends of a river. 
 
 616 — Kanagawa, 4 
 
 The full moon over a tranquil bay and dark hills. 
 
 617 — ToTsuKA, 6 
 
 Peasants are working in a rice-field ; beyond green hills, 
 Fuji looms through a screen of dark trees. 
 
 618— FujisAWA, 7 
 
 Travelers and large pines fill the foreground; beyond, 
 a grey hill and Fuji appear against the sky. 
 Fine copy. 
 
 619 HiRATSUKA, 8 
 
 Beyond a broad blue river rises a green hill; to the left 
 of this appears snowy Fuji. 
 Fine impression. 
 
 620— Oiso, 10 
 
 From a height one looks down upon a wide bay and far 
 coasts. 
 
 621— Hakone, 11 
 
 Travelers with torches mount a steep road in the evening 
 dusk. Across a stream looms a black mountain. 
 Very fine impression. 
 
Upright Tokaido 
 
 Second Afternoon 
 
 622 — MisHiMA, 12 
 
 Dusk in a village street before a large torii. 
 
 .^:k 
 
 .^^i^i ■■■■ 
 
 623— NuMADZu, 13 
 
 Snowy landscape with bridges. 
 Fine ii)qrression. 
 
 624— Haea, 14 
 
 Fuji looms enormous and grey above its foothills, 
 against a pale rose sky. 
 Very fine impression. 
 
 625 — Yoshiwaea, 15 
 
 Beyond marshes, Fuji rises white out of mist, against a 
 pale blue sky. 
 
 Vert/ fine impression. 
 
Second Afternoon Upright Tokaido 
 
 Q^Q — Kambaka, 16 
 
 Across a river rises a green hill whose base is hidden in 
 mists. 
 
 627— Yui, 17 
 
 A precipitous green cliff fronts the sea ; in the back- 
 ground appear masses of dark hills, and pale Fuji out- 
 lined against the glowing sunset sky. 
 
 \'erii fine copi/. I^miiiVi/ the ski/ is too ghiring. 
 
 ea.S— Ejiei, 19 
 
 Beyond a wide blue inlet, Fuji rises pale among brilliant 
 sunset clouds. 
 Fine iiii iiression. 
 
 629— :\1ariko, 21 
 
 Travelers in a village street ; green hill beyond. 
 
 630— Okabe, 22 
 
 A grey pass between two grev hills ; a misty grey moun- 
 tain rises beyond. 
 
 I'ov/ five impression. 
 
 6B1— FrjiEDA, 23 
 
 A pale blue river winds among wooded shores. 
 
 632— Kanaya, 25 
 
 A wide view over the sand-flats of the river. 
 
 633 — Kakegawa, 27 
 
 A stream winds from tlie foreground back toward wooded 
 cliffs and a grey hill. 
 E.rcepti<juiilli/ fine copi/. 
 
 63i— ^IiTsuKE, 29 
 
 One looks down from a height upon the grey river-flats 
 and the pale blue channel, with grey hills on the farther 
 shore. 
 
 Exeeptionnll)! fine impression. 
 
 63.5 — Hamamatsti, 30 
 
 Gnarled ])ines along the wave-beaten beach; a far coast 
 in the background. 
 
 ^'erl/ fine impression. 
 
Upright Tokaido 
 
 Second Afternoon 
 
 636— Maisaka, 31 
 
 The great headland juts into the pale blue sea, against 
 a rich sunset sky. 
 
 Exceptionalli/ fine impression. 
 
 637— Arai, 32 
 
 Across the wide pale bay comes a procession of sails. 
 
 638— Shirasuka, 33 
 
 From a winding cliff-road one looks out to the sea- 
 horizon. 
 
 639— YosHiDA, 35 
 
 A bridge, a river, and a castle on the far shore. 
 Fine copy. 
 
Second Afternoon 
 
 Upright Tokaido 
 
 64.0— Akasaka, 37 
 
 Evening dusk has fallen on the fields ; on the road, trav- 
 elers arc fighting. 
 
 E^tremelij fine imprestiion. 
 
 641— Fujikawa, 38 
 
 Snow scene ; a village street and snowy mountains dim 
 
 through the falling flakes. 
 
 *Reproduced in "C'hcit.i on Japanese Prints," Plate 54. Excep- 
 tinnatli/ fine copy. 
 
 642— Okasaki, 39 
 
 A bridge arches higli across a stream. 
 ExceptionnJIt/ fine. 
 
 643 — Chiryu, 40 
 
 Amid green fields, travelers pause under a gnarled pine : 
 pale pink sky. 
 
 Veri/ fine imprression. 
 
Upright Tokaido 
 
 Second Afternoon 
 
 g4,4, — Narumi, 41 
 
 Strips of dyed cloth hanging in a village street. 
 Very fine impression. 
 
 645— MiYA, 42 
 
 A large orange torii stands on the shore, with the pale 
 
 blue sea beyond. 
 
 An impression of extraordinary quaUty. 
 
 646 — KuwANA, 43 
 
 A great junk outlined against blue water and pale pink 
 
 sky. 
 
 Very fine impression. 
 
 647 — YoKKAicHi, 44 
 
 Wide view over a grey landscape to the sea. 
 
Second Afternoon 
 
 Upeight Tokaido 
 
 648 ISHIYAKUSHI, 45 
 
 Amid green fields, a rosy plum tree stands outlined 
 against the pale blue sky. 
 Excejitionally fine impression. 
 
 649 — Kameyama, 47 
 
 From a savage yellow sky streaked with lightning, grey 
 rain beats down on a road up which travelers are 
 hurrying. 
 
 Exceptionally fine impression. 
 
 650— Seki, 48 
 
 The dark blue distant mountain rises up against the pale 
 blue luminous sky with superb atmospheric effect. 
 
 An extremely remarkable and .superb impres.sion. 
 
Upright Tokaido Second Afternoon 
 
 651 MiNAKUCHI, 51 
 
 Glowing autumn maples at the foot of pale green hills. 
 An imiyression of remarliahte quality. 
 
 652 — KusATsu, 53 
 
 View across a wide pale lagoon toward a long line of 
 grey mountains. 
 
 T«n/ fine im'presswn. 
 
 653— Otsu, 54 
 
 From a terrace high over the lake, one looks out across 
 the pale water to a pointed peak. 
 
 ^'ery fine copy. 
 
SECOND EVENING SALE 
 
 WEDNESDAY, FEBRUARY 11, 1920 
 
 AT THE AMERICAN ART GALLERIES 
 
 BEGINNING AT 8:15 O'CLOCK 
 
 Catalogue Nos. 654 to 901, Inclusive 
 
 HIROSHIGE (Continued) 
 THE YETATSU TOKAIDO SERIES 
 
 This series, published about 1840, is also called the 
 Gyosho Series, because the titles are written in Gyosho 
 or informal script. The great characteristic of the series 
 is the conscious attempt which Hiroshige snakes to deed 
 with larger masses of flat color and to obtain his effect 
 more by the skillful employment of solid mosaic-patterns 
 than by gradation. The series is somewhat rare. 
 
