the prints that appeal to people of taste. In the first place, there is
the compelling charm of colour. Equally notable are excellence of
composition, grace, beauty, and sweep of line, distinctive character,
daringness of conception, and perfect balance of both line and mass.
Collectively the prints furnish the clearest exemplification of the basic
principles of design that the world has to offer. Nowhere else can we find
so much accomplished with simple means. Technically, also, they fulfil
every requirement. Considered merely as wood-engravings, they are of the
first order of excellence. Though the drawing is seldom scientifically
accurate, it is, nevertheless, of exquisite refinement and subtlety. In
short, the best prints are creative works of very high order which amply
justify our admiration because of their intrinsic merit.
[KORYUSAI. Musume leaping from Temple Balcony.]
KORYUSAI. Musume leaping from Temple Balcony.
CATALOGUE OF A LOAN COLLECTION OF JAPANESE COLOUR-PRINTS
THE JAPAN SOCIETY OF NEW YORK
FIFTH AVENUE BUILDING. APRIL 19 TO MAY 19, 1911
INTRODUCTION
The leading masters of the Ukiyoé school were a group of very great
artists. The names of Kiyonaga, Harunobu, Okumura Masanobu, Utamaro,
Hokusai, and Hiroshige belong in the category of those whose fame is
world-wide.
[SHUNSHO. Woman in Red.]
SHUNSHO. Woman in Red.
The finest of the colour-prints designed by these men and their
fellow-artists are masterpieces of rare distinction. This does not mean
that all of their works should be so classed. The method by which the
prints were produced enabled the artists to turn them out rapidly, and
many were made that were trivial in character. They served almost as many
purposes in their time as engravings, etchings, lithographs, and the
photographic process reproductions do with us to-day. Naturally they
varied widely in merit and in quality. Many have been preserved, but the
important prints by the greater artists are unfortunately very rare; few
of them have survived the vicissitudes of time, and fewer still in good
condition.
The inception of the Ukiyoé school dates back to the early years of the
seventeenth century, when a painter named Iwasa Matahei, departing from
the traditional subjects of the painters of the classic schools, made
pictures of dancing-girls and scenes of every-day life. The first prints
were made about 1660 by Hishikawa Moronobu and were in simple black
outline. They were sometimes coloured by hand with a few touches of colour
roughly laid on, probably by the publisher’s assistants.
In the early years of the seventeenth century a style of colouring known
as _tan-yé_ (from the predominant use of a red-lead pigment known as tan)
came into vogue. A little later prints were sold with more elaborate
hand-colouring. Lacquer was mixed with the pigments to give them
brilliancy, and the prints were known as _urushi-yé,_ or lacquer prints.
In or about the year 1742 Okumura Masanobu began to make the first true
colour-prints. For these he used only two colours, green and a soft red
called _beni,_ and the prints were known as _beni-yé._ For some years
difficulties connected with the printing prevented the use of more than
two colour-blocks, and not until 1764 was a method discovered which made
it possible to use as many blocks as might be required. Suzuki Harunobu
was the first artist to take advantage of the discovery. The prints
designed by him during the next six years are among the finest works of
the school. Under his guidance and that of Katsukawa Shunsho, the art of
colour-printing was brought to perfection. Then followed a period when
many prints of precious quality were produced. The culmination was reached
during the seventeen hundred and eighties, when Torii Kiyonaga turned out
his marvellous single sheets, diptychs, and triptychs.
Many splendid prints were designed in the next decade. It was then that
Eishi made his delightful triptychs, that Sharaku stirred the people of
Yedo with his wonderful caricature portraits of popular actors, and that
Utamaro gained wide fame by the products of his facile brush. It was,
however, a period of decadence, and by the end of the century a
considerable distance had been travelled upon the downward path.
The prints made in the nineteenth century were, for the most part, coarse
and gaudy, the chief exceptions being those designed by Hokusai and
Hiroshige. These men, though classed as of the Ukiyoé school, in reality
represent what may more properly be termed another “movement” growing out
of, but distinct from, the Ukiyoé art that reached its apogee under
Kiyonaga.
While the present exhibition includes specimens of most of the different
kinds of prints—some of them, more especially the earlier ones, of extreme
rarity—historical completeness has not been attempted. The aim has been
rather to show such prints of exceptional quality and beauty as are
available in New York.
