3 Catalogue of ¥ 
 
 JBCti Cjriubttum of 
 Japanese 3*>rtnts 
 
 JSCt ttie (gfrolwr Club 
 
 (STttjentp.'nine <f£ajs't (Cfcirtp- £econb &t., 1 &. 
 
 jgCprtl, 1896 
 
Digitized by the Internet Archive 
 in 2018 with funding from 
 Getty Research Institute 
 
 https://archive.org/details/catalogueofexhib00unse_3 
 
 
i Catalogue of I 
 
 ^H!n6(y|)tbtttOtt of 
 
 Japanese Prints 
 
 tty ^roller 0lub 
 
 (Ctoent?-'nme €a$t (Ctuwp-jtfeetint) St., #. g. 
 
 J£prtl, 1806 
 
NOTE. 
 
 HE first exhibition of Japanese 
 prints was held at the rooms of the 
 Grolier Club, No. 64 Madison Ave¬ 
 nue, in the month of April, 1889, 
 seven years ago, when it was at¬ 
 tempted, I believe, for the first time 
 in this city, to show something of the history and 
 development of the art of colored printing from 
 wood-blocks in Japan. 
 
 The interest in Japanese colored prints since 
 that time has been steadily increasing, and there 
 are several collectors who devote a share of their 
 attention to this branch of Japanese art. 
 
 The object of the present exhibition is to bring 
 together a few notable examples of twelve mas¬ 
 ters of the Ukiyoye school whose designs are 
 handed down to us in prints. 
 
 It is much to be regretted that Iwasa Mata- 
 hei, the acknowledged originator of the Ukiyoye, 
 or the popular pictures, is not represented in this 
 exhibition, owing to the impossibility of securing 
 an example of his works in prints. 
 
 Moronobu, of Hishikawa family, was the first 
 Ukiyoye painter to introduce the artistic book 
 illustrations; and it is to him perhaps more than 
 others that the art of wood-engraving came to 
 be regarded as one of the fine arts in Japan. He 
 was originally a designer for dyed robes and em- 
 
4 
 
 NOTE. 
 
 broideries, and formed his style after Matahei, 
 whom he admired greatly, when he began to draw 
 for wood-engraving. 
 
 Masanobu, of Okumura family, a close follower 
 of both Moronobu and Kiyonobu, of Torii fam¬ 
 ily, was the originator of Beniye (Beni — “Ex¬ 
 tract of Carthamus ”), pale rose color, and also 
 of the Ukiye, a name given to the prints which 
 were printed with special effort to give a great 
 perspective distance. His portrait of the popu¬ 
 lar story-teller Tukai Shidoken, who had his stand 
 on a platform within the temple ground of Asa- 
 kusa,is one of the most notable examples of his 
 works. His designs are mostly printed in three 
 colors—namely, black, pale green, and pale rose. 
 The Urushiye, or lacquered prints, were also in¬ 
 troduced during his time. 
 
 Harunobu, of Suzuki family, a pupil of Shi- 
 genaga, was distinguished as the originator of the 
 Adsumaye or Nishikiye, which were printed from 
 five or six blocks. He was a strong, proud 
 artist, and he never painted portraits of actors, 
 considering it as beneath the dignity of his art. 
 Among his most popular examples are the por¬ 
 traits of Onami and Ohatsu, two beautiful girls 
 who danced on a festal occasion in the sixth year 
 of Meiwa at the temple of Benten of Yushima, 
 of Osen of Yanaka tea house, and of Osuji of 
 Asakusai. His pupil Shiba Kokan, who was 
 known as Harunobu the second, was the first to 
 introduce copper engraving into japan. He also 
 painted in oil, which he learned to use from a 
 Dutch painter at Nagasaki. 
 
 Koriusai, of Isoda family, also a pupil of 
 Shigenaga, and a great admirer of Harunobu, 
 was a noted artist of his time. 
 
NOTE. 
 
