Japanese woodblock prints-andreas marks

cated at Nihonbashi strations. Like the sixth month of 1853, he adopted Iseya aruya served the Chūsuke, who was a small, nearby publisher gularly issuing active since c.1849. In the tenth month, Iseya formances. Chūsuke continued the business under the e the two artists he name Maruya Jinpachi. r this work. l kinds of interests The business continued to thrive under prints, prints on the new Maruya and many series as well as h as Hiroshige’s unserialized prints were issued. A new thememous Places in that he picked up was the curious interest nagame, 1843). in foreigners, after the country was finallya member of the opened in the 1850s. The figure on pageublishers Guild 200 is an example by Yoshikazu from 1861, time he must depicting a steamship in an American port.m Nihonbashi nmeimae In Maruya’s final years, output shrinks and is a member of the last known prints date to 1872. Amongmi) of the Picture the final output is an untitled warrior series known as “Illustrated Biographies of Every Guild. In the One of the Loyal, Righteous Persons” (Seichū cessors and in gishi meimei gaden), designed by Yoshitoshi in 1869.

Works Artist(s)unserialized actor prints Bunchō, Kiyomitsu, Kiyomitsu II, Kunichika, Kunisada, Kunisada II, Shigemasa, Shunshō,unserialized beauty prints c.1799 Toyokuniunserialized Genji prints c.1800 Harunobu, Kunisada, Sekihō, Toyokuniunserialized landscape prints c.1800 KunisadaKeisei geisha shinasadame early 1800s Sadahide, YoshikazuTōji yūkun shō utsushi c.1801 UtamaroUntitled series of love couples from dances c.1803 UtamaroFūryū zashiki gei jikkei c.1803 UtamaroFūryū gosekku 1804 EishinBijin ichidai gojūsan tsugi c.1804 UtamaroTōsei komochi hakkei 1805 UtamaroFūryū mu tamagawa 1806 UtamaroMeikun yūgei ga late 1800s UtamaroYūkun gosekku 1809 UtamaroGosekku azuma nishiki 1810s UtamaroFūryū gojō zoroi c.1816 UtamaroSanjūrokuban tzuzuki yakusha jūnitsuki c.1818 EizanSeirō bijin awase 1820s ToyokuniFūryū bijin zoroi 1820s EizanShinpan uki-e Chūshingura 1822-26 EizanEdo meisho ada kurabe 1822–26 Shunkō IIMitate meisho zoroi early 1830s EisenMeihitsu ukiyoe kagami c.1833 EisenMeihitsu ukiyoe kagami c.1838–40 KunisadaEdo meishō zukushi early 1840s KunisadaAzuma meisho Shiba hakkei 1843 EisenMeisho setsugekka c.1843 Toyokuni IIYakusha kidori hiiki biiki c.1844 HiroshigeEdo meisho mitsu no nagame c.1844–45 KuniyoshiNazora-e Genji kyōkun zue c.1845–46 HiroshigeEdo meisho no uchi 1847 KuniyoshiFūryū setsugekka no uchi 1853 HiroshigeDai Nihon rokujūyoshū no uchi KunisadaEdo meisho shiki no nagame 1853 Kunisada and students, Kuniyoshi and studentsEdo meisho no uchi HiroshigeBunji gannen Heike no ichimon bōkaichū rakuju no zu 1854 Kunitsuna[ōban triptych] 1854Gosekku no uchi 1854 YoshitoshiImayō nana Komachi no uchi 1854–55Azuma Genji 1855 YoshitoraEdo Fuji jūkei no uchi 1855–56 YoshitoraUntitled fan prints series on Views from the Provinces 1856 KunisadaJingi hakkō no uchi 1856–58 KunisadaHonchō eiyū kagami 1858 HiroshigeGenji shiki no uchi 1858 YoshikazuSankai mitate zumō 1859 YoshikazuHonchō meishō kagami 1859–61 KunisadaDōke suikoden 1860 HiroshigeImayō Genji jūnikagetsu no uchi 1861 YoshikazuKanadehon Chūshingura 1862 YoshitsuyaSaikai Yokohama fūkei [ōban hexaptych] 1863 KunisadaBuyū kumiuchi zukushi 1864 Yoshitoshi“Go-jōraku Tōkaidō” 1865 SadahideGenji shōchikubai no uchi 1869 YoshikazuUntitled series of Genji prints in half-length format 1872 Hiroshige II, Kunitsuna, SadahideUntitled warrior series“Seichū gishi meimei gaden” Kunisada IIYokohama meisho no uchi Kunisada II Yoshitoshi EirinLeft 1843 Hiroshige. “Clear Right top Early 1800s Eishin.Weather after Snow at Nihon Musicians, from the series “TenBridge” (Nihonbashi yukibare), Views of Fashionable Parlorfrom the series “Three Views of Performances” (Fūryū zashiki geiFamous Places in Edo” (Edo meisho jikkei). Ōban. Collection Peter Rieder.mitsu no nagame). Ōban. Library of Brandt 1977, app. 2.39.Congress. Sakai 1981, p. 247, horizontal Right bottom 1869 Yoshitoshi.ōban no. 24.2. Yokogawa Kanbei Munenori, from an untitled warrior series known as “Illustrated Biographies of Every One of the Loyal, Righteous Persons” (Seichū gishi meimei gaden). Ōban. Library of Congress.