 654 NiHONBASHI, 1 
 
 The bridge-head under a grey dawn. 
 
 655 — Shinagawa, 2 
 
 A tea-house on the shore ; wide blue bay beyond. 
 
 656 — Kawasaki, 3 
 
 Three boats on the long reaches of the river. 
 
 657 — Kanagawa, 4 
 
 One looks out from a low shore to the blue-streaked sea. 
 
Second Evening Yetatsu Tokaido 
 
 658 HODOGAYA, 5 
 
 A small bridge arches over a blue stream near a tea-house. 
 
 659 — ToTsuKA, 6 
 
 Travelers descending a road between green hills. 
 
 660— FujisAWA, 7 
 
 Travelers on a bridge near a blue torii. 
 
 661 HlKATSUKA, 8 
 
 Travelers on a river bank; bej'ond, Fuji against a striped 
 pink and blue sky. 
 
 662— Oiso, 9 
 
 A Daimyo's retainers marching along a pine-grown 
 shore. 
 
 663 — Odawara, 10 
 
 View across river-flats toward brown mountains. 
 
 66i — Hakone, 11 
 
 Travelers on a rocky pass. 
 
 665~iIlSHIMA, 12 
 
 Two men with umbrellas mount from a little village 
 toward a tea-house. 
 Fine impression. 
 
 666 — NuMADzu, 13 
 
 Wandering minstrels in a village street. 
 Fine itnprexsion. 
 
 667— Haea, 14 
 
 Gre^' Fuji looms enormous across wide plains and a river. 
 
 IVri/ fine copy. 
 
 668 — YosHnvAEA, 15 
 
 Two travelers pause at a tea-house from which appears 
 a pine-grown plain and Fuji. 
 Veri/ fine impression. 
 
 669 — Kambaka, 16 
 
 Two komuso with basket hats pause beside a blue river. 
 
Vetatsu Tokaido 
 
 Second Evening 
 
 670— Yui, 17 
 
 Near a green knoll, porters are crossing a stream on trestles. 
 
 6'71— Okitsu, 18 
 
 From a pine-grown shore, one looks out upon a wide 
 vista of green coast-line, pale blue sea, and pink sky. 
 
 
 eiti—Ejuii, 19 
 
 Low red sunset across snowy fields. 
 
 673— FucHu, 20 
 
 Pilgrims at the entrance of a village. 
 
 67-t— ^Iakiko, 21 
 
 Two travelers eating at an open tea-house. 
 Fine fopn. 
 
 675— Okabe, 22 
 
 A tea-house looking out upon peaks and gorges. 
 Fine copy. 
 
Second Evening 
 
 Yetatsu Tokaido 
 
 676— FujiEDA, 23 
 
 Beyond a wharf, where three travelers wait, appear green 
 hills and blue bays. 
 Extremely fine copy. 
 
 677 — Shimada, 24 
 
 Three travelers on a plank bridge. 
 Fine impression. 
 
 678— Kanaya, 25 
 
 A wrestler and other travelers are being carried across 
 a stream by naked coolies. 
 
 679— NissAKA, 26 
 
 On a mountain road, travelers pause before a large stone 
 in the middle of the path. 
 
 Excepfiovaily fine copy. 
 
 680 — Kakegawa, 27 
 
 Pines, a temple torii, and a temple lantern stand beside 
 the road. 
 Fine copy. 
 
 681— Fltkuhoi, 28 
 
 Children are flying kites in the fields. 
 T'pc!/ fine copy. 
 
 682 — MiTsuKE, 29 
 
 Boats on a dark river; green shore beyond. 
 
Yetatsu Tokaido Second Evenv 
 
 venmg 
 
 683 — Hamamatsu, 30 
 
 Pines on a sandy sliore. 
 
 684 — Maisaka, 31 
 
 Travelers wading across a stream. 
 
 685— Arai, 32 
 
 Sailboats sweeping along over bluish green water. 
 A verij fine impreasion. 
 
 686— Shikasuka, 33 
 
 Travelers pause to view the superb sweep of sca-expanse 
 and sails. 
 
 Extremelji fine intiirexxion. 
 
 687— Futagawa, Si 
 
 A tea-house before a low green hill. 
 Fine impression. 
 
 688— YosHiDA, 3.5 
 
 A bridge across a deep blue river ; a castle and hills 
 beyond. 
 
 Fine impression. 
 
 689— GoYu, 36 
 
 At dusk, travelers cross a stream near two large dark 
 trees. 
 
 Extremeli/ fine impression. 
 
 690— Akasaka, 37 
 
 The moon appears through the branches of three pine- 
 trees, rising beyond a misty jilain and grey hills. 
 Very fine cop;/. 
 
 691— Fujikawa, 38 
 
 A shop-lined street mounts steeply toward the right. 
 Veri/ fine itnpression, in fildicini/ mlor. 
 
 692— Okasaki, 39 
 
 Six travelers and a horse on a curving bridge. 
 
 693— Chiryu, 40 
 
 Coolies are pausing on a road under pines. 
 
Second Evening 
 
 Yetatsu Tokaido 
 
 694 — Narumi, 41 
 
 A cloth-sliop, open to tlie street. 
 
 695— MiYA, 42 
 
 Orange sunset beyond a torii beside tlie sea. 
 
 696— Ku^vANA, 43 
 
 The blue sea washes tlie ramparts of a castle. 
 Verij fine impression. 
 
 697 — YoKKAicHi, 44 
 
 A pink torii stands on a road before an open tea-house 
 
 
 J:iJ-J./'/j^.. 
 
 ^_ 
 
 698 ISHIYAKTTSHI, 4-5 
 
 Travelers with a horse plod through deep snow in the 
 bluish evening dusk. Snow is falling from the grey skv. 
 
 Exfremehi fine iinpression. 
 
 699 — Shono, 46 
 
 Coolies packing horses before a tea-house. 
 Fine copy. 
 
Yetatsu Tokaido 
 
 Second Evening 
 
 700 — Kameyama, 47 
 
 Porters on a mountain-road lined with pines. 
 Fine copy. 
 
 701— Seki, 48 
 
 The open front of an inn, seen from tlie street. 
 Fine copy. 
 
 702— Sakaxoshita, 49 
 
 View of rockv hills from a tea-house. 
 
 703 TSUCHIYAMA, .50 a 
 
 A Daimyo procession fording a stream between steep 
 green banks ; the sky is dark with torrential evening rain. 
 Extrenielii fine impression. 
 
 704— TSUCHIYAMA, .50 b 
 
 A variation plate ; the rain is gone. 
 
 Fine inipressimi. 
 
 70.5 MlNAKUCHI, .51 
 
 Travelers before a basket-maker's shop. 
 Fine copy. 
 
Second Evening Yetatsti Tokaido 
 
 706— IsHiBE, 52 
 
 Four travelers and three horses at the entrance of a 
 village. 
 
 707— KrsATsu, 53 
 
 Three travelers on a road near three curiously drawn 
 trees. River and hills beyond. 
 Verji fine rojii/. 
 
 708— Otstt, 5-1 
 
 The o})cn front of an inn beside Lake Biwa. 
 