 5 
 
 Shunsho, of Katsukawa family, is considered 
 by many to be the most successful depictor of 
 actors in costume, and his narrow single sheet 
 portraits of actors have been much admired by 
 native connoisseurs for the lifelike drawing and 
 harmony of coloring. He made his reputation 
 by his portraits of five actors in the characters of 
 the five gay sports. 
 
 Kiyonaga, of Torii family, was undoubtedly 
 the greatest artist of that famous family, and he 
 is considered by some as the greatest among the 
 designers for colored prints. The examples of 
 his works are notable for the purity of tones and 
 the graceful lines of drawing. He devoted his 
 personal attention to the engraving and printing 
 of his designs, and he succeeded in printing the 
 transparent effect of robes and in producing the 
 delicate shadings in the coloring of dresses. 
 
 Shuncho Koyekawa, perhaps a pupil of Shun¬ 
 sho, and a close imitator of Kiyonaga, was a 
 designer of colored prints, and his works are grace¬ 
 ful in drawing. 
 
 Yeishi Hosoda, a pupil of Kano Yeisen, and 
 afterward of Riubunsai, made designs for color 
 prints after the Torii style, and also after Uta¬ 
 maro and Hokusai style. The colored prints of 
 beauties and geishas were very popular in his 
 day. 
 
 Utamaro, of Kitagawa family, a pupil of Tori- 
 yama Sekiyen, was the most popular and greatest 
 designer of colored prints of his time. He also, 
 like the great Harunobu, never painted a portrait 
 of actors, saying it was beneath his art. He was 
 a man of strong character and of independent 
 thought. He was severely reprimanded by the 
 Shogun’s government for his suggestive illustra- 
 
 IA 
 
6 
 
 NOTE. 
 
 tion of the history of the famous Taiko, and he 
 was put into prison for another offence. Among 
 his famous prints, his caricature of the play of 
 Ohan Choyemon is perhaps the most famous, 
 and the book of his pictures of birds, printed in 
 colors and with embossing, is the most striking 
 example of his works. 
 
 Toyokuni Utagawa, a pupil of Toyoharu, was 
 a famous designer of theatrical pictures, as well 
 as book illustrator. Some authorities attribute 
 to him the introduction of the colored prints in 
 two colors — purple and black. He was espe¬ 
 cially noted for his skill in depicting actors’ 
 portraits. 
 
 Hokusai Katsushika, a pupil of Shunsho, was 
 the most prolific designer of colored prints and 
 book illustrations. Among the most noted ex¬ 
 amples of his works, a set of five sheets, illustrat¬ 
 ing five of one hundred ghost stories, was greatly 
 admired. His Mangwa was highly esteemed, 
 and his landscapes were also much admired. 
 
 After many years’ hard work he established 
 his great reputation, and he was honored by the 
 Shogun’s command to paint in his presence. 
 
 Hiroshige Ichiriusai, a pupil of Toyohiro, was 
 one of the most noted Ukiyoye painters, and 
 his landscapes of fifty-three stations of the To- 
 kaido, the celebrated places of the Capital, and the 
 hundred views of Yedo, were popular and much 
 sought after even in his own time. h. s. 
 
CATALOGUE. 
 
 * 
 
 HISHIKAWA MORONOBU. 
 
 1 Moronobu. 
 
 Incident of an historic battle; black and 
 white. 
 
 2 Moronobu. 
 
 Domestic scene — man and woman; black 
 and white. 
 
 3 Moronobu. 
 
 Three girls; black and white. 
 
 4 Moronobu. 
 
 Girl and man; black and white. 
 
 5 Moronobu. 
 
 Lady and maid in library; black and white. 
 
 OKUMTJRA MASANOBU. 
 
 6 Masanobu. 
 
 Man with sacred ox; black ground and white 
 lines. 
 
 7 Masanobu. 
 
 Young lovers. 
 
8 
 
 CATALOGUE OF 
 
 8 Masanobu. 
 
 Girls reading manuscript. 
 
 9 Masanobu. 
 
 Girls reading manuscript, 
 io Masanobu. 
 
 Girl standing, with a bamboo stick, 
 n Masanobu. 
 
 Young girl sitting on her bed. 
 
