Japanese woodblock prints-andreas marks

G E K KO– 173

GinkōAct. c.1873–1908Family name: Adachi. Given name: Heishichi. Art names: Shōsetsusai (c.1873–75), Shinshō (arNot many details are known about Ginkō’s use other characters but witlife. He studied with the Western-style painter to write his name.Goseda Hōryū (1827–1892) and apparentlydesigned prints of the Boshin rebellion in In the 1880s, he also desi1870. His earliest known prints, however, are prints and beautiful womenfrom 1873 when he produced several as a book illustrator and satiunserialized actor prints in the style of Between 1885 and 1889, YoKunichika that were mainly published by published Ginkō’s most succGusokuya Kahei. In 1874, Gusokuya Kahei “Pictorial Outline of the Jappublished one of the few actor series by Ginkō, (Dainippon shiryaku zue). Th“Complete Issue of Top Battle Stories” (Kōdan horizontal half format wereisseki yomikiri). Its popularity resulted in a an album with each one accsupplement, issued shortly thereafter. Ginkō full page description. In 188became very active in illustrating historical and conflict with the law and wacurrent issues, especially the Satsuma one year in jail and a fine ofRebellion of 1877 and the Sino-Japanese War reason was an illustration inof 1894–95. In 1878, when he lived in (Feb. 1889) of the satirical “Minaminabechō Itchōme, Ginkō started to Society of Ready Wit” (Ton edited by Miyatake Gaikots174 artists

round 1877), Shōsai (c.1881–89). th the same spelling Following an earlier drawn triptych that shows the issuance of the Meiji constitution, igned landscape Ginkō now substituted the constitution-n and was active receiving Emperor Meiji with a skeleton. irical cartoonist. The illustration and its accompanying article orozuya Magobei is titled “Promulgation Ceremony for the cessful series, Sharpening of the Ready Wit Law” (Tonchi panese History” kenpō happushiki). It was considered offensiveThe prints in enough to punish all involved persons and ban the journal. After he was released from jail, later issued in Ginkō continued to work until at least 1908. It companied by a is not known when he passed away. 89, he came into as punished with f fifty yen. The n the 28th issue “Journal of the nchi kyōkai zasshi), su (1867–1955).

Left 1885 No. 30, from the series“Pictorial Outline of the JapaneseHistory” (Dai Nihon shiryaku zue).Chūban. Publisher: Yorozuya Magobei(Ōkura Magobei). Collection Arendieand Henk Herwig.Right 1874 No. 6—The actorIchikawa Sadanji I as MatsuyamaYaichirō, from the series “Storiesfinished reading in one session,Addendum” (Kōdan isseki yomikiritsuika). Ōban. Publisher: GusokuyaKahei. Collection Arendie and HenkHerwig.

G I N KO– 175

Kokunimasa1874–1944Art surname: Utagawa. Art names: Baidō (c.1889–94), Ryūa (c.1904).Even though Kokunimasa is a late 19th/early national themes, but also spe20th century artist, biographical details about prints portraying a single acthim are sparse. Kokunimasa was born in role in half-length over an e1874 as the oldest son of Utagawa KunisadaIII who initially signed as Kunimasa IV. It is assumed that he is idKokunimasa means “Kunimasa Junior.” the artist who signed as KunActive at least since 1889, Kokunimasa was however, this signature appebest known for his triptychs illustrating the Kokunimasa signed as KokuSino-Japanese war of 1894–95, and the years before and after. If he iRusso-Japanese war of 1904–05. At other the name Kunimasa V it seetimes he produced illustrations of other just for a short time. Kokuni away in 1944.Below 1896 The actor Ichikawa Right 1895 “Attack in a Bottom right 18Danjūrō IX as Jishin Katō in the snowstorm on the One-hundred Onoe Kikugorōplay Zōho Momoyama banashi, Shaku Cliff in Weihaiwei Bay” Tomomori in anKabuki Theater, I/1896, from the (Ikaiei hyakushaku gake hōdai Shintomi Theatseries “The Eighteen New Kabuki setchū daikōgeki). Ōban triptych. triptych. PublishePlays” (Kabuki shinjūhachiban no Publisher: Katada Chōjirō. Library of Sonokichi. Collecuchi). Ōban triptych. Publisher: Congress. Henk Herwig.Mizuno Asajirō. Collection Arendieand Henk Herwig.176 artists

ectacular actor tor in a specificentire triptych.dentical withnimasa V,ears in 1891 andunimasa in the indeed did useems to have been imasa passed895 The actorō V as Taira no n unidentified play, ter, 1895. Ōban er: Hasegawa ction Arendie and



KOKUNIMASA 177

178 publishers



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publishers 179

p T o p p t e t b in o t 6 w p t o w fe t 1 m J p d c t c a w180 publishers

publishersTsutaya Jūzaburō and Nishimuraya Yohachi are the best knownof the most active publishers (hanmoto) of Japanese woodblockprints. As the owners of the woodblocks and the copyrights, thepublishers controlled the production as well as the sales of the manythousands of prints. Guilds (nakama) were established in the lateeighteenth century to control copyright infringements and, at onetime, publishers served as censors (gyōji) in an unsuccessful attemptby the government to self-regulate the vibrant market. How alive the market of woodblock prints was can be seenn the number of publishers that existed and in the high numberof different designs that were issued. From the seventeenth totwentieth century, we know the names and locations of just over600 publishing firms plus an additional 500 publishers of whichwe have individual trademarks on the prints but do not know theproper names. Since the beginning of woodblock print production,the number of active publishers grew steadily and climbed overone hundred in the 1790s. The heyday was in the 1840s and 1850swith about 250 publishers (identified and unidentified) active. Itell with the opening of Japan to the West and the modernization ofthe country, but only slowly, with over 180 active publishers in the1880s. The rapid decline came in the 1890s and 1900s when the newmotifs of that time, the Sino-Japanese War of 1894–95 and the Russo-Japanese War of 1904–05, could only marginally help the woodblockprint industry, and in the 1900s the number of active print publishersdropped to 40. The publishing business during the Edo period was verycompetitive and publishers were usually small family businessesthat were passed on from father to son, real or adopted. In mostcases the new generation head took the name of his predecessorand continued the business, thus making it difficult to determinewhen the generational change occurred. One of the rare known