FREDERICK W. GOOKIN
CATALOGUE
HISHIKAWA MORONOBU
Moronobu, who was born probably in 1625 and died in 1695, was the first
important Japanese artist to design prints. As a painter he is highly
renowned. He illustrated many books and made a considerable number of
single-sheet prints, which were all either in plain black or coloured by
hand. His works are now very rare.(6)
LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED
_ 1 Large sumi-yé (ink print)._ Matsukaze-Murasame; a nobleman and two
ladies at the seashore watching two women dipping salt water in
buckets.
_ 2 Sumi-yé._ A man and a woman seated on the floor of a room.
_ 3 Sumi-yé._ Woman reading from a book to a man reclining on the floor
by her side. Near them a maid-servant and utensils containing
refreshments.
LENT BY A COLLECTOR
_ 4 Sumi-yé._ Scene in the Yoshiwara.
TORII KIYONOBU
Founder of the Torii line and one of the leading artists of the Ukiyoé
school. Inventor of the tan-yé, or prints coloured by hand with red lead
(Japanese _tan)_. He was born in 1664 and died on August 22, 1729. His
style of drawing was characterized by great boldness and vigour.
LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED
_ 5 Large tan-yé._ The actor Dekijima Hanya as a woman seated upon a
sakura tree in bloom.
_ 6 Small tan-yé._ The actor Ikushima Daikichi as a woman holding two
small dogs.
_ 7 Small tan-yé._ The actor Kamimura Kichisaburo as a dancing-girl.
_ 8 Large hand-coloured print._ The actor Ikushima Daikichi as an oiran
on parade, followed by OÌtani Hiroji as a servant holding an
umbrella over her.
_ 9 Tall hand-coloured print._ The actor Bando Hikosaburo.
LENT BY SAMUEL ISHAM.
_ 10 Urushi-yé._ Ichikawa Monnosuke as a strolling player carrying a
monkey on his back.
LENT BY HOWARD MANSFIELD.
_ 11 Urushi-yé._ The elopement of Yaoya Hanbei and O-Chiya.
LENT BY A COLLECTOR.
_ 12 Urushi-yé._ A dancing-girl.
TORII KIYOMASU
Eldest son of Kiyonobu, whom he succeeded as the head of the Torii line.
His work closely resembles that of his father. He was born about 1685 and
died on January 2, 1764.
LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED.
[KIYONAGA. Holiday Group at Gotenyama.]
KIYONAGA. Holiday Group at Gotenyama.
_ 13 Large sumi-yé._ An actors’ boating party on the Sumidagawa.
_ 14 Large tan-yé._ The actors Yoshizawa Ayame and Kanto Koroku.
_ 15 Large tan-yé._ The actors Kanto Koroku and Ikushima Daikichi.
_ 16 Large beni-yé._ Ichikawa DanjuÌroÌ as an enraged warrior.
_ 17 Beni-yé._ Onoe KikugoroÌ in a female rôle.
_ 18 Beni-yé._ Scene from a drama. The actors Tomazawa SaijiroÌ (on
horseback), OÌtani Hiroji, and Segawa KikunojoÌ. The beni has turned
to a low-toned yellow.
_ 19 Urushi-yé._ Scene from a drama. OÌtani Oniji (on horseback)
threatening Sannogawa Ichimatsu in the rôle of a woman who has
seized his bridle rein.
_ 20 Beni-yé._ Scene from a drama. Sawamura SojuÌroÌ as Sasaki no
SaburoÌ and Nakamura TomijuÌroÌ as Mago no Koroku.
FURUYAMA MOROMASA
Pupil, and perhaps the son, of Moronobu. He devoted himself chiefly to
painting, but designed a few prints, most of which are ukiyé, or
perspective pictures, in the style of Okumura Masanobu.
LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED
_ 21 Large hand-coloured ukiyé, or perspective print._ A game of ken in
a room in a nobleman’s house.
OKUMURA MASANOBU
One of the most eminent of the Ukiyoé artists. His drawings were greatly
admired for their rare combination of force and refinement, and he
exercised wide influence over his contemporaries and successors to the end
of the eighteenth century. He was the first artist to use blocks from
which prints were coloured in flat tints. These were printed in the red
known as beni, green, and black, and were known as beni-yé. He was also
the first artist to make the tall, narrow pillar prints (ha-shira-yé), and
was the inventor of the perspective prints which he called _ukiyé._ His
true name was Okumura Genpachi, and he was commonly known as honya
(bookseller) Genpachi, from the fact that he was the proprietor of a
wholesale and retail book and print shop at the sign of the “red gourd” in
Tori-shio choÌ, Yedo.
LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED
_ 22 Large sumi-yé._ Woman seated by a writing-table, reading a book.
_ 23 Urushi-yé._ Bando Hikosaburo as a warrior resisting the opening of
a castle door.
_ 24 Tall beni-yé._ A geisha playing upon a samisen.
_ 25 Large sumi-yé._ A woman with a pet cat watching a man dip water
from a chozubachi.
LENT BY A COLLECTOR
_ 26 Large beni-yé._ Segawa KikunojoÌ as an oiran lighting her pipe at a
hibachi in the hands of her kamuro, and Sannogawa Ichimatsu as a man
holding an umbrella over her.
_ 27 Undivided beni-yé triptych._ Street scene. A boy kneeling to put on
a woman’s geta; a man playing upon a shakuhachi; and another man
carrying an umbrella.
_ 28 Undivided triptych._ Three women carrying umbrellas.
OKUMURA TOSHINOBU
Toshinobu, the son of Masanobu, was an artist of decided talent who died
young. His known works, which resemble those of his father, are all
urushi-yé, and were designed about 1730-1736.
LENT BY A COLLECTOR
29 Ichimura Uzaemon as a dancing-girl.
30 Woman dressing.
31 Sanjo KentaroÌ in a female rôle.
TSUNEKAWA SHIGENOBU
An early Ukiyoé artist of whom little is known. His prints are extremely
rare.
LENT BY A COLLECTOR
_ 32 Urushi-yé._ Arashi Wakano in the rôle of Shida no KotaroÌ.
NISHIMURA SHIGENAGA
Son of Shigenobu. Born in 1697 and died in 1756. An artist of ability who
exercised marked influence upon the development of the school. His prints
are very uneven in quality.
LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED
_ 33 Tall hand-coloured print._ The actor Sannogawa Ichimatsu as a woman
holding a folded letter.
LENT BY A COLLECTOR
_ 34 Urushi-yé._ Segawa Kikunojo as a woman holding a warrior’s helmet.
_ 35 Beni-yé._ Procession of the Corean ambassadors.
ISHIKAWA TOYONOBU
One of the most important of the Ukiyoé masters. Born in 1711, died in
1785. Pupil of Shigenaga, and probably of Masanobu whose style he closely
assimilated.
LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED
_ 36 Large beni-yé._ The actors Segawa Kikunojo and Sannogawa Ichimatsu.
LENT BY SAMUEL ISHAM.
_ 37 Wide print from three colour-blocks._ Women and children at the
seashore.
LENT BY A COLLECTOR.
_ 38 Tall hand-coloured print._ Segawa KikunojoÌ as a woman reading a
letter.
_ 39 Two sheets from a beni-yé triptych._ Musume carrying umbrellas.
LENT BY HAMILTON EASTER FIELD.
_ 40 Beni-yé._ Mother and son.
_ 41 Print from three colour-blocks._ Boys rolling a large snowball.
_ 42 Print from three colour-blocks._ Man struggling with a refractory
umbrella; a woman looking on.
TORII KIYOHIRO
[KIYONAGA. Picnic Party.]
KIYONAGA. Picnic Party.
Pupil of Kiyomasu. His known works are exclusively beni-yé, executed from
about 1745 to about 1755.
LENT BY HAMILTON EASTER FIELD.
_ 43 Beni-yé._ Nakamura HatsugoroÌ as Sakura no Suké.
TORII SHIRO
Known as Kiyonobu the second, all of his prints being signed Torii
Kiyonobu. He was the eldest son of Kiyomasu. Worked from about 1740 to
about 1755, when it is probable that his death occurred. Some of the most
charming of the beni-yé prints are from his hand.
LENT BY HOWARD MANSFIELD.
_ 44 Beni-yé._ Yamamoto IwanojoÌ as a woman dancing by a fox-trap in a
rice field under a blossoming cherry tree.
TORII KIYOMITSU
Second son of Kiyomasu, whom he succeeded as the head of the Torii line.
An artist of distinction. Was the first to add a third colour-block to the
original two. He was born in 1735 and died in 1785. After 1765 he designed
only a few prints, and appears to have designed none later than about
1768.
LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED
_ 45 Wide print from three colour-blocks._ The NoÌ performance of
“Musume DoÌjoÌji.”
_ 46 Wide print from three colour-blocks._ Daimyo procession game by
women and children.
_ 47 Print from three colour-blocks._ Iwai HanshiroÌ as a woman reading
a letter while seated upon a carabao.
_ 48 Beni-yé._ Scene from a drama. Ichimura KamezoÌ (standing) as Wakemi
GoroÌ and Nakamura TomijuÌroÌ as Akoya.
SUZUKI HARUNOBU
The central figure in Ukiyoé and the eminent master under whose hand the
art of colour-printing was brought to perfection in the sixties of the
eighteenth century. He was a draughtsman of extreme elegance and power,
and his works have a charm that is peculiarly their own. He died on July
7, 1770, when, says Shiba Kokan in his book “Kokan Kokai-ki,” he “had
hardly passed his fortieth year.”
LENT BY SAMUAL ISHAM.
49 Girl attendant in an archery gallery gathering up arrows. One sheet
of a diptych.
50 A young woman showing a caged bird to a young man seated before her,
and surreptitiously taking a love letter from him.
51 A vendor of fan mounts stopping to talk to a young woman standing in
front of a shop.
_ 52 Hashira-yé._ Woman writing a love letter.
_ 53 Hashira-yé._ Woman holding a pet dog.
54 Burlesque scene. Girls carrying Daikoku (the genius of wealth—one of
the “Seven Fortune-beings”).
LENT BY HOWARD MANSFIELD.
55 Girls carrying Daikoku. A later impression with different colouring.
56 An archer and two girls near a screen. Calendar for 1765.
57 Young woman before a torii, carrying a hammer and nails with which
to perform an incantation.
58 Two young women on their way to the public bath-house through a
storm of snow and rain.
59 Two girls on a terrace near a torii, in the time of the
cherry-blossoming.
60 Two girls gathering mume flowers from a tree overhanging a wall.
61 Woman reading a letter by the light of an andon (portable lamp with
wind screen) which another woman is trimming.
62 Geisha and a young girl standing on the bank near the rapids of the
Tamagawa.
63 Young woman seated in a window, conversing with another young woman
seated on the floor and holding a picture-book.
64 Young man removing snow from the geta of a young woman.
65 Woman lying upon the floor of a room, reading a book, and another
woman standing beside her, holding a pipe.
66 Young woman seated on a veranda after her bath, having her back
massaged by her maid.
67 Young man talking to a girl through the bars of a window.
68 A burlesque apparition of Fugen. Instead of the Buddhist divinity, a
young woman seated on an elephant appears on a cloud before a priest
kneeling in prayer.
69 Lovers walking in the snow under an umbrella. One of Harunobu’s most
distinguished prints.
LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED.
70 The Sleeping Elder Sister. First state. Early impression signed by
the printer, Kyosen.
LENT BY HAMILTON EASTER FIELD.
71 The Sleeping Elder Sister. Second state. Changes made in the blocks
and colouring.
LENT BY A COLLECTOR.
72 The Sleeping Elder Sister. Still later impression. Colouring changed
again, and the number of blocks increased from ten to thirteen.
LENT BY HAMILTON EASTER FIELD.
73 The Hole in the Wall.
74 Mother holding her infant son.
75 At the entrance gate.
76 Mother taking her infant son from another woman and handing her a
letter.
77 Lovers in a palace.
LENT BY A COLLECTOR.
78 Musume walking up a flight of steps leading to a temple.
79 Lovers playing battledore and shuttlecock; the young man climbing a
ladder to disengage the shuttlecock caught upon the branch of a mume
tree.
_ 80 Hashira-yé._ Woman in night attire standing by her bedside reading
a letter.
SHIBA KOKAN
An artist who is best known as a clever imitator of his master, Harunobu,
whose signature he forged upon a number of prints. He also used the “goÌ,”
or studio name, Harushige in signing prints in the Harunobu manner. In
later years he painted pictures in semi-European style, and made
copper-plate engravings which were coloured by hand. He was born in 1747
and died in 1818.
LENT BY SAMUEL ISHAM.
81 The courtyard of a house in the Yoshiwara. A woman reading a letter
and a girl attendant standing beside her holding a tray. Signed
Harunobu.