 12 Masanobu. 
 
 Group of girls; uncut triptych. 
 
 13 Masanobu. 
 
 Young man playing a flute. 
 
 14 Masanobu. 
 
 Woman closely draped. 
 
 15 Masanobu. 
 
 Group of women; triptych. 
 
 SUZUKI HARUNOBU. 
 
 16 Harunobu. 
 
 Goddess with mythical elephant; 
 dated 1765. 
 
 17 Harunobu. 
 
 Two girls reading a scroll. 
 
 18 Harunobu. 
 
 Girl by the shore. 
 
 19 Harunobu. 
 
 Girl ascending stairs. 
 
JAPANESE PRINTS. 
 
 9 
 
 20 Harunobu. 
 
 Boy and girl playing battledore and shut¬ 
 tlecock. 
 
 21 Harunobu. 
 
 Girl looking out at the moon. 
 
 22 Harunobu. 
 
 Young woman in the snow. 
 
 23 Harunobu. 
 
 Mother and child reading. 
 
 24 Harunobu. 
 
 Young girl and servant walking in the street. 
 
 25 Harunobu. 
 
 Figure of a man. 
 
 26 Harunobu. 
 
 Two girls and young man caught in shower. 
 
 27 Harunobu. 
 
 Group on a veranda. 
 
 28 Harunobu. 
 
 The cock-fight. 
 
 29 Harunobu. 
 
 Young man in disguise before two girls at a 
 window. 
 
 30 Harunobu. 
 
 Boy leading musme on horseback. 
 
 31 Harunobu. 
 
 Girl and servant adjusting sandal. 
 
 IB 
 
IO 
 
 CATALOGUE OF 
 
 32 Harunobu. 
 
 Woman reading a scroll. 
 
 33 Harunobu. 
 
 Two girls peeping by a fence. 
 
 34 Harunobu. 
 
 Two divers on a beach. 
 
 35 Harunobu. 
 
 Girl playing with a ball. 
 
 36 Harunobu. 
 
 Girl bleaching cloth. 
 
 37 Harunobu. 
 
 Mother and child by a riverside. 
 
 38 Harunobu. 
 
 Two girls in the rain. 
 
 39 Harunobu. 
 
 Young lovers walking in the snow. 
 
 40 Harunobu. 
 
 Two girls reading and smoking on a balcony. 
 
 ISODA KORIUSAI. 
 
 41 Koriusai. 
 
 Girl playing tsuzumi and companion play¬ 
 ing samisen . 
 
 42 Koriusai. 
 
 Woman and two attendants. 
 
 43 Koriusai. 
 
 A fancy picture—three figures. 
 
JAPANESE PRINTS. 
 
 IX 
 
 44 Koriusai. 
 
 Group of five girls. 
 
 45 Koriusai. 
 
 Standing figure with sword. 
 
 46 Koriusai. 
 
 Woman and child. 
 
 KATSUKAWA SHUNSHO. 
 
 47 Shunsho. 
 
 Actor—male figure in snow. 
 
 48 Shunsho. 
 
 Lady standing. 
 
 49 Shunsho. 
 
 The actor Ichikawa as Hokaibo (beggar 
 priest). 
 
 50 Shunsho. 
 
 Two actors — male and female. 
 
 51 Shunsho. 
 
 Actor with a fan. 
 
 52 Shunsho. 
 
 Actor with lantern. 
 
 53 Shunsho. 
 
 Lovers parting; two prints. 
 
 54 Shunsho. 
 
 Two actors. 
 
12 
 
 CATALOGUE OF 
 
 TORII KIYONAGA. 
 
 55 Kiyonaga. 
 
 Group about a carrying chair — river and 
 hillside in background; black and white. 
 
 56 Kiyonaga. 
 
 Woman with attendants. 
 
 57 Kiyonaga. 
 
 Group, one with samisen. 
 
 58 Kiyonaga. 
 
 Group of young women. 
 
 59 Kiyonaga. 
 
 Two ladies and maid servant with box and 
 lantern — night scene. 
 