cases is Daikokuya Heikichi whose printing business lasted for fivegenerations until Heikichi V died in June 1931. New publishing businesses were more likely to get a headstart by hiring renowned and established artists who demandedhigher fees but were likely to be sold easier. Sometimes a publishertook over the business of another publisher who had to cease hisoperation for whatever reason. Ebisuya Shōshichi, for example, tookover Kawaguchiya Shōzō’s business in 1852, around six years after hehad started his publishing enterprise. The overwhelming concentration of publishers was in theNihonbashi district around the bridge of the same name. This bridgewas considered the official center of Edo and highways like theTo- kaidō, the important coastal road connecting Edo with Kyoto,started there. As the heart of the city, this mercantile area provedto be ideal for publishers to sell their prints to the locals as well astravelers. The To- kaidō continued to Kyōbashi district and over thebridge of the same name, which was another popular location forpublishers. Other prominent locations for publishers apart fromthe route of the Tōkaidō were districts with important temples likeAsakusa’s Sensōji and Shiba’s Zōjōji, as well as Kanda Myōjin shrine.Some publishers moved premises within the same district or toanother district, expanding their business and hoping to boost upsales, like Tsutaya Jūzaburō who moved in 1783 from the entranceto the Yoshiwara pleasure quarter to Nihonbashi Tōriaburachō. Most of the prints were issued by a single publisher—either aspart of a series or as stand-alone designs. Nishimuraya Yohachi, oneof the most famous and active publishers, alone issued more than140 print series between the 1770s and 1830s. Some series, like theso-called “Processional Tōkaidō” (“Gō-jōraku Tōkaidō”) series from1863 with over 160 different designs, were jointly issued by a numberof publishers, in this case 25, and it remains unclear how such multi-

e publisher projects got started and organized. The logistical effort must have been substantial, especially when several artists actually provided the designs. The printing process for books was the same as for prints and commercial publishers used wood because it was flexible as well as durable to produce many copies at once. Wild cherry wood became the preeminent material for the blocks, though it was difficult to carve, as it lasted longer, allowing for more print runs. Mulberry paper, made of the bark, which has very strong fibers, was mostly used for the prints. In this chapter, the publishers are presented in chronological order by the date, estimated or known, when they started to produce prints. They are listed by their trade name (yagō) and their firm name (dōgō), family name, and seal name under which they are also known are given in each entry, as are tables of the prints they issued and artists they worked with. Opposite 1858 Keyblock for the ōban print “Yoshiwara,” from the series “One Hundred Beautiful Women with Famous Sights of Edo” (Edo meisho hyakunin bijo), designed by Kunisada and Kunihisa II.. Cherry wood. Collection Arnold Satterthwait. Prints from this block are, for example, in the collection of the Tokyo Metropolitan Libary (no. 025-C001-081), Japan Ukiyo-e Museum, Matsumoto, National Diet Library, Tokyo, and the Museum of Fine Arts, Boston (nos. 11.15084, 11.42253).r Above 1802 Hokusai “Kōshodō,” the shop of Tsutaya Jūzaburō, from the book “Picture Book of Places of Entertainment in the Eastern capital” (Ehon azuma asobi. Publisher: Tsutaya Jūzaburō. Private Collection. PUBLISHERS 181

Urokogataya Magobeic.1687–1811Firm name: Rinkakudō (1708–13), Kakurindō (1753), Kakurindō (1760); familyname: Yamano Magobei. Located at Nihonbashi Minami Nichōme (around 1666),Nihonbashi Ōtenmachō Sanchōme (c.1670s–1778), Nihonbashi Tōrihatagochō(1780s), Nihonbashi Ningyōchō-dōri Tadokorochō (1780s), Fukagawa UmibeDaikuchō (1790s).Urokogataya Magobei was by far the most active publisher of actorprints in the first half of the eighteenth century. At first, UrokogatayaKahei (Kyōjiya) published books and produced maps of Edo beginningabout 1657 until 1676. Some time between 1676 and 1680, theleadership of the firm was transferred to Urokogataya Sanzaemon whoproduced books and series by Hishikawa Moronobu (died 1694).Between 1682 and 1687 Urokogataya Magobei must have taken over.The years 1680 to 1682 can be clearly assigned to Sanzaemon butpublications until 1687 are only inscribed “Urokogataya” and evidentlydo not indicate the publisher’s full name. Magobei’s earliest dateable publication is from 1687. He continuedto issue Moronobu’s works but became especially active in the fieldof actor prints. In the 1720s and early 1730s, he issued several printsjointly with fellow publisher Tsuruya Kiemon. From 1727 until1773, he issued almost three hundred actor portraits alone, mostlyby Kiyomasu II, Kiyomitsu, and Ishikawa Toyonobu (1711–1785).The figure to the right is by Nishimura Shigenobu (act. c.1723–47),who Urokogataya engaged many times to design both actor as wellas beauty prints. This particular example shows the actor IchimuraTakenojō IV (1698–1762) in 1736. The figure on the far right of thenext page is from around the same time, illustrating the right sheet ofthe triptych “Maiden Look, Set of Three” (Jōfū sanpukutsui). The centerfigure from the 1750s by Toyonobu is one of a number of designsshowing young girls accompanying playing children. Since 1735, Urokogataya regularly issued the “Guide to theYoshiwara” (Yoshiwara saiken). He was joined in 1775, maybe already in1774, by the upcoming publisher Tsutaya Jūzaburō who, in fall of 1776,took over and continued these guides on a regular basis until 1836. In1775, Urokogataya was fined for the wrongdoing of his clerk who hadrepublished a work without the permission of the initial publisher. Thelast known design by Urokogataya is an actor print by Kunisada from1811.Works Date Artist(s)unserialized actor prints Ishikawa Toyonobu, Kiyomasu, Kiyomasu II, Kiyomitsu, Kiyonaga,unserialized beauty prints 1691 Kiyonobu II, Kiyotada, Kiyotsune, late 1730s Kunisada, Nishimura Shigenobu,unserialized pictures of flowers and birds late 1730s Shigenaga, Shunshōunserialized warrior prints c.1748 Koryūsai, Okumura Toshinobu,Tsukinami no asobi 1750s ToyoharuJōfū sanpukutsui 1750s ToyoharuBijin sanpukutsui izutsu mae c.1769 Nishimura ShigenobuSanpukutsui hiyoku no san kyoku MoronobuShinpan Edo hakkei c.1772–75 Nishimura ShigenobuUntitled series of beauties with children Nishimura ShigenobuFūryū yatsushi musha kagami ShigenagaUntitled series on day and night events of the Twelve Kiyonobu IIMonths Ishikawa Toyonobu Koryūsai Shigemasa, Shunshō, Toyoharu182 publishers