SHOSHOKEN
This is the pseudonym of an artist of distinction whose identity has not
been determined. His known works are calendar prints for 1765.
LENT BY SAMUEL ISHAM.
82 Stout lady crossing a room in a palace supported by two attendants.
The use of gold leaf is notable.
KITAO SHIGEMASA
One of the noted artists of the school. Was famous for his skill as a
calligrapher, being reputed to have no superior in his day in either of
the “three capitals,” Yedo, Kyoto, or Osaka. His prints, which are rare,
are generally of much distinction. He was born in 1740, and died in the
second month of Bunsei 3 (February or March, 1820).
LENT BY HOWARD MANSFIELD.
83 Children’s puppet show.
LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED.
_ 84 Beni-yé._ Segawa KikunojoÌ and Ichimura Uzaemon as Izumo no Okuni
and Nagoya Sanza, two komuso, playing upon shaku-hachi.
LENT BY A COLLECTOR.
85 Two geishas.
ISODA KORYUSAI
The most important pupil of Harunobu, whose style he followed closely in
his early works. Later he developed a manner of his own. As a designer of
pillar prints and of prints of birds, he was especially successful. He was
a samurai and associated with samurai of the superior class. The director
of the mint was one of his most intimate friends and patrons. About 1781
he gave up print-designing, devoted himself to painting, and was given the
honorary title of Hokyo. The dates of his birth and death are not known.
LENT BY SAMUEL ISHAM.
_ 86 Hashira-yé._ Musume leaping from the balcony of Kiyomidzu temple
with an umbrella as a parachute.
87 Woman standing on the engawa of a house, admiring snow-laden bamboo
branches; back of her, a girl and a young boy looking through a
window.
88 A Yoshiwara beauty arranging flowers; two girl attendants looking
on.
LENT BY A COLLECTOR.
_ 89 Hashira-yé._ Musume carrying her infant brother.
_ 90 Hashira-yé._ Young woman poling a boat in a lily-pond.
LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED.
91 A Yoshiwara beauty on parade, attended by a girl and a boy.
_ 92 Hashira-yé._ The bijin JuroÌjin. A young woman is represented in
place of the long-life being whose attributes are a crane and a
tortoise.
KATSUKAWA SHUNSHO
A contemporary of Harunobu and one of the greatest of the Ukiyoé artists.
He was highly renowned in his day and had many pupils who became famous.
Most of his prints were portraits of actors in character. He was born in
1726 and died on January 22, 1793.
LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED.
93 Segawa Kikunojo as a woman holding a red fan.
94 Two actors in character. The seated figure is DanjuÌroÌ, the leading
“star” of the Yedo stage.
LENT BY SAMUEL ISHAM.
95 Actor in a female rôle.
LENT BY HOWARD MANSFIELD.
96 Iwai HanshiroÌ as a woman standing and holding a fan behind her.
97 Yamashita Kinsaku in a female rôle.
98 Actor of the Ichikawa line in the rôle of Shibaraku at the Ichimura
theatre.
99 OÌtani Hiroji as an Amazake vendor.
_ 100 Hashira-yé._ Nobleman carrying a court lady on his back. Probably a
parody upon the suicide of Ohan and Choyaemon.
_ 101 Wide hashira-yé._ The Woman in Red.
IPPITSUSAI BUNCHOÌ
An artist of samurai rank who, for a few years, designed actor prints in
the manner of Shunsho, which have great distinction of style and colour.
He was celebrated also as a writer of comic odes. He died on May 18, 1796.
LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED.
[BUNCHO. Actor as Woman talking to Men.]
BUNCHO. Actor as Woman talking to Men.
102 Bando Hikosaburo as a woman of the Yoshiwara talking to a group of
men through the misé.
103 Nakamura TomijuÌroÌ as Josan no Miya.
[KIYONAGA. Man and two Women approaching Temple.]
KIYONAGA. Man and two Women approaching Temple.
LENT BY SAMUEL ISHAM.
104 A Yoshiwara beauty accompanied by her kamuro (girl attendant)
bearing a cage of fireflies.
LENT BY HOWARD MANSFIELD.
105 Ichikawa KorazoÌ as a man carrying an actor’s dressing-case.
LENT BY HAMILTON EASTER FIELD.
106 Scene from a drama. Yamashita Kinsaku as a woman holding a roll of
paper, conversing with Ichikawa KomazoÌ, who holds a letter in his
hand.