 60 Kiyonaga. 
 
 Lady in street costume, with two attendants 
 carrying an umbrella. 
 
 61 Kiyonaga. 
 
 Four girls with pink caps at temple gate. 
 
 62 Kiyonaga. 
 
 Two actors in foreground with chorus be¬ 
 hind. 
 
 63 Kiyonaga. 
 
 Lady and servant walking in the street. 
 
 64 Kiyonaga. 
 
 Boy writing. 
 
 65 Kiyonaga. 
 
 Girl on balcony watching young man. 
 
JAPANESE PRINTS. 
 
 13 
 
 66 Kiyonaga. 
 
 Young lovers reading a letter. 
 
 67 Kiyonaga. 
 
 Court lady and attendant. 
 
 68 Kiyonaga. 
 
 Family walking near a river. 
 
 69 Kiyonaga. 
 
 Lady, two girls, and a boy. 
 
 70 Kiyonaga. 
 
 Three ladies, one with a samisen. 
 
 71 Kiyonaga. 
 
 Three women and a man walking in the 
 fields. 
 
 72 Kiyonaga. 
 
 Two ladies, girl and boy, and attendant with 
 umbrella. 
 
 73 Kiyonaga. 
 
 Three women, and man carrying a child. 
 
 74 Kiyonaga. 
 
 Three girls on a balcony. 
 
 75 Kiyonaga. 
 
 Three women gathering flowers in a field. 
 
 76 Kiyonaga. 
 
 Four women coming from a temple. 
 
 77 Kiyonaga. 
 
 Two women and a man approaching a 
 temple in the snow. 
 
14 
 
 CATALOGUE OF 
 
 78 KlYONAGA. 
 
 Groups in a garden ; diptych. 
 
 79 KlYONAGA. 
 
 Youth serenading three girls. 
 
 80 KlYONAGA. 
 
 Lady and two attendants. 
 
 81 KlYONAGA. 
 
 F£te of the cherry blossoms; triptych. 
 
 KOYEEAWA SHUNCHO. 
 
 82 Shuncho. 
 
 Girls about to embark. 
 
 83 Shuncho. 
 
 Man and woman. 
 
 84 Shuncho. 
 
 Two girls under an umbrella. 
 
 85 Shuncho. 
 
 Three women near a temple. 
 
 86 Shuncho. 
 
 Three women and two girls. 
 
 87 Shuncho. 
 
 Women gathering flowers. 
 
 HOSODA YEISHI. 
 
 88 Yeishi. 
 
 Figures at a booth by rice-fields. 
 
JAPANESE PRINTS. 
 
 *5 
 
 89 Yeishi. 
 
 Three girls near rice-fields. 
 
 90 Yeishi. 
 
 Woman at her toilet. 
 
 91 Yeishi. 
 
 Two girls, one holding a samisen. 
 
 92 Yeishi. 
 
 Three women and two girls walking under 
 lanterns. 
 
 93 Yeishi. 
 
 Girl reading a letter. 
 
 94 Yeishi. 
 
 Woman trying on a dress. 
 
 95 Yeishi. 
 
 Girl making tea. 
 
 96 Yeishi. 
 
 Three graces — plum, bamboo, and pine. 
 
 97 Yeishi. 
 
 Girl writing on a fan. 
 
 98 Yeishi. 
 
 Girl sitting. 
 
 99 Yeishi. 
 
 Seven girls at edge of a stream; diptych. 
 
 100 Yeishi. 
 
 Girls in a boat and on the shore; triptych. 
 
i6 
 
 CATALOGUE OF 
 
 KITAGAWA UTAMARO. 
 
 101 Utamaro. 
 
 Woman in summer costume. 
 
 102 Utamaro. 
 
 Kintoki and mother. 
 
 103 Utamaro. 
 
 Three girls in fancy dress. 
 
 104 Utamaro. 
 
 Mother playing with child. 
 
 105 Utamaro. 
 
 Girl with samisen. 
 
 106 Utamaro. 
 
 Man and woman under an umbrella. 
 
 107 Utamaro. 
 
 Girls under a wistaria arbor. 
 