Above 1736 Shigenobu. The actorIchimura Takenojō IV in the playTōkaidō yukumi guruma, IchimuraTheater, VIII/1736. Hosoban urushi-e.Library of Congress. Mutō 2005, no.2062.Right 1750s Toyonobu. Playing withmusical instruments. Hosobanbenizuri-e. Library of Congress.Opposite Late 1730s Shigenobu.“Maiden look, set of three—right”(Jōfū sanpukutsui). Hosoban tan-e.Collection Peter Rieder.



UROKOGATAYA MAGOBEI 183

Igaya Kan’emon1690s–1860Seal name: Igakan; firm name: Bunkidō. Located at Nihonbashi MotohamachōTakashimachō (c.1690s–1755), Nihonbashi Takasagochō (c.1785–1809), Nihon-bashi Kobunachō Nichōme Nakabashi-dōri (c.1810–15), Nihonbashi Shin’izumichō(c.1818–20), Nihonbashi Ōtenmachō Nichōme (c.1825–32), Kanda NabemachiNishiyokomachi (c.1838–48), Kanda Kajichō Nichōme (c.1849–60).Igaya Kan’emon was active as a publisher of prints starting in the1690s. He became one of the most active publishers during the earlyyears, especially during the 1730s and 1740s. The figure on the rightfrom 1732 by Kiyomasu II is an example of the mostly hosoban formatactor prints Igaya issued. Igaya engaged all important artists from theTorii and Katsukawa schools but also Ishikawa Toyonobu (1711–1785). Next to the dominating field of actor prints Igaya also producedbeauty prints, for example by Kiyomasu and Kaigetsudō Dohan. Igaya also produced hosoban format actor prints in the 1780s and1790s by artists such as Shun’ei. Shun’ei was in fact the main artist ofIgaya and there seems to have been no engagement whatsoever withthe upcoming and quickly dominating actor portraitist Toyokuni asthere are no Igaya prints by Toyokuni known. However, this seemsto not be related to the person Toyokuni but to Igaya pulling backfrom issuing prints and concentrating on books from the mid 1790s.Into the 1810s, Igaya issued many books, the majority of which wereillustrated by Toyokuni, occasionally also by Toyohiro and Kunisada. In 1807, Igaya is listed as a member of the Picture Book and PrintPublishers Guild (Jihon toiya) and during 1811 and 1813 he wasappointed four times to serve as a censor (gyōji) in an attempt by thegovernment to regulate the print market. Nagauta and jōruri libretti were Igaya’s main business. Beginningpossibly in 1715, but probably even earlier, Igaya produced a fairnumber of libretti and continued to do so until the 1850s. It was only by the mid 1820s when Igaya occasionally returned toissuing prints. For the few dozen prints known from the second half ofthe 1820s and the 1830s, Igaya worked mostly with Kunisada but alsohired lesser known artists like Kuniharu. In the late 1830s, Igaya seemsto have produced only a series of children by Kuniyoshi and two beautyseries, one by Eisen and one by Kunisada. The figure on the far rightof the next page depicts one of the five beauty prints from Kunisada’sseries “Five Bridges of the Eastern Capital” (Tōto godaibashi). In 1851, Igaya is listed as a member of the Old Faction (Motogumi)of the Picture Book and Print Publishers Guild (Jihon toiya) butthere are no prints known from the 1840s or early 1850s. Only a fewactor prints appeared during the second half of the 1850s, designedby Kunisada, Kunisada II, and others. In the twelfth month of 1860,Igaya’s business was taken over by Sakagawaya Heishirō, anotherpublisher of jōruri libretti.184 publishers

Works Date Artist(s)nagauta and jōruri libretti 1730s IshikawaToyonobu, Kiyomasu, Kiyomasuunserialized actor prints c.1730–35 II, Kiyomitsu, Kiyonobu, Kiyonobu II, c.1730–35 Kiyotada, Kuniharu, Kunisada, Kunisadaunserialized beauty prints c.1735–40 II, Kuniyoshi, Okumura Toshinobu,unserialized pictures of flowers and birds c.1740 Shigenaga, Shunkō, Shunsen, Shunshōunserialized warrior prints 1830s Dohan, Kiyomasu, Kiyotada, ShigenagaKa Shin Sai late 1830s ShigenagaYoshiwara hakkei hachimai no uchi 1838–40 KiyomasuMutsu Tamagawa rokumai no uchi ShigenagaŌmi hakkei Kiyomasu IINana Komachi Kiyomasu IIKodomo asobi hakkyō no uchi Kiyomasu IIUkiyo nijūshikō Kiyomasu IITōto godaibashi Kuniyoshi Eisen Kunisada

Opposite 1Segawa KiMimasu KaShōchikubI/1732. HosRieder. MutLeft top 17SanogawaChōjūrō IIIbenizuri-e. NLeiden, TheLeft bottomIchikawa YHosoban niEthnology,

1732 Kiyomasu II. The actors Above Late 1830s Kunisada. Chikaōbashi,ikujirō I as Yaoya Oshichi and from the series “Five Bridges of the Easternantarō II as Kichisaburō in the play Capital” (Tōto godaibashi). Ōban. Japanbai kongen Soga, Ichimura Theater, Ukiyo-e Museum, Matsumoto. soban urushi-e. Collection Petertō 2005, no. 559.750 Toyonobu. The actorsa Ichimatsu I and SawamuraI in an unidentified play. Hosoban National Museum of Ethnology,e Netherlands. Mutō 2005, no. 2087.m Late 1790s Shun’ei. The actorYaozō III in an unidentified role.ishiki-e. National Museum of Leiden, The Netherlands. IGAYA KAN’EMON 185