 709— Kyoto, 55 
 
 From a bridge are seen the river and hills of Kyoto. 
 
 ^1 n e.vreptiini<(ll{f fine impre-^.^ion. 
 
 THE KISOKAIDO 
 
 In his series of Views of the Sixty-Xine Posting Stations 
 of the Kisokaido Road, Hiroshige collaborated with 
 Kcsai Yeisen, -who made twenty-three of the designs. Of 
 late years, fine impressions from this series have been 
 cdmost unprocurable. The following are all of remark- 
 able quality. 
 
 710 SltlMMACHI, 12 
 
 Tlio view is from a green clifF-side, out across the wind- 
 ings of a small blue river, toward the far bank, on which a 
 clump of pines is silhouetted against the sky. Far blue 
 mountains appear along the horizon, clear against a sun- 
 set whose soft, luminous splendor not even Hiroshio-e 
 ever surpassed. 
 
 An iinpre.i.iion of extraordinary qvalitt/ in every respect. 
 
KlSOKAIDO 
 
 Second Evenini; 
 
 "r'^-r0r\^ 
 
 
 W m\ 
 
 .1.- 
 
 *t-. 
 
 711 — Itabana, 15 
 
 Ao-ainst a grey wintry sky, flushed with clear faint sun- 
 set at the horizon, is silhouetted a row of fantastic pine- 
 trees feathered with snow. Snow-covered travelers are 
 passing along the snow-hummocks beneath the trees. 
 To the left flows a small blue stream. This design, by 
 Yeisen, worthily takes rank as one of the finest sheets in 
 the series. 
 
 A renuirkahle and superb impression. 
 
 712 — Annaka, 16 
 
 Between curious bare slopes of green and grey, a wide 
 road mounts to a notch. The composition and the 
 color-scheme of this print are both unusual. 
 
 An exceptionaUy fine impression. 
 
Second Evening 
 
 KiSOKAIDO 
 
 Tl!5 — Karuizawa, 19 
 
 // siiiicrb mill ]ii>liil>le iiiipressioti of this imisfer piece. 
 
 71-t— MocHizuKi, 26 
 
 A sHjierh mid pfrhiips unmntchecl iiiipreaxion of thix fiimous 
 iimsterpiece. The ski/ is a marvel of inyslery. 
 
KiSOKAIDO 
 
 Second Evening 
 
 715- 
 
 716- 
 
 -Lake Suwa, 31 
 
 On the right, the Sliiojiri Pass descends a green liill ; 
 one looks out across tlie frozen surface of the lake to 
 the mountainous shores beyond. In the distance, Fuji 
 rises against a pale sky. By Yeisen. 
 Vert/ fine impression. 
 
 -OCHIAI, 45 
 
 The road winds down a dark green wooded hill tliat 
 occupies the center of the })icture; beyond it, a row of 
 faint misty blue peaks rises along the horizon. 
 An extremehj fine impression. 
 
 K^aia7/>r.WA 
 
 717—01, 47 
 
 An extremely fine Impres.ilnn of this famous design. 
 
 718— Okute, 48 
 
 On a path that leads up from a green rolling plain are 
 two peasants carrying faggots. To the left, a green 
 bluff with protruding rocks and twisted pines cuts the 
 yellow sunset sky. 
 
 A superb impression. 
 
 719— Takamiya, 65 
 
 Two women carry 
 
 large bales up from the river-flats. 
 
Second Evening Tkiptychs 
 
 720 — Two Figures in Snow 
 
 On the left rises a snowy pine-tree, under which stands 
 a woman in a blue robe decorated with irridescent touches 
 of color. On the right, under a snowy bamboo, stands 
 a man in robes of salmon, grey and blue, holding up an 
 umbrella. In the wide space between the two figures is 
 outspread a delicate snowy landscape with the narrow 
 blue windings of a river stretching across it. This is the 
 finest of all Hiroshigc's figure-and-landscape triptychs. 
 Kunisada collaborated in the figures, and signs at right 
 and left, while Hiroshige places his signature imposingly 
 in the middle. 
 
 A triptych, size 15x.30. An impression of extremely marvelous 
 quality, in brilliant condition, 
 
 721 — The Naeuto Whiklpool 
 
 Two small islands and many rocks jut up from a broad 
 expanse of eddying and foaming water, where the out- 
 rushing floods of the river meet the inrush of the ocean- 
 tide. In the background, a long grey line of mountain- 
 ous coast stretches away toward the horizon on the right. 
 
 A triptych, size 15x30. An exceptionally fine impression of this 
 famous print; in faioless state. 
 
 722 — Woman in Snow 
 
 Dressed in robes whose exquisite soft colors no words 
 can describe, she stands amid falling snow, holding up 
 an open umbrella. Behind her is a blue river, a snowy 
 landscape, and a grey wintry sky. Part of a triptych. 
 Size 15x10. An impression of unique and marrelotis qnaliti/; in 
 flawless condition. The writer regards it as the finest figure- 
 print by Hiro.ihif/e that he has ever seen. 
 
 723 — GiKLs Playing Tag 
 
 In the foreground, on a low green slope, four girls are 
 running about; behind them, on the slope, picnickers are 
 established under dark pines and pale cherries. Part of 
 a triptych. 
 
 Size 15x10. An exceptionally fine impression, in excellent con- 
 dition. 
 
HiROSHIGE 
 
 Second Evening 
 
 
Second Evciiini 
 
 Panels 
 
 724 — Moonlight at Tsukudajima 
 The dark masts of the moored 
 junks, and the dark little is- 
 land, are silhouetted against 
 the pale, clear blue of sea and 
 sky blended into one by the 
 early evening moonlight. 
 
 Size 1414x5. .-/ siqierh iinpres-- 
 xion of thi.1 famous print, in ftiiza- 
 less condition. 
 
 725— The Bow Moox 
 
 "Where the torrent leaps and 
 falls, 
 And the hanging cliffs look 
 down, 
 Cloven grey and ruddy walls, 
 Each with ragged forest- 
 crown, 
 
 There across the chasmed deep 
 
 Spans a gossamer bridge on 
 
 high ; 
 
 And below, from gulfs of sleep. 
 
 Mounts tlic Bow Moon up 
 
 the sky. 
 
 Blue dusk, thickening whence 
 she rose. 
 Her abysses veils ; above 
 Cloves she into twiHglit's close 
 As faint strains of music move. 
 
 On the eastern slope her feet. 
 
 White, in tranced ecstacy. 
 Climb, a ghost of heaven, so sweet 
 
 Tiiat the spent day cannot die" . . . 
 
 The writer has never been able fully to conceal from his 
 fellow-collectors the fact that he considers this sheet the 
 finest Hiroshige print in existence. 
 
 *Reproduced in color as the frontispiece of "Chats on 
 Japanese Prints." 
 
 Size 15x7. .•( siiperl} impre.s.iicin, whoUii -nnrut : in flait'le.s.t and 
 brilliant rovdition. Perhap.i it.s- equal exist.i; Init flie 'ccriter has 
 not seen it. 
 