 108 Utamaro. 
 
 Woman and child. 
 
 109 Utamaro. 
 
 Girl with umbrella embarking, 
 no Utamaro. 
 
 Mother and child looking into basin of 
 water. 
 
 in Utamaro. 
 
 Young women at the toilet. 
 
 112 Utamaro. 
 
 Girl with green umbrella. 
 
JAPANESE PRINTS. 
 
 *7 
 
 113 Utamaro. 
 
 Girl holding spray of flowers. 
 
 114 Utamaro. 
 
 Girl and man lighting lantern. 
 
 115 Utamaro. 
 
 Mother and child. 
 
 116 Utamaro. 
 
 Portrait of Toyo. 
 
 117 Utamaro. 
 
 Two women looking at a picture roll. 
 
 118 Utamaro. 
 
 Girl with a book. 
 
 119 Utamaro. 
 
 Girl reading a book. 
 
 120 Utamaro. 
 
 Festival of storks; triptych. 
 
 121 Utamaro. 
 
 Women on a bridge; triptych. 
 
 122 Utamaro. 
 
 Girls in a tea-house; triptych. 
 
 123 Utamaro. 
 
 Seven goddesses, with Fuji in the distance 
 triptych. 
 
 124 Utamaro. 
 
 Wedding procession; triptych. 
 
i8 
 
 CATALOGUE OF 
 
 UTAGAWA TOYOKUNI. 
 
 125 Toyokuni. 
 
 Girl in rain reading a love letter. 
 
 126 Toyokuni. 
 
 Lady carrying sake cup. 
 
 127 Toyokuni. 
 
 Girl under an umbrella. 
 
 128 Toyokuni. 
 
 Man on bench, four girls standing by him. 
 
 129 Toyokuni. 
 
 Actors in male and female characters; two- 
 sheet picture. 
 
 130 Toyokuni. 
 
 Woman seated near hibachi. 
 
 131 Toyokuni. 
 
 Women and child at a bath-house; triptych. 
 
 132 Toyokuni. 
 
 Groups of women, one man seated; trip¬ 
 tych. 
 
 133 Toyokuni. 
 
 Interior scene; groups of women, one man 
 standing; triptych. 
 
 134 Toyokuni. 
 
 Groups of women, one alighting from a 
 chair; triptych. 
 
JAPANESE PRINTS. 
 
 *9 
 
 KATSUSHIKA HOKUSAI. 
 
 135 Hokusai. 
 
 Mother and child. 
 
 136 Hokusai. 
 
 Three ladies; surimonoj lady arranging 
 flowers; surimono. 
 
 137 Hokusai. 
 
 Landscape with mountains. 
 
 138 Hokusai. 
 
 Tea house at Yoshida. 
 
 139 Hokusai. 
 
 Two ladies and a man near the Uyeno 
 temple gate. 
 
 140 Hokusai. 
 
 The Uyeno temple balcony, with five girls. 
 
 141 Hokusai. 
 
 Two women in pensive mood. 
 
 142 Hokusai. 
 
 October, one of the twelve months series. 
 
 143 Hokusai. 
 
 November, one of the twelve months series. 
 
 144 Hokusai. 
 
 December, one of the twelve months series. 
 
 145 Hokusai. 
 
 Storks and pine. 
 
 146 Hokusai. 
 
 Rice gatherers. 
 
20 
 
 CATALOGUE OF 
 
 147 Hokusai. 
 
 The wave. 
 
 148 Hokusai. 
 
 Celebration of October full moon. 
 
 149 Hokusai. 
 
 View of Fuji-san from beneath Monnen 
 bridge, Fukagawa. 
 
 150 Hokusai. 
 
 View of Fuji-san from bank of river Tama 
 in Bushu. 
 
 151 Hokusai. 
 
 View of white cap of Fuji-san; thunder 
 storm below. 
 
 152 Hokusai. 
 
 View of Fuji-san from Tago-no-ura on the 
 Tokaido. 
 
 153 Hokusai. 
 
 View of Fuji-san from Suruga dai Yedo. 
 