Emiya1688–183Firm name: Ranmae Yokochō MInformation aseventeenth cc.1714 until 1prints. EmiyaKiyomasu II,immediate rigfrom 1730. ShEmiya did nomotifs as wellRyōgoku” (Ry Accordinginvented in 17the woodblocdevelopmentprinting was n(III?) and theproduced withbefore 1744 aof the eighteeUemura. WheKichiemon IVas a member otoiya). In 1812Emiya producfew prints kno1835. Works unserialized actor prin Kanazawa hakkei no u Untitled series on the E Ryōgoku no funeyusan Iroko rokkasen portrait of the actor Se hosoban]Left top 1720s KNo. 2—Fireworkpreparations, fr“Pleasure Boats(Ryōgoku no fuHosoban urushi-Museum of EthnThe Netherlands

a Kichiemon35nkōdō; family name: Uemura Kichiemon. Located at Shiba Shinmei-Mishimachō, Nihonbashi Bakurochō (since the 1790s). about the publisher Emiya Kichiemon is sparse. In the latecentury, Emiya started as a publisher of books. From1773, Emiya was one of the most active publishers of actora produced prints by all major artists, but mostly by Kiyonobu II, and Okumura Toshinobu. The figure to the ght illustrates such an early actor print by Kiyonobu II higenaga was also one of the artists engaged by Emiya.ot confine himself only to actor prints but published other l, for example genre prints like the series “Pleasure Boats atyōgoku no funeyusan). to an unverifiable legend it was Kichiemon III who 744 the kentō, the alignment marks carved in allcks of a set. The development of the kentō led to the of prints printed with two colors (benizuri-e) as exact now guaranteed. Pictures of the actor Ichikawa Danjūrōe Daimonjiya brothel were apparently the first ones he h this new technique. However, dateable benizuri-e fromare known that dispute this anecdote. In the second halfenth century, Emiya mostly signed with the family name en Emiya Kichiemon III passed away he was 85 years old.V then passed away at the age of 75. In 1807, he is listed of the Picture Book and Print Publishers Guild (Jihon 2 the publishing business was led by Kichiemon V. While ced several illustrated books in the 1800s there are only a own from the 1820s and early 1830s, and the last dates tonts Date Artist(s)uchi 1720s Kiyohiro, Kiyomasu, Kiyomasu II,Eight Views 1720s Kiyomitsu, Kiyomitsu II, Kiyonaga,n 1720s Kiyonobu, Kiyonobu II, Kunisada, 1746 Kuniyasu, Okumura Toshinobu,egawa Kikunojō II [single 1767 Shigenaga, Shun’ei Shigenaga Shigenaga Kiyonobu II Kiyonobu II Kiyonaga (earliest known work) Kiyonobu II. Left bottom 1767 Kiyomitsu. k The actor Nakamura Matsue I rom the series as Kumo no Saima in an s at Ryōgoku” unidentified play. Hosobanuneyusan). benizuri-e. National Museum of -e. National Ethnology, Leiden, Thenology, Leiden, Netherlands. Mutō 2005, no.s. 1123.



Left 1730 Kiyonobu II. The actors Above c.1720s/30s Shigenaga.Mimasu Kantarō II and Fujimura Benkei offering gifts to twoHanjūrō II in an unidentified play. children who have beenHosoban urushi-e. Asian Art gathering pine needles. HosobanMuseum, National Museums in urushi-e. Library of Congress.Berlin. Mutō 2005, no. 102.EMIYA KICHIEMON 187

Murataya Jirōbeic.1659–1844Seal name: Murata; firm name: Eiyūdō. Located at Nihonbashi Tōriaburachō Kitagawa.At first, Murataya Jirōbei was a publisher of books. time dates Utamaro’sSince the 1720s he was active in producing actor Children’s Playful Spprints and prints of beautiful women. Hecommissioned popular, well-known artists like In 1807, he is listeBunchō, Kiyomasu II, Kiyonobu I, and Nishimura Book and Print PubShigenobu (act. c.1723–47), as well as minor artists of the Book Publishelike Tamura Sadanobu and Hagawa Wagen (act. versatile Murataya coc.1720s). illustrations by Hoku From time to time Murataya put rare motifs on In the 1810s he mthe market like a “nehan zu” or Nirvana painting by actor prints by ToyokShigenobu from the 1740s, depicting the death of acted as a censor of pthe historical Buddha. It is not clear if M In the 1770s and 1780s, Murataya mostly came to an end in thworked with Katsukawa school artists like Shunkō disappeared from thand Shunshō. In the second half of the 1790s, the 1840s however tMurataya issued a few large-head actor portraits by of series by HiroshigKunimasa and Toyokuni, and in the 1800s followed “Murata” publisher spillar prints (hashirae) by various artists, especially last of these series byUtamaro. of Mount Fuji Seen (Tōto Fujimi sanjūrok From the 1730s, Murataya also produced designs were producbooks. In the book Atariyashita jihon toiya that hepublished in 1802 is an illustration of Murataya’sshop by Jippensha Ikku. From around the same188 publishers