Panels 
 
 Second Evenins: 
 
 726 — Sttmida River in Sxow 
 
 Beside a steep bank, the sol- 
 itary peasant poles a raft 
 down the dark blue river, 
 under a grey sky full of 
 falling snow-flakes. 
 
 A suiierh imprexxhin of fhix 
 fomnyx prinf, in f.mvlexs 
 state. Hize 15x5, 
 
 727 — Sttmida River ix Rain 
 
 A shower is falling across 
 the grey sky. The blue Su- 
 mida, the tea-houses on tlie 
 shore, and the blue temple- 
 roofs and pagoda that rise 
 from a dark grove, are all 
 seen through the rain. 
 
 Superb impre.'::<i(in in flmdesx 
 condition. Size 15x5. 
 
 -A Canai, and Fi^Ji 
 The exquisitely shaded wa- 
 
 ters of the little canal pass 
 between two dark green 
 
 hills; beyond, through gnarled pines, white Fuji lifts its 
 
 head into a dehcate blue sky. 
 
 Size 13x4%. An impression of marvelous quality, in fatcless 
 condition. 
 
 729 — The Wave at Ekoshima 
 
 On the right rises a cliff of green, brown, and yellow 
 rock, darkly wooded; at its feet a great, curling sweep 
 of wave dashes high; toward the left, the sea stretches 
 away to vague coasts. 
 
 Size 10x5. An impression of wholh, exceptional and marvelons 
 quality. Ftawhss condition. 
 
 730— Pines ox a Cliff 
 
 Four pines cling on the steep red and grey cliff; far be- 
 low lies the blue water, and dim mountains beyond. 
 Size i:5x:i. Snperh impression in jiawless state. 
 
Second Evening Panels 
 
 731— A Grey Print 
 
 A standing woman and a kneeling man, in the midst of 
 a snowy landscajie, are watching a flight of birds. A 
 rare and very fine design, printed entirely in black and 
 one shade of grey. 
 
 Superb impression, in ffnvless condition. Size SxfiiA. 
 
 732 — Woman and Plt^ji Blossoms 
 
 In a long, hooded robe, she stands under a plum-branch 
 whose blossoms are white against the pale pink back- 
 ground. 
 
 Size 13x.3. Svperb impression and condition. 
 
 733 — Warrior on Seashore 
 
 In a terrific storm of black clouds, lightning, and furi- 
 ous waves, he stands on the sands, grasping his sword. 
 A scene of great dramatic intensity. 
 
 Size 1.5x10; the picture covers onli/ the Uncer 10 inches of the 
 phfe. Superb impression, in exceptionally superb state due to 
 oxidization. 
 
 73-t — Two Envelopes 
 
 Two extremely delicate landscapes, printed in soft shades. 
 Size 7x2 each. Superb impression and state. 
 
 735— The Wave and Fuji 
 
 A curling blue and white wave leaps up in a great arc: 
 to the right lie green islands; and in the background, 
 Fuji against a delicately fluslied sky. 
 Size 1.5x10. Superb imjiression and condition. 
 
 736 — The Snowy River 
 
 A blue stream flows between steep wooded banks covered 
 witli a heavy fall of snow. The black wintry sky over- 
 head is full of falling flakes. A solitary boat traverses 
 the stream. 
 
 Size 15x10. Superb impression and condition. 
 
Birds anu Flowers 
 
 Second Evening 
 
 737 — Sparrow and Bam- 
 boo 
 Printed wholly in 
 grey, with most del- 
 icate gradations. A 
 m a s t e r p i e ce, of 
 great rarity. 
 
 fiize 15x7. Formerjy 
 in the Wakai Collec- 
 tion. Suferh impres- 
 sion a n d flawless 
 condition. 
 
 738 — HojiRO Bird and 
 
 Camellias 
 The grey bird hangs 
 head-downward from 
 the dark branch, 
 whose dark green 
 leaves and pale pink 
 flowers are outlined 
 against a sky flushed 
 with rose at the top 
 and with yellow at 
 - the bottom. 
 
 '■Reproduced in "Chats on Japanese Prints," Plate 56. 
 Size 15x7. Superb impression and stiite. 
 
 739 — Swallow and Irises 
 
 The grey bird sweeps through the empty sky on speeding 
 wings; below, a slender stem of iris rises from pale water. 
 Size 13x41/,. Superb impression and state. 
 
 740 — Two Green Birds and Hvdkaxgeas 
 
 Against a pale pink glow, the two fluttering birds sweep 
 downward. The long stem of the plant stretches from 
 one bloom in the lower left-hand corner to another bloom 
 in the upper right. 
 
 Size 15x5. Superb impression in excellent state. 
 
Second Eirninff 
 
 Birds and Flowers 
 
 T-il — Bird and P'ri'Jt 
 
 Tlic green bir.l perclics 
 on the grey brancli ; 
 above, amid green and 
 grey leaves, is one 
 orange-colored fruit antl 
 one green one. Extreme- 
 ly fine color and design. 
 
 Si-e 12x5. Svpfirb inipref:- 
 ^:i(,ii nnil st<ife. 
 
 742 — Si'Arrow axd Bajiboo 
 
 Tlie brown bird hangs 
 
 liead-downward from a 
 
 sprig ])rojccting from 
 
 the stem of a large green 
 
 bamboo. Pale blue sky. 
 
 Size 1.3x3. Superb iinpres- 
 xinn iiniJ Kicte. 
 
 l-iii — Peacock and Peonies 
 The soft rich color of 
 tl'.e bird is intc/mingle I 
 «ith that of the large 
 flowers. 
 
 She l+\(i. A .luperb im- 
 prexxion of thi.'i famous de- 
 siipi, in excellent condition. 
 
 T-1-1 — jMandarix Dtcks on Water 
 
 Two ducks sweep along in a blue swirl of water; overhead 
 
 d flowers. 
 
 iiang leaves an 
 
 Size 1.5x7. An extreyneh/ remarkabie impression of this fainovs 
 design; it is printed almost entirely in Idue. Oood condition. 
 
 745 — Peacock ox Auti'jix Maple 
 
 In the midst of rich-colored autunui leaves, the elowine 
 bird perches on the broken branch of a tree. 
 
 Size 15x5. K.rfreinelt/ remarkable and fawless rapit. 
 
Birds and Flowees 
 
 Second Evening 
 
 746 — Grasses and Convolvulus 
 
 The stems are green, the flow- 
 ers dull purple and deep blue. 
 The background is a pale yel- 
 low, shading into a warm 
 orange and red at the top. 
 
 Size 1.5x5. A remarkable imprex- 
 .lion in superb state. 
 
 747 — Mandarin Ducks in Snow 
 
 They float on the pale blue 
 water under snowy bamboo 
 leaves. Grey sky with falling 
 snow. 
 
 Size OxGyo. Remarkable impres- 
 sion in fine condition. 
 
 748 — Kingfisher and Water- 
 Plants 
 
 The bird, a spot of glowing 
 
 enamel-like color, flies above 
 
 the dark green leaves and 
 stems that rise from the pale 
 blue water. 
 
 Size 13x4. Superb impression 
 and state. 
 