 154 Hokusai. 
 
 View of Fuji-san from Go-hiaku Rakan 
 Temple. 
 
 155 Hokusai. 
 
 View of Fuji-san from Tsukuda-jima. 
 
 156 Hokusai. 
 
 View of Fuji-san from Senju, in the province 
 of Bushu. 
 
 157 Hokusai. 
 
 View of Fuji-san from Umezawa in Soshu. 
 
JAPANESE PRINTS. 
 
 21 
 
 158 Hokusai. 
 
 View of Fuji-san from Hodogaya on the 
 Tokaido. 
 
 159 Hokusai. 
 
 View of Fuji-san from Enoshima in Soshu. 
 
 160 Hokusai. 
 
 View of Fuji-san from Tago-no-ura. 
 
 161 Hokusai. 
 
 View of Fuji-san from Egiri in Sunshu. 
 
 ICHIRYUSAI HIROSHIGE. 
 
 162 Hiroshige. 
 
 Bird and pine. 
 
 163 Hiroshige. 
 
 Bird and flowers. 
 
 164 Hiroshige. 
 
 Man on raft — snow scene. 
 
 165 Hiroshige. 
 
 Men near pavilion. 
 
 166 Hiroshige. 
 
 View of Shirasika on the Tokaido. 
 
 167 Hiroshige. 
 
 Benten Temple at Susaki. 
 
 168 Hiroshige. 
 
 Asakusa Temple in snow. 
 
 169 Hiroshige. 
 
 Matsuchi hill, Yedo, after snowfall. 
 
22 
 
 CATALOGUE OF 
 
 170 Hiroshige. 
 
 Asuka hill, Yedo, in the springtime. 
 
 171 Hiroshige. 
 
 Shirasika on the Tokaido; Daimio proces¬ 
 sion. 
 
 172 Hiroshige. 
 
 Sun shower, Fuji-san in the distance. 
 
 173 Hiroshige. 
 
 Fishing by moonlight. 
 
 174 Hiroshige. 
 
 Island house, snow scene. 
 
 175 Hiroshige. 
 
 Procession crossing bridge. 
 
 176 Hiroshige. 
 
 People crossing bridge in rain. 
 
 177 Hiroshige. 
 
 People entering temple, snow scene. 
 
 178 Hiroshige. 
 
 Street scene, moonlight. 
 
 179 Hiroshige. 
 
 Strolling players, moonlight. 
 
 180 Hiroshige. 
 
 Arashiyama near Kyoto. 
 
 181 Hiroshige. 
 
 Bird’s eye view. 
 
 182 Hiroshige. 
 
 Typhoon. 
 
JAPANESE PRINTS. 
 
 2 3 
 
 The prints having the following numbers have 
 been kindly lent for this Exhibition by the follow¬ 
 ing named collectors who are not members of 
 the Grolier Club: 
 
 Numbers 27, 28, 29, 106, 107, 108 — 
 
 By Mr. Clarence Buckingham, of Chicago. 
 
 Numbers 7, 8, 9, 16, 17, 18, 20, 21, 22, 23, 55, 
 
 5 6 > 57 ’ 5 8 > 9 °> llI > 120 > *37 — 
 
 By Mr. Samuel Coleman, of New York. 
 
 Numbers 30, 41, 49, 50, 59, 60, 89, 101, 148- 
 161, 169-171 — 
 
 By Mr. Frederick W. Gookin, of Chicago. 
 
 Numbers 1, n, 12, 13, 14, 24, 25, 42, 47, 48, 
 61, 62, 82, 88 — 
 
 By Mr. Charles J. Morse, of Chicago. 
 
 Numbers 2, 3, 53, 63, 64, 83, 97, 98, 102, 103, 
 104, 125, 126, 135, 136 — 
 
 By Mr. T. E. Waggaman, of Washington. 
 
 Numbers 4, 31, 52, 105, 172-182 — 
 
 By Mr. J. Alden Weir, of New York. 
 
i 23o72. 
 
GETTY RESEARCH INSTITUTE 
 

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