’s series “Three Laughters at Right c.1802 Utamaro. “Ten shiny pirits” (Kokei no sanshō). names” (Tō en mei), from the series ed as a member of the Picture “Three Laughters at Children’s Playfulblishers Guild (Jihon toiya) and Spirits” (Kokei no sanshō). Ōban. Asian ers Guild (Shomotsu toiya). The Art Museum, National Museums in oncentrated now on books with Berlin. Ukiyo-e shūka 3 (1978), no. usai, Hokuba, and Shuntei. 218.2-1.mainly produced unserialized kuni. In 1811 and 1812 he Opposite top 1740s Shigenobu. prints. “Nirvana painting” (Nehan zu). ŌbanMurataya Jirōbei’s business tan-e. Asian Art Museum, National he early 1820s as he suddenly Museums in Berlin.he scene. In the first half of there appears a small number Opposite bottom 1806 Utamaro. ge and Kuniyoshi that bear a “Scene at six o’clock at night” seal. Most importantly is the (Kuremutsu doki no fuzei), from the y Kuniyoshi, “Thirty-six Views series “Floating World Sundial of from the Eastern Capital” Summer” (Ukiyo natsu no hidokei). kkei) of which only six different Ōban. Collection Peter Rieder. Unlisted ced. in Ukiyo-e shūka 3 (1978), no. 221. Below c.1843–44 Kuniyoshi. “Mount Fuji from the Sumida embankment at dust” (Sumida tsutsumi no yū Fuji), from the series “Thirty-six Views of Mount Fuji Seen from the Eastern Capital” (Tōto Fujimi sanjūrokkei). Ōban. Collection Peter Rieder. Robinson 1961, no. 9.

Works Date Artist(s)unserialized beauty prints 1730s Bunchō, Chōki, Eishō, Ishikawa 1730s Toyonobu, Kiyonobu II, Shunchō,unserialized actor prints 1730s Utamaro 1730s Bunchō, Kiyomasu II, Kiyonobu,unserialized warrior prints 1760s Kiyonobu II, Kunimasa, NishimuraMusha sanpukutsui 1760s Shigenobu, Shunkō, Shunshō,Ka Shin Sai c.1793 Shuntei, Tamura Sadanobu,Tachibana sanpukutsui c.1794–95 Toyokuni, WagenEnjō sanpukutsui c.1799 MasayoshiShōgatsu asobi sanpukutsui c.1800 Tamura SadanobuMoji-e sanpukutsui c.1800 ShigenagaSeirō setsugekka c.1800 Nishimura ShigenobuMusume hidokei early 1800s Tamura SadanobuShichigosan kodakara awase early 1800s KiyomitsuTōsei onna fūzoku tsū c.1801–02 FusanobuTōsei bijin sanyū c.1802 UtamaroUkiyo san seki c.1804 UtamaroSeirō shōchikubai 1806 UtamaroSeirō tōji zensei no kimi 1810s UtamaroTōsei onna fūzoku tsū 1815 UtamaroKokei no sanshō c.1839–42 UtamaroKindai nanasai jo shika c.1840 ChōkiFūryū goaikyō c.1840 TsukimaroUkiyo natsu no hidokei c.1843–44 UtamaroChūshingura UtamaroKingyo zukushi UtamaroShinpan tōto meisho Utamaro IITōto meisho [chūtanzakuban format] Utamaro IITōto Fujimi sanjūrokkei Shuntei Kuniyoshi Hiroshige Hiroshige Kuniyoshi

ARTIST / PUBLISHER 189

Tsuruya Kiemon1620s–1852; c.1870–98Seal name: Tsuruki; firm name: Senkakudō; family name: Kobayashi Kiemon. Located at NihKitagawa Nakahodo (c.1784–1841), Nihonbashi Motohamachō (around 1851), Nihonbashibashi Hongokuchō Sanchōme 17-banchi (from 1896).Tsuruya Kiemon was one of the longest active publishers. His sbeginning dates back to the 1620s when he first published books. In the ti1670s, he published the first picture albums by Moronobu. From the (1720s Tsuruya produced prints by artists like Kiyoharu and Kiyomasu toII. Over the years output increased and business boomed from the late o1780s until the 1800s. r b Tsuruya engaged Chōki and Toyokuni to design actor prints. foUtamaro designed beauties both in full length, seen in the series “Little bSeedlings—Seven Stages in the Life of Komachi” (Futabagusa nana KKomachi), as well as in half length, such as “Elegant Sports of Four ThSeasons” (Fūryū shiki no asobi). The market craved images like this and NTsuruya was a versatile publisher who did not stay in one niche but 1served all kinds of interests. a T In 1807 he was a member of the Picture Book and Print Publishers aGuild (Jihon toiya) and member of the Book Publishers Guild(Shomotsu toiya). In the same year, Tsuruya issued the series “TwelveHours of the Courtesans” (Keisei jūni toki), the earliest known printby Kunisada. In 1811 and 1813, Tsuruya functioned as gyōji (censor)for the guild, following regulations by the government that attemptedto control the market better. In 1817, he issued Toyokuni’s importantdrawing manual for the leading actors of the time, “Quick Instructionsin Actor Likenesses” (Yakusha nigao haya geiko). Tsuruya’s shop is illustrated in the first volume of the book“Gathering of Famous Views of Edo” (Edo meisho zue), issued in1834. In the same year, the existing Tsuruya Kiemon who was bornpresumably in 1788, passed away and the publishing house wascontinued by a new heir who inherited the name. Tsuruya Kiemon’s by far most successful but fatal publication was themulti-volume novelette “A Country Genji by a Fake Murasaki” (NiseMurasaki inaka Genji), written by Ryūtei Tanehiko (1783–1842) andillustrated by Kunisada. Tsuruya issued the first volume in 1829 andcontinued to put at least two volumes per year on the market until 1842.Volume 38 is the last that was printed, even though almost completedrafts for consecutive volumes exist. The reason for the halt was theTenpō Reforms, an attempt by the government to control publishingand the “Country Genji” was one of its victims. Tsuruya was summonedrepeatedly to the authorities to be questioned about the matter. Theblocks were confiscated and Tsuruya had to pay a fine. Ryūtei Tanehiko,the author, died shortly after or during the interrogation. The “Country Genji” is considered to be the most successful serialnovel of the Edo period. Its impact can be seen in other publicationslike books and prints but also the fashion at that time. In 1838, Tsuruyahimself was the first publisher who issued a series of prints under thesame name as the original book and by the same artist, Kunisada. Eachsheet presents a full length portrait of one of the main characters in thebook. By the mid-1840s, other publishers picked up the new themeand also issued prints. Different sequels appeared of the novel and theinterest in the “Country Genji” flourished well into the Meiji period.190 publishers