 749 — Bluebird and Wistaria 
 
 The bird hangs head-downward from the drooping vine, 
 under a cascade of pale purple blooms. Pale blue sky. 
 Size 13x3. Marvelous impression and condition. 
 
 750 — Sanderlings and Waves 
 
 In the light of a great full moon, two sanderlings are 
 flitting over a white wave. 
 
 Size 13x4y,. Very fine impression and state. 
 
Second Ez 
 
 Birds and Flowees 
 
 751 — Birds and Snowy Camellias 
 The flowers are dull red, the 
 leaves dull green. The birds 
 are touched with yellow and 
 salmon. Grey sky with snow- 
 flakes. 
 
 Size LSxii/^^. Superb impression 
 and state. 
 
 752 — Swallow and ]Moon 
 
 With wide-spread wings, the 
 speeding bird passes just be- 
 low the huge, round disc of 
 the moon. Blue sky, shading 
 downward into pale green. 
 
 Size I.Sx'tyo. An impiression of 
 exceptional quality in faicless 
 state. 
 
 T53 — Bird and Wild Roses 
 
 The grey and yellow bird, in 
 dizzy somersault-flight, darts 
 down past the large mass of 
 pink blooms and green leaves. 
 The sky is shaded pale green 
 below and pale yellow above. 
 
 Size 14x4y,. R.vcepfionalli/ fine 
 impression and state. 
 
 754 — Mandarin Ducks in Snow 
 
 They float on the blue water under snowy bamboo leaves. 
 The blue of the water melts into the grey of the sky. 
 Size Mxiy,, Superb impression and condition. 
 
 755 — Long-Tailed Bird and Camellias 
 
 The blue bird is flying up from a clump of red camellias 
 and dull green leaves. Shaded blue sky. 
 Size 13x4y^,. Superb impression and state. 
 
Birds and Flowers 
 
 Second Ei 
 
 756 — Bird and Wistaria 
 
 The bird is swinging on a 
 long vine under the pale pur- 
 ple flowers. The pale blue sky 
 shades into rose at the top. 
 
 Size 15x5. Superb hnprei^i^ion (tn<l 
 condition. 
 
 757 — Wild Geese and Moon 
 
 The two birds are flying across 
 the face of the large full moon 
 which floats in the deep blue 
 sky. Below, rich dark au- 
 tumn ivy-leaves hang on a 
 dark tree-trunk. 
 
 Size 13x3. Fine impression and 
 condition. 
 
 758 — Bird and Wistaria 
 
 The blue and white bird hangs 
 from a vine in the midst of 
 the purple flowers. 
 
 Size ISx-iy,. Superb impression 
 and state. 
 
 759 — Mandarin Ducks in Snow 
 
 They float on the grey water under green and snowy 
 bamboo leaves. Grey sky with snow falling. 
 Size 13x41/2. Extremely fine impression and state. 
 
Second Evenini 
 
 Large Panei^s 
 
 760 — Crane on Pine 
 Tree 
 The black and 
 wliite bird stands 
 perched on the 
 brown branch of 
 a pine, amid the 
 dark green foli- 
 age. Behind ap- 
 pears the red disc 
 of the rising sun. 
 
 Size ;Wx]n. I'ei-// 
 fine impression 
 and covdition. 
 
 761 — T HE Ship of 
 Good Luck 
 The Seven Gods 
 of Good Luck are 
 sailing in a drag- 
 on-prowed boat. 
 Overhead, a crane 
 flies across the 
 red, rising sun. 
 
 Size 30x10. Veri/ 
 fine impression 
 and state. 
 
 762— The Ship of 
 Good Luck 
 Another copy of 
 the same print, 
 much faded. 
 
Large Panels 
 
 Second Evening 
 
 763 — The Kiso Snow 
 Gorge 
 In m a j c s t y of 
 conception, n o 
 print of Hiroshi- 
 ge's ever sur- 
 passed tiiis mas- 
 terpiece ; and it 
 will always re- 
 main one of the 
 greatest 1 a n d- 
 scapes of the Uki- 
 oye School. In 
 feeling if not in 
 technique, it 
 draws its inspira- 
 tion from the old- 
 er classical tradi- 
 tion of Chinese 
 painting. 
 
 An extremelji fine 
 i m p r e s ,i i o n, 
 in flawless a n d 
 brilliant states the 
 whiteness of the 
 remaining 
 
 snow 
 
 unhrowned. 
 
 30x10. 
 
 Size 
 
 76-t- 
 
 Size 30 X 10. 
 
 Horseman and 
 
 Fuji 
 A nobleman on 
 horseback, with 
 two attendants, is 
 passing under a 
 gnarled pine-tree. 
 In the back- 
 ground, Fuji 
 looms enormous 
 against a deep 
 blue sky. 
 An excellent impression in fair condition. 
 
Second Evening Marttsei Tokaido 
 
 THE MARUSEI TOKAIDO SERIES 
 
 So called because it was published by Marusei about 1852; 
 also called the Reisho Series, because the titles are written in 
 Reisho or formal script. An admirable work, which is not very 
 well known to collectors because of its extreme rarity; the 
 blocks, according to Watanabe, were destroyed by fire before 
 many copies had been printed. The great characteristic of the 
 series is that, to a surprising extent, the pictures are conceived 
 as horizontal designs, with the dominant lines stretching 
 straight across the sheet, and broken only by such variations 
 as were necessary to prevent monotony. 
 
 765 NiHONBASHI, 1 
 
 Beyond the crowded bridge. Fuji looms wliite against 
 the sky. 
 
 766 — Shinagawa, 2 
 
 Two tea-houses, on tlie low shore, front the wide, blue 
 bay. 
 
 767 — Kawasaki, 3 
 
 Majestically down the wide river comes a sailinir-iunk 
 with spread canvas. Two crowded ferries cross the fore- 
 ground ; evening clouds tinge the sky. 
 Very fine copy. 
 
 768 — Kaxagawa, 4 
 
 A line of houses along the sea. 
 Poor impression. 
 
 769 HODOGAYA, 5 
 
 A bridge arches across the blue stream, from snowy shore 
 to snowy shore, under a delicate grey sky. 
 Teri/ fine copt/. 
 
 770— ToTsuKA, 6 
 
 A road, mounting under great pines, opens on Fuji. 
 
 771 — FujisAWA, 7 
 
 Night has fallen on the village street, where many peo- 
 ple move about with lanterns. 
 
 Very fine imjire.txion. 
 
Maeusei Tokaido 
 
 Second Evening 
 
 772 HiRATSUKA, 8 
 
 A roatl winds under trees across a level, green plain. 
 
 773— Oiso, 9 
 
 Where a pine and a willow stand on the high shore, a 
 tea-house fronts the sea. 
 
 774 — Odawaea, 10 
 
 Coolies with their burdens are fording the broad stream. 
 
 775 — Hakoke, 11 
 
 Through the night, with smoking torches, coolies strug- 
 gle up the rocky path, where great pine-trees lean over 
 the gorge. 
 
 ^'er^^ fine impression. 
 
 776— Mishima, 12 
 
 A village street seen from above. 
 J'ery fine impression. 
 