KATSUKAWA SHUNKOÌ
Pupil of Shunsho and generally regarded as his most talented follower. His
career as a print-designer was cut short by a stroke of paralysis when he
was in his forty-fifth or forty-sixth year, but he lived for about forty
years thereafter as a recluse at Zenfukuji temple, Azabu, Yedo, where he
died in 1827.
LENT BY SAMUEL ISHAM.
107 Iwai Hanshiro in a female rôle.
108 The actor Ichikawa Monnosuke.
109 Nakamura TomijuÌroÌ as a tsuzumi player.
LENT BY HOWARD MANSFIELD.
110 Arashi Tatsuzo as a woman flower-vendor.
KATSUKAWA SHUNYEI
Pupil of ShunshoÌ and an artist of ability. At first, for a short time, he
called himself ShunjoÌ. He was born in 1767, and died on December 13,
1819.
LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED.
111 A bijin.
LENT BY HOWARD MANSFIELD.
112 Ichikawa Monnosuke in a female rôle.
LENT BY SAMUEL ISHAM.
113 Scene from the tenth act of “Chushingura.”
114 Ichikawa KomazoÌ.
UTAGAWA TOYOHARU
Pupil of Toyonobu. As a painter his reputation is justly high. He did not
design many prints. He was born in 1735 and died on March 3, 1814.
LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED.
114 Cock, hen and chickens.
TORII KIYONAGA
Everything considered, the greatest artist of the Ukiyoé school and the
culminating figure in its forward movement. He was born in 1742 and died
in 1815. His finest prints were designed between 1780 and 1790.
LENT BY SAMUEL ISHAM.
116 The Writing-lesson.
117 Fair travellers resting on a bench by the roadside.
LENT BY THE ESTATE OF FRANCIS LATHROP, DECEASED.
118 Two geishas entertaining a young man.
119 Court ladies on the engawa of a palace.
LENT BY HOWARD MANSFIELD.
120 Three girls going to the baths at the hot springs near Miyanoshita.
121 Man and two women masquerading in komusoÌ attire.
122 Group of three women and a boy.
123 Two women standing beside a seated geisha who is playing on a
samisen.
124 Yoshiwara beauty attended by two women (shinzo) and two girls
(kamuro).
125 Two young women and a servant on the balcony of an inn.
126 Family group on their way to a temple for the naming ceremony of the
boy who is carried on the shoulders of an attendant.
127 An actor and two women examining utensils for the tea ceremony.
128 Women and children promenading in summer costume.
129 Scene from a drama. Two actors playing the game of “go” with mume
blossoms, and a third actor as a woman in the rôle of an umpire
standing between them.
130 Two young women walking under an umbrella and followed by a servant.
131 Man in a black haori approaching a temple through the snow,
accompanied by two women.
_ 132 Diptych._ Group of women under a cherry tree.
_ 133 Diptych._ Holiday group under the cherry trees at Gotenyama. One of
a series of twelve diptychs that are among Kiyonaga’s finest works.
134 Boating party under Ryogoku bridge. Two sheets of a triptych.
_ 135 Triptych._ The Peony (botan) Show.
_ 136 Triptych._ Women landing from a pleasure boat.
LENT BY A COLLECTOR.
_ 137 Hashira-yé._ Woman in winter costume.
_ 138 Triptych._ A picnic party under the cherry trees.
139 Group of women on the bank of the Sumida river.
140 Group of women near a temple.
141 Three women at a public bath-house.
KATSUKAWA SHUNCHO
Pupil of ShunshoÌ. Followed the style of Torii Kiyonaga. His works closely
resemble those of the Torii master, but have less force. Worked from about
1775 to about 1795. In some of his later prints he imitated Eishi’s prints
in the Utamaro manner. The dates of his birth and death are not known.
LENT BY SAMUAL ISHAM.
142 One sheet of a triptych showing a nobleman’s mansion from the
garden, with the people engaged in various occupations.
LENT BY HOWARD MANSFIELD.
143 Women watching girls bouncing balls.
_ 144 Diptych._ Group at the entrance to a temple.
145 Three women in a temple compound.
[SHUNCHO. Women watching Girls bouncing Balls.]
SHUNCHO. Women watching Girls bouncing Balls.
LENT BY HAMILTON EASTER FIELD.
146 Group of girls at a tea booth by the seashore.