honbashi Ōtenmachō Sanchōme (until at least 1750s), Nihonbashi Tōriaburachō Naniwachō (c.1872–75), Nihonbashi Shin’ōsakachō 10-banchi (1876–95), Nihon- The publisher Tsuruya was back in business by 1847, producingseveral books but only one print by Kuniyoshi is known from thistime. In 1851, Tsuruya is listed as a member of the Old Faction(Motogumi) of the Picture Book and Print Publishers Guild (Jihontoiya) and member of the Tōrichō Faction (Tōrichōgumi) of the Guildof Book Publishers (Shomotsu toiya). However, he was not able torecover from the complications with the “Country Genji” and hisbusiness was taken over by fellow publisher Tsujiokaya Bunsuke in theourth month of 1852. From this point on there are no more printsby Tsuruya, but books appear again starting around 1870 by TsuruyaKiemon. In which way this Tsuruya is related to the previous is unclear.The Meiji period Tsuruya Kiemon operated from a new location inNihonbashi Naniwachō and was also mentioned on Guild lists up to1875. Beginning in 1876, the family name Kobayashi Kiemon appearsand the location given is Nihonbashi Shin’ōsakachō 10-banchi. The newTsuruya produced only books, with just a few of them illustrated byartists like Yoshiiku and Kyōsai.

Works Date Artist(s)unserialized actor prints Kiyonobu II, Kunisada, Kuniyoshi,unserialized beauty prints 1720s Sadahide, Shun’ei, Toyokuni late 1750s Kiyonaga, Kunisada, Kuniyoshi,unserialized landscape prints 1780s Shunchō, Utamarounserialized sumo prints c.1789–95 Shunshōunserialized warrior prints 1790s ShunshōKamakura hakkei 1790s Kunisada, Kuniyoshi, ToyokuniFūryū utai sanpukutsui c.1790 KiyoharuChūshingura early 1790s Miyagawa ShunsuiHaifū yanagidaru Shun’eiUki-e Chūshingura early 1790s ShunchōUkiyo Chūshingura MasayoshiHaifū yanagidaru c.1792–93 UtamaroUki-e c.1792 KiyonagaUntitled series of warrior prints on the expedition to c.1793 MasayoshiMt. Ōe c.1793–94Seirō Niwaka onna geisha no bu c.1794 MasayoshiFujin sōgaku juttai mid 1790sEnchū hassen mid 1790s UtamaroSeirō jishukō c.1797 UtamaroKaritaku hakkei c.1797 UtamaroChūshingura c.1798–1801 KiyonagaUntitled series of heroines from kabuki plays 1799 UtamaroNishiki-ori Utamaro-gata shin-moyō c.1799 ChōkiSeirō Niwaka zensei asobi late 1790s ChōkiAzuma jikkei c.1800 UtamaroSeirō kabuki yatsushi ezukushi 1800s ChōkiJoshoku kaiko tewaza gusa c.1803 ChōkiTanzaku waku c.1803 UtamaroFūryū shiki no asobi 1807 UtamaroFūzoku masukagami 1807 ChōkiFutabagusa nana Komachi 1810s UtamaroEdo meibutsu nishiki-e kōsaku 1822–26 Kiyomitsu IISangoku yōko den 1830–34 UtamaroKeisei jūni toki 1830s UtamaroFūryū Ōmi hakkei 1830s HokusaiEdo shōkei c.1830 KunisadaShiki asobi no uchi c.1832–33 EizanEdo jiman zensei zoroi c.1834 Kunisada/SadafusaShiga no uchi 1836–38 KunisadaHyaku monogatari c.1836 Sadakage“Hōeidō ban Tōkaidō” 1838 SadakageKanadehon Chūshingura 1838–41 HokusaiFūryū wa miyabi sannin c.1838–42 HiroshigeYōbu hakkei 1839–40 KunisadaNise Murasaki inaka Genji early 1840s KunisadaEdomurasaki azuma Genji c.1847–48 KuniyoshiTōkaidō gojūsan tsugi KunisadaKameido Tenmangū hōnō inaka Genji gakumen utsushi KunisadaFūryū shokunin zukushi KuniyoshiYoku to iu kedamono [single ōban] Kunisada Sadahide KuniyoshiLeft 1838 Kunisada. Futaba-no-ue Right top c.1803 Utamaro. “Kayoiand a portrait of the actor Ichimura Komachi”, from the series “LittleUzaemon XII as Ashikaga Mitsuuji, Seedlings—Seven Komachis”from the series “A Country Genji by a (Futabagusa nana Komachi). Ōban.Fake Murasaki” (Nise Murasaki inaka Asian Art Museum, National Museums inGenji). Ōban. Japan Ukiyo-e Museum, Berlin. Ukiyo-e shūka 3 (1978), no. 115.3Matsumoto. Right bottom c.1797 Utamaro. From right to left, Ume, Machi, the courtesan Yosooi and her attendants Tomeki and Nioi of the Matsubaya (Matsubaya uchi yoyo Ume, yoyo Machi, yoyo Yosooi, Tomeki, Nioi). Ōban diptych. Collection Peter Rieder. Ukiyo-e shūka 3 (1978), no. 99.

nd TSURUYA KIEMON 191

Above c to Ōji in Ōji mōd the Twe Japan U192 publishers

c.1816 Kunisada. “Pilgrimagen the second month” (Kisaragide), from an untitled series onelve Months. Ōban triptych.Ukiyo-e Museum, Matsumoto.

Right top Early 1800s Utamaro.Kintarō grabbing Yamauba’s hair.Ōban. Library of Congress. Ukiyo-eshūka 3 (1978), no. 733.Right bottom 1799 Toyokuni. Theactors Segawa Kikunojō III asShirotae and Arashi Hinasuke II asAkita Jōnosuke in the playUtsukushiki yuki no sekai, IchimuraTheater, XI/1799. Ōban. NationalMuseum of Ethnology, Leiden, TheNetherlands.