 777— Numadzu, 13 
 
 Fuji looms white above a long line of dark foot-hills that 
 circle-in a wide plain. Yellow sunset burns in the sky. 
 
 Exceptionally fine impression. 
 
Second Evening Marusei Tokaido 
 
 778— Haka, 14 
 
 Fuji more than fills the whole picture, looming over a 
 grey plain against a blue sky. 
 Tery fine impression. 
 
 779 — Yoshiwara, 15 
 
 Travelers are passing along a pine-bordered road; to 
 the left, across harvest rice-fields, Fuji lifts its peak 
 against an enamel-blue sky. 
 Extremeiji fine impression. 
 
 780— Kambaea, 16 
 
 A ferry-boat on the river, between masses of smooth, 
 green hills. 
 
 ^'^^y /'"^ impression. 
 
 781— Yui, 17 
 
 Where dark cliff's come down to meet the dark sea, five 
 travelers pause to watch the low orange line of the sea- 
 sunset. 
 
 Extremejif fine impression. 
 
 782— Okitsu, 18 
 
 A junk with a striped sail moves by, against a back- 
 ground of dai'k shore line, beyond which Fuji rises pale. 
 
 78.3— Yejiei, 19 
 
 Across blue water, Fuji rises over its foot-hills, into a 
 sky of blue and rose. 
 T'^n/ fine impression. 
 
 784— FucHu, 20 
 
 Grey dusk has enfolded the village street as two eques- 
 trians arrive at the inn sate. 
 
 Veri/ fine copy. 
 
 785— Mabiko, 21 
 
 Snow is falling from the dark winter-evening sky upon 
 a wide valley, already buried deep in the white and silent 
 covering. One of Hiroshige's simplest and finest snow- 
 scenes. 
 
 An exceptional! II fine impression. 
 
 786— Okabe, 22 
 
 A broad road descends between two green-brown hills. 
 
Maeusei Tokaido 
 
 Second Evenins 
 
 787— FujiYEDA, 23 
 
 Night rain falls upon harvest rice-fields, where three 
 travelers plod along the road. 
 Very fine impression. 
 
 788— Shimada, 24 
 
 The wide river, which travelers are fording, flows by 
 under grey hills. 
 
 Tery fine im^yression. 
 
 789— Kanaya, 25 
 
 A rounded hill with pines commands the river. 
 Fine copy. 
 
 790— Nissaka, 26 
 
 A large stone lies in the road ; beyond, three great trees 
 rise against a luminous blue skj' flecked with snowy 
 clouds. 
 
 Exceptionally fine impression. 
 
 791 — Kakegawa, 27 
 
 On a plain near a torii, peasants arc planting rice. 
 
 792— FuKuuoi, 28 
 
 Kites fly gaily over a green plain. 
 Very fine copnj. 
 
 793— MiTsuKE, 29 
 
 Low, distant hills beyond a wide river. 
 Very fine copy. 
 
Second Evening 
 
 Marusei Tokaido 
 
 794 — Hamamatsu, 30 
 
 From where, under two pine-trees, tlie waves foam on the 
 grey sliore, tlie stormy darkened sea stretches off toward 
 a tlireatcning dark liorizon. One of Hiroshige's tri- 
 umphs in expressing tlie mood of a landscape. 
 
 An imprenslon of most remarkable quality. 
 
 795 — ^Iaisaka, 31 
 
 ]\Ien are unloading a boat ; high, green hills beyond. 
 
 79fi— Arai, 32 
 
 View from a green liill across a wide sea-expanse toward 
 distant Fuji. 
 
 ^'er)/ fine impression. 
 
 797— Shirasuka, 33 
 
 A road winds up to green hills overlooking the sea. 
 
 798— FUTAKAWA, 34 
 
 On a road between two tea-houses, travelers are halting. 
 
 799— YosHiDA, 35 
 
 A festival-procession approaching a river. 
 
 Fine copy. 
 
Mauusei Tokaido Second Evenmn 
 
 800— GoYu, 36 
 
 Under a willow, three travelers walk beside a river; 
 green hills and Fuji rise beyond. 
 Very fine impression. 
 
 801— Akasaka, 37 
 
 An inn stands open to the duskv street. 
 
 802 — Fujikawa, 38 
 
 A daimyo procession winds down between two green hills. 
 
 803— Okasaki, 39 
 
 From a great bridge one sees bamboos, a castle and far 
 hills. 
 
 804— Chieiu, 40 
 
 Six porters carry huge boxes along a tree-bordered road. 
 
 805— Nauumi, 41 
 
 Two women are talking in a village street. 
 Very fine copy. 
 
 806— MiYA, 42 
 
 Looking down from a height, one sees inlets and the sea 
 strewn with boats. 
 Very fine impression. 
 
 807— KuwANA, 43 
 
 A full-sailed boat loaded with passengers sweeps across 
 the blue water. 
 
 Extremely fine impression. 
 
 808 — YoKKAicHi, 44 
 
 In the village street, a pale orange torii rises against 
 the rose and blue sky. 
 
 An exceptionaUy fine impression. 
 
 809 ISHIYAKUSHI, 45 
 
 Coolies and horses pause at dusk in a village street. 
 A very fine impression. 
 
 810 — Shono, 46 
 
 On a road amid autunm rice-fields, laborers are burning 
 straw; the smoke ascends against a dusky sky. 
 An impression of very remarkable quality. 
 
 811 — Kameyama, 47 
 
 Beyond a court appears the moat of a castle. 
 Pine copy. 
 
Second Evening 
 
 Marusei Tokaido 
 
 
 >in»iiriirfii(ifiiiiii 
 
 812— Seki, 48 
 
 From the black wintry sky, heavy snow falls on the far 
 hills and on the pale orange torii in the foreground. 
 
 An hnpreio^lon of vei'i/ reiiiavkabJe quality. 
 
 813 — Sakakoshita, 49 
 
 Five travelers on a road beside a green hill. 
 
 814 TSUCHIYAMA, 50 
 
 Three travelers on a path where a river flows among 
 rocks. 
 
 815 — MizuKucHi, 51 
 
 Up a winding path between hills, two men and a bullock 
 are plodding. Above them, luminous fleecy clouds light 
 the sky. 
 
 .In e.ftremelfi remnrkahle impre.ision. 
 
 816 — IsHiBE, 52 
 
 The courtyard of an inn at dusk. 
 ^'erl/ fine impression. 
 
 817 — KusATsu, 53 
 
 In a land-locked bay, boats are coming to shore ; one is 
 lowering its sail. 
 
 Very fine impression. 
 
Marusei Tokaido Second Evening 
 
 818— Otsu, 54 
 
 A village street with travelers. 
 
 819— Kyoto, 55 
 
 The dusky hills and temples of Kyoto, seen from one of 
 the bridges. 
 
 ft 
 
 A I'ery fine ini'pression. 
 