ARTIST / PUBLISHER 193

Nishimuraya Yohachic.1751–1860Seal name: Nishiyo; firm name: Eijudō; family name: Hibino. Located at Nihonbashi BakuroMinami Kado.Nishimuraya Yohachi is among the most only design known from thimportant publishers in the history of prints Prints of the Dressing Rooand may be the publisher with the biggest (Gakuya nishiki-e sanben), doutput over time. Starting in 1751, the eleventh month 1812. A feearliest designs he put on the market are all ten designs of the Seconactor portraits by Kiyomitsu, followed by the issued and, according to theworks of Harunobu, Bunchō, Shunshō, this print, ten designs wereKoryūsai, and Kiyonaga. In short, since his for this series where Kunisabeginning, all important and popular artists composition from the earliworked for him. to now horizontal designs. not known. Nishimuraya was the foremost publisherof Eishi’s works like the series “Manzai Nishimuraya seemed to hDancers of the Green Houses at the Niwaka to producing unusual compFestival” (Seirō manzai Niwaka), dated to motifs. The figure on the lec.1791. At the same time Nishimuraya a rare vertical diptych captualso issued beauties by other artists such as scene of the play “The TemUtamaro, for example in the series “Treasury Paulownia Crest” (Sanmonof Loyal Retainers” (Chūshingura). staged at the Ichimura The The figure on the opposite Nishimuraya’s success was not only in Hokusai’s extraordinarily suengaging the best artists but also in serving “Thirty-six Views of Mouna broad range of buyer’s interest. Toyokuni sanjūrokkei) that Nishimuradesigned many actor prints for him, so did from c.1829 until 1833. InKuniyasu and especially Kunisada who production of illustrated bocaptured the interior of the different theaters significantly until it came tin Edo. The figure below is a very rare in early 1841.picture of actors off stage by Kunisada, the194 publishers

ochō Nichōme he series “Brocade Nishimuraya’s shop is illustrated byom, Third Volume” Kiyonaga in the book “Colors of the Three dated to the Mornings” (Saishiki mitsu no asa) from 1787.ew months earlier, In 1799, Toyokuni designed a memorial nd Volume were portrait of the 71 years old founder. In e inscription on 1807, Nishimuraya was a member ofe also planned the Picture Book and Print Publishers ada changed the Guild (Jihon toiya) and a member of the ier vertical series Book Publishers Guild (Shomotsu toiya). Nishimuraya suddenly stopped producing A First Volume is prints and illustrated books in early 1841, apparently because of a change in leadership have been open from Yohachi II to the adopted Yohachi positions or new III. In 1851, Nishimuraya is still listed as a eft of page 196 is member of the Old Faction (Motogumi) of uring a dramatic the Picture Book and Print Publishers Guildmple Gate and the (Jihon toiya) and as a member of the Tōrichō gosan no kiri), Faction (Tōrichōgumi) of the Guild of Bookeater in 1828. Publishers (Shomotsu toiya), however, there page is from are no publications. There was a short revival uccessful series in 1860 with a few actor prints like the series nt Fuji” (Fugaku “Stylish Mirror of Famous Actors and Their aya published Handwriting” (Imayō meika jihitsu kagami). the 1830s, his The final end came in the third month of the ooks increased same year when Nishimuraya was taken over to an abrupt end by the publisher Maruya Tokuzō. Left 1812 Kunisada. The actors Sawamura Sōjūrō IV, Sawamura Shirogorō II, and Sawamura Sōtarō off stage, from the series “Brocade Prints of the Dressing Room, Third Volume” (Gakuya nishiki-e sanben). Ōban. Asian Art Museum, National Museums in Berlin.

Works Date Artist(s)unserialized actor prints c.1769–70 Bunchō, Kiyomitsu, Kiyonaga, Kiyoshige, c.1770 Kunisada, Kuniyasu, Sadahide, Shun’ei,unserialized beauty prints 1770s Shunshō, Toyokuni, Toyokuni II 1770s Eishi, Eishō, Kiyonaga, Koryūsai,unserialized landscape prints 1770s Kunisada, Sadahide, Shun’ei, Shunzan,unserialized pictures of flowers and birds early 1770s Toyoharu, Toyohirounserialized sumo prints 1776–81 Toyoharuunserialized warrior prints c.1776–81 KoryūsaiUntitled series known as“Folded Love Letters” c.1776–81 Kunisada, Shun’eiUntitled series on the Eight Views c.1777 HokusaiUki-e c.1778 BunchōEdo meisho hachigaseki c.1779 HarunobuShinpan uki-e c.1780 ShigemasaUki-e c.1780 ToyoharuHinagata wakana no hatsumoyō c.1781 ToyoharuImayō gijo rokkasen c.1782 ToyoharuSeirō Niwaka kyōgen c.1782–83 KoryūsaiFūryū zashiki hakkei c.1783 KoryūsaiFūryū Yoshiwara hakkei c.1783 KoryūsaiGidō jūnikikō c.1785–86 KiyonagaMinami hakkei c.1786 KiyonagaFūryū ryaku mu tamagawa c.1786–87 KiyonagaEdo hakkei c.1786–87 KiyonagaAsakusa Kinryūzan hakkei c.1787 KiyonagaHinagata wakana no hatsumoyō c.1787 KiyonagaAsakusa Kinryūzan jikkei c.1787–88 KiyonagaKōto hana jikkei c.1787–89 KiyonagaUki-e c.1788–90 KiyonagaGosetsu asobi c.1788–90 KiyonagaShinpan uki-e c.1789 HokusaiEdo hakkasho 1790s KiyonagaGidō jūnigatsu 1790s HokusaiHinagata wakana no hatsumoyō 1790s EishiGoshiki no asobi 1790s KiyonagaHaikai shūitsu 1790s ShunzanTōto hōgaku 1790s EishiUkiyo jūnikagetsu early 1790s HokusaiFūryū otokodate hakkei c.1790 HokusaiChūshingura c.1790 EishiKokon eiyū kurabe c.1791 HokusaiGayū jūnishi c.1791–94 Shun’eiEdo nishiki kotobuki jūnikagetsu c.1794 Shun’eiJūni mai zoku c.1794–95 ShunzanOshiegata c.1794–95 ToyokuniEdo nangoku hakkei c.1795–96 ToyokuniEdo hakki kata c.1795–97 Shun’eiKoto hakkei ToyokuniSeirō manzai Niwaka EishiSeirō Niwaka zensei asobi EishiSeirō bijin rokkasen EishiFūzoku ryaku rikugei / Fūryū ryaku rikugei ShunzanSeirō bijin rokkasen EishiWakana hatsu ishō EishiRyōgoku Sumidagawa hakkei Eishi Eishi Eishō

Left c.1829–33 Hokusai. “Fuji from Kanaya on the Tōkaidō” (Tōkaidō Kanaya no Fuji), from the series “Thirty-six Views of Mount Fuji” (Fugaku sanjūrokkei). Ōban. Library of Congress. Nagata 1981, p. 229, vertical ōban no. 18.37.Works Date Artist(s)Chūshingura late 1790s ToyokuniWakana hatsu moyō c.1796 EishiWakana hatsu moyō c.1796–97 EishōUkiyo Genji hakkei c.1797–99 EishiUshitoshi Niwaka c.1798 ShunzanKeshō rokkasen 1800 ToyokuniSeirō shiki no nagame 1800s Kiyomitsu IIShochō jūnikai early 1800s EishiShinpan Chūshingura jūichidan zoku 1801 ToyokuniChūshingura 1802 UtamaroUntitled Iroha series c.1802 UtamaroBijin gosetsu no asobi 1803 UtamaroImayō gonin hayashi 1806 Kiyomitsu IIAyatsuri moyō take no issetsu 1806 UtamaroChūshingura c.1801 UtamaroTōsei bijin onna hinagata 1806 Kiyomitsu IIOnna fūzoku ishō tsuke 1806 Kiyomitsu IITōto meisho c.1806 HokusaiShinpan imayō shiki no hana 1807 Kiyomitsu IIJūnigumi no uchi 1809 ToyokuniFūryū rokkasen 1810s EizanFūryū setsugekka 1810s EizanShokoku meisho fūkei 1810s Utamaro IIMusume shichi henge no uchi 1811 ToyokuniShichi henge no uchi 1811 ToyokuniFūryū Ōmi hakkei c.1811 EizanUki-e Chūshingura c.1811 KuninaoGakuya nishiki-e nihen 1812 KunisadaGakuya nishiki-e sanben 1812 KunisadaSugata hakkei 1813 ToyokuniYakusha hanjimono 1813 KunisadaImayō jokasen sanjūrokuban zoku c.1813 ShikimaroUntitled series of landscapes with Dutch letter borders(“Ranjiwaku Edo meisho”) late 1810s ShinsaiShūjo hakkeiTōsei aishō kaichū kagami 1818–20 KunisadaFūryū nana Komachi 1820 KunisadaUntitled series of famous sights in Edo 1820s EizanSoto to uchi sugata hakkei 1820s Shotei HokujuEdo hakkei no uchi 1821 HiroshigeUntitled landscape series with beauties 1821 KunisadaFūryū bijin zoroi 1825 KunisadaKan-so gundan c.1826 EizanFugaku sanjūrokkei 1827 KunisadaShokoku taki meguri c.1829–33 HokusaiUntitled small flowers series c.1832 HokusaiUntitled large flower series c.1832 HokusaiShokoku meikyō kiran c.1833 HokusaiShokoku meisho c.1834 HokusaiUntitled series of warriors c.1834–35 HokkeiHyakunin isshu uba ga etoki c.1834–35 KuniyoshiKyokutei-ō seicho hakkenshi zuiichi 1835 HokusaiTōkaidō meisho no uchi Yokohama fūkei c.1836–38 KuniyoshiImayō meika jihitsu kagami 1860 Sadahide 1860 KunisadaNISHIMURAYA YOHACHI 195

L Ic G M S T A B196 publishers

Left 1828 Kunisada. The actors Above 1860 Kunisada. The actorchikawa Danjūrō VII as Ishikawa Sawamura Tanosuke III as Oshichi,Goemon and Bandō Mitsugorō III as from the series „Stylish Mirror ofMashiba Tairyō Hisayoshi in the play Famous Actors and TheirSanmon gosan no kiri, Ichimura Handwriting“ (Imayō meika jihitsuTheater, III/1828. Ōban diptych. Asian kagami). Ōban. Collection Arendie andArt Museum, National Museums in Henk Herwig.Berlin. Right c.1802 Utamaro. “Third act“ (Sandanme), from the series “Treasury of Loyal Retainers” (Chūshingura). Ōban. Asian Art Museum, National Museums in Berlin. Ukiyo-e shūka 3 (1978), no. 368.3.



ARTIST / PUBLISHER 197

Maruya Jinpachic.1759–1872Seal name: Marujin; firm name: Enjudō (conf. 1807–33), then Tōkokudō (conf. 1865–72). LocTōriaburachō (around 1802), then Shiba Shinmeimae Mishimachō (at least from 1809).Maruya Jinpachi is among the most active range of artists for the illuspublishers in the history of Japanese many other publishers, Mawoodblock printing. He started in the late kabuki theater lovers by reg1750s and first produced beauty prints by actor prints on present perfHarunobu and actor prints by Bunchō, Toyokuni and Kunisada areKiyomitsu, and Shunshō. The figure on the predominantly engaged forright of page 201 by Shunshō from 1772 isan example of such early actor prints. Maruya tried to serve all and he also published fan p In the 1790s and early 1800s, he Genji, and landscapes, suchsometimes worked with Utamaro who series “Three Views of Famcreated prints of beauties for him, but Edo” (Edo meisho mitsu no nMaruya also published designs by lesserknown artists such as Eishin’s series “Ten By 1807, he is listed as aViews of Fashionable Parlor Performances” Picture Book and Print Pu(Fūryū zashiki gei jikkei) from the early (Jihon toiya). Around that t1800s. have moved premises, from Tōriaburachō to Shiba Shin His output of books was especially Mishimachō. By 1851, he iremarkable in the 1810s and 1820s. From the Old Faction (Motogumhis start until at least the 1840s, Maruya also Book and Print Publishersproduced books and commissioned a wide 1850s, Maruya had no succ198 artists