 THE ONE HUNDRED VIEWS OF YEDO 
 
 In this enormous series of 119 plates, Hirosluge touched 
 the heights and the depths of his career. Such plates as the 
 "Eagle," "Dusk on the Sumida," and several dozen others, ex- 
 hibit all the subtlety of his fresh and poetic Lake Biiea Series, 
 and also a majesty of conception which his earlier work did not 
 possess. But other plates, such as the catastrophic "Boatman 
 with the Hairy Legs," or the inane "Rear View of a Horse," 
 are simply the decay of a great genius. All such worthless 
 plates have been omitted here. The series was published at 
 various dates between 1856 and 1868. Hiroshige himself re- 
 garded the series as a whole as "The Masterpiece of His Life," 
 and so inscribed the title-page. 
 
 820 NiHONBASHI 
 
 The Sumida River and its shores after snow. 
 Fine copy. 
 
 821— Kasumi 
 
 A street overlooking the bay ; kites flying. 
 
 822 TsUKUDAJIMA 
 
 Moonlit night over dim water, where boats are moored 
 and fishers are usins lichted flares. 
 
 Fine cojnj. 
 
 823 — Ryogoku 
 
 View past a scaflPolding-tower to the river, roofs and 
 Fuji. 
 
Second Evening Hundred Yedo 
 
 824 — Hatsitne no Baba 
 
 Three long strips of dyed cloth are hung to dry near 
 three grey willow-trees. 
 
 An e^f remelt/ fine impreitsion. 
 
 825 — Odemma-Cho 
 
 Two women in a street of shops. 
 I'^jXceptionaUji fine copy. 
 
 826 — Suruga-Cho 
 
 Fuji above mists and roofs. 
 Exceptionally fine copy. 
 
 827 — MiojiN Shrine, Kanda 
 
 Dawn from the temple-terrace over roofs. 
 Fine copy. 
 
 828 — Kiyomidzu Temple, Uyeno 
 
 The red platform rises from cherry-blooms, giving a 
 view of pines and the lake beyond. 
 Very fine inipre^^lon. 
 
 829 — NiPPORi Temple Garden 
 
 Green hills, cherries, and pines. 
 Kxceptionolly fine copy. 
 
 830 — StTWANo Dai, Nippori 
 
 Picnickers on a terrace ; a wide plain beyond. 
 
 831 — Gardens at Dangozaka, Sendaki 
 
 Beyond cherry-trees and bright mist rise steps to a tea- 
 house in a grove. 
 
 An vnnxnuUy fine impre.t.iion. 
 
 832 — View From AstniAVAMA 
 
 Picnics under pine and cherry-trees on a high terrace ; 
 beyond, a wide plain and low hills with a low, red sunset 
 burning behind them. 
 
 A most exceptionril copy. 
 
 833— Oji 
 
 A wide waterfall and river between blossoming hills. 
 
 834 — Kawaguchi Ferry and Zenkgji Temple 
 
 Rafts on a blue river; grey wooded shore beyond. 
 
 83.5— Atago Hill, Shiua 
 
 "The Messenger to Bishamon." Dated, Ansei 4 (1857). 
 
Hundred Yedo Second Evening 
 
 836 — The Mock-Fuji of Meguro 
 
 From a green hill shaped like Fuji, the view extends 
 across a wide valley to Fuji itself. 
 
 An exceptionally fine impression. 
 
 837 — Chiyoga Pond, Megueo 
 
 Waterfall and cherries. A design famous for the reflec- 
 tions in the water, — one of the few known examples. 
 
 838 — The ]Mock-Fuji of Meguro 
 
 Another view of it, with cherry-trees around its base. 
 
 839 — Park at Mokuboji 
 
 A winding stream under large pines. Two ladies are 
 descending from a boat on the rio'ht. 
 
 Exceptional copy. 
 
 840 — Plum Garden, Kabata 
 
 The trees are outlined against a rosj^ sky. 
 
 A .nipierh copy, most examplex are too xtront/ly printed. 
 841 GOTENYAMA, ShINAGAWA 
 
 A plateau with cherry trees, beyond a brook. Yellow 
 chfFs. 
 
 842 GOTENY'AMA, ShIXAGAWA 
 
 The same subject, but different printing. Grey cliffs. 
 
 843 SUNAMURA 
 
 Wide view over marslies and sea. 
 
 844 — Grove ix Adzuma Shrine 
 
 A causewajr bordered with cherries leads to the shrine. 
 
 845 — Sany'abori Night Scene 
 
 A girl is walking in darkness along the Sumida River; 
 on the dark, farther shore sliine tlie lights of tea-houses, 
 and there are stars in the sky, whicli are reflected in the 
 water. 
 
 An impre.Hnion of the hiijhest qnality. 
 
Second Evening 
 
 Hundred Yedo 
 
 846 — Suijix Woods ox the Si'iiida 
 
 Rosy cherry-blossoms against the blue sky. 
 
 Fine cop;/. 
 
 8i7 — Xeighbohhood of ^Iaisaka 
 
 River-sunset seen througli a round window. 
 Fine copy. 
 
 848 — Daybeeak at the Yoshiwara Gates 
 A famous rendering of early dawn. 
 ^'er^| fne cop;/. 
 
 8-19 — Cameha Hill, Sekiguchi 
 
 Puies and cherries on a slope beside a winding stream. 
 850 — Hachiman Shrine, Ichigaya 
 
 Temple on wooded hill ; streaks of mist below. 
 
HuNDKED Yedo Second Evenin 
 
 b 
 
 851 — Banks of the Tamagawa 
 
 A row of tall cherries bloom along the curvino- stream. 
 
 852 — Kanda River 
 
 Slanting rain falls from the black sky upon the blue 
 river flowing between green banks. 
 Very fine copy. 
 
 853 — FuDO Waterfall, Oji 
 
 The straight cascade plunges between green cliffs. 
 
 854 — Kieibata, Akasaka 
 
 Two Paulownia trees silhouetted against a dark sky. 
 The plates for this print were early destroyed, and it 
 does not appear in later editions. 
 Very fine copy. 
 
 855 — KiKiBATA, Akasaka 
 
 An extremely fine rain and mist scene, by Hiroshige II. 
 This plate took the place of No. 854 in all later editions. 
 An impression of exceptional quality. 
 
 856 — SuMiYosHi Shrine, Tsukitdajima 
 
 A tall, white banner; sea background. Dated Ansei 4 
 (1857). 
 
 857 — Mannen Bridge, Fukagawa 
 
 A turtle, for sale, hangs in a window ; a landscape and 
 Fuji appear beyond. 
 Extremely fine copy. 
 
 858 — Shubi no Matsu 
 
 Night on the river; a pine-branch stretches across the 
 stars. 
 
 859 — KoMAGATA Temple 
 
 A swallow speeds before the coming storm ; rain is al- 
 ready falling on the lake. Definitely-outlined clouds in 
 the sky. 
 
 An extremely fine impression. 
 
 860 — KoMAGATA Temple 
 
 The same subject; but here the clouds are mere wisps. 
 A very fine impression. 
 
Second Evening 
 
 HUNDKED YeDO 
 
 f © 
 
 861 — Shower on Ohashi Bridge 
 
 One of Hiroshige's greatest and most famous rain- 
 scenes. 
 
 A superb impression in evert/ respect. 
 
 862 — Iris Garden, Horikiri 
 
 The large blooms fill the foreground ; sunset over the 
 fields beyond. 
 
 An exceptionalh/ fine impression. 
 
 863 — Wistaria at Kameido 
 
 The purple blooms trail over the blue water near a 
 round drum-bridge. 
 
 Veri/ fine impression. 
 
 864 — Sakai Ferry 
 
 White herons descending to the blue marshes. 
 An impression of exceptional softness. 
 
Hundred Yedo Second Evening 
 
 865 — Hachiman Shrine, Fukagawa 
 
 Water winding among vivid trees and bushes. 
 
 866— The Tone River 
 
 A great fishing-net is flung out from the right; on the 
 left, a view of the shore with two flying herons. 
 An impression of extremehj exceptionnl quality. 
 
 867 — Asakusa From the Sumida River 
 
 A boat floats on tlie water amid falling cherry-petals. 
 
 868 — Ayase River 
 
 Under silhouetted mimosa blossoms, a boatman guides a 
 raft down the river. 
 
 ExceptionaJlif jine impression. 
 
 869 — Tanabata Festival 
 
 Flags and streamers float gaily above the housetops. 
 
 870 — Takegashi Kyobashi 
 
 A great moon rises beyond dark lumber-yards that front 
 the river; down under a high bridge a man is poling a 
 boat. 
 
 An impression of very exceptional qualify. 
 
 871 — HoNGWANJi Temple 
 
 The temple-roof rises across the river. 
 
 872 — Shimmei Shrine, Shiba 
 
 A group of worsliipers in the courtyard. 
 Fine copy. 
 
 873 — UsHiMACHi, Takanawa 
 
 A cart-wlieel to the right; beyond, an arching rainbow. 
 
 874 — Moon Promontory 
 
 A room in a tea-house opens to a lovely glimpse of 
 moon-lit evening sea. 
 A superb impression. 
 
 875 — SusAKi IN Shinagawa 
 
 Beyond a shrine on a promontory stretches the tranquil 
 
 sea. 
 
Second Evening Hundred Yedo 
 
 876 — Old ]\Ian's Tea-House, Meguko 
 
 View from a liill across plains toward Fuji. 
 
 Fine copy. 
 
 877 — Taking River, Oji 
 
 A waterfall and wooded cliffs against a delicate sky. 
 
 878 — Saruwakacho 
 
 A flood of silver light from the pale, full moon pours 
 down upon the street of tea-houses. An extremely 
 famous print. 
 
 An impression of the highest qtwlitij in every way. 
 
 879 — Akiba Shrine, Ukeji 
 
 From the grey shores of the lake, rich autumn maples 
 lean out over the water, whicli gives back their reflection. 
 There is some evidence for the theory that the old man 
 who is sketching in the lower left-hand corner is Hiro- 
 shige himself. 
 
 A superb copy of this famous pirint. 
 
 880— The Tone River 
 
 A green cliff that surveys a river, wide fields, and Fuji. 
 An exceptionally delicate impression. 
 
 881 — HoRiYE Nekozane 
 
 Marshes, a river, a village, and mist; far off, Fuji. 
 
 882 — Pines on the Onagi River 
 
 The great pine, supported by poles, overhangs the 
 stream. 
 
 883 — Fireworks at Ryogoku 
 
 A rocket bursts in a haze of light, high over the dai-k 
 
 Ryogoku Bridge. The shore beyond is dim ; on the blue 
 
 river lanterns shine out on boats. 
 
 .1 remarkable copy. Usually the rocket-stars have no glow 
 around them, and the niyh't effect is inferior. The British 
 Museum Catalogue reproduces a copy not quite so fine as this, 
 ■with the remark that "this state of the print is very rare. The 
 effect is much more subtle and atmospheric than in the ordinary 
 impressions." 
 
Httndred Yedo 
 
 Second Evening 
 
 884 — Mamma, Tekona Shrine 
 
 A superb and soft inijiression of this famous print. 
 885 KiNRIUZAN, ASAKUSA 
 
 A huge lantern hangs in the gateway before a snowy 
 temple-court. 
 
 An extremehi fine soft impression. 
 
 886 — The Embankment to the Yoshiwara 
 
 The dark landscape stretches away under an evening 
 moon. 
 
 An impres.iion of exceptional softness. 
 
 887 — AsAKusA Tampo Tori no Machi 
 
 The famous "Cat in the Window." 
 A superb impression. 
 
 888 — Mikawashima, Kanasugi 
 
 A crane flying down to a pool. 
 
 Superb impression. 
 
Second Evening Hundred Yedo 
 
 889 KOMME-DZUTSUMI 
 
 Grey trees in foreground ; many bridges over a stream. 
 
 890 — Dusk on the Sumida River 
 
 One of tlie masterpieces of the series, when properly 
 printed, — which is rarely. Accompanying this print is 
 another impression in the usual printing, pale and char- 
 acterless. A comparison of the two is a liberal educa- 
 tion in the importance of good impressions. 
 
 *Reproduced in "Chats on Japanese Prints," Plate 55. 
 
 891 KiBA, FUKAGAWA 
 
 A timber-yard in falling snow, under a delicate grey sky. 
 Most copies of this print are ruined by a streak of blue 
 down the center. 
 
 A superb copi/ in every respect. 
 
 892 — Shiba Coast 
 
 Sea-birds flit over the waves. 
 Extremely fine impression. 
 
 893 — Seashore, Samezu 
 
 A far expanse of coast, with red sunset beyond. 
 
 89-1 — Senzoku Pond 
 
 A wide scene of pine-grown peninsulas and lagoons. 
 
 ./ remarkdlile impression, printed in tones of blue and yellow. 
 Very fete Ilirosliiye prints in this odd tone are known. 
 
 891'-=^EvENiNG Snow on the Drum Bridge, Meguro 
 
 All is white and grey except the few figures on the 
 bridge, and the blue water. 
 
 A superb tn>pression. 
 
 895 — Evening Snow on the Drum Bridge, Meguro 
 
 The same print, but with brown shading on the brido-e. 
 
 An impression of extremely fine (jualify. 
 
 896 — Yabukoji, Atagoshita 
 
 A stream flows beside a snow-covered street ; above, 
 sparrows fly about among snow-laden bamboos. One of 
 the most charming prints of the series. 
 An impression of superb qmdit)/. 
 
Hundred Yedo 
 
 Second Evening 
 
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 897 — Eagle Above the Snowy Plain 
 
 The unforgettable magnificence of tliis conception places 
 it among Hiroshige's masterpieces. 
 
 A superb copy. 
 
 898 — BiKUNi Bridge in Snow 
 
 Large sign to the left; dogs to the riglit. 
 \'erii fine cop;/. 
 
 899— Outside Tora Gate 
 
 A mysterious scene of moon and stars. 
 Superb impression. 
 
 900 — Baba in Takata 
 
 Nobles at archery practice. 
 ExtremeUi fine impres.iinn. 
 
 901 — Fox-FiRES AT Oji 
 
 A superb impression of one of Hiroshiye's most famous nujht- 
 masterpieces. 
 
RANSOM PTG. CO.. M0L1NE.