ARTIST / PUBLISHER 199

200 publishers



Above 1861 Yoshikazu. “Coming and going Right 1772 Shunshō. The actfrom a steamship in America” (Amerikakoku Monnosuke II as Ōtōnomiya Mjōkisha ōrai). Ōban triptych. Library of Shinnō in the play Ōyoroi ebiCongress. Nakamura Theater, XI/1772. nishiki-e. Asian Art Museum, Na in Berlin.

tor IchikawaMorinagaidō Shinozuka,Hosobanational Museums MARUYA JINPACHI 201

Iwatoya Kisaburōc.1760s–1832Seal name: Iwa; firm name: Eirindō. Shop in Nihonbashi Yokoyamachō KitagawaNishi Kado (until c.1802), Nihonbashi Yokoyamachō Nichōme (from c.1811).Active from the 1760s, Iwatoya built up his name by publishing designsof Shunchō and Toyoharu. Series of prints and illustrated books by anumber of artists followed, especially by Eishi, and also Utamaro,Hokusai, Eizan, Shun’ei, Chōki, Toyohiro, and Kunisada. The figures atthe top of the opposite page are portraits from an untitled actor series byShun’ei related to the play “Japanese Syllabary Copybook on theTreasury of Loyal Retainers” (Kanadehon Chūshingura) at the MiyakoTheater in the fourth month of 1795. In the late 1790s, Iwatoya issuedpillar prints by Utamaro’s student Tsukimaro. In 1807, he became a member of the Picture Book and PrintPublishers Guild (Jihon toiya), and in 1812 joined the Guild of BookPublishers (Shomotsu toiya). From 1811 until 1815 he was active as acensor of prints. The figure below by Katsukawa Shunkō II (1762–c.1830; Shunsen) dates from the 1810s/20s. It is from an untitled seriesof genre prints with red cloud band that seemed to have been verypopular during that time as Shunkō II created many more such printsfor at least four other publishers. In the late 1810s, when the young and unknown Hiroshige started todesign woodblock prints, he found in Iwatoya Kisaburō an establishedpublisher who supported him and took on the risk to issue his designs.Hiroshige, being Toyohiro’s student, might have been introduced toIwatoya from his teacher who had illustrated for him at least four booksduring the 1800s. Until c.1822, Hiroshige designed series of beautifulwomen for Iwatoya and, from time to time, was also commissioned toillustrate books. None of these works reached great fame but they provethat Hiroshige tried for over ten years to find his own subject matterand it is to Iwatoya’s credit to have employed Hiroshige despite the factthat his works did not receive that much attention. In the 1820s, Iwatoya was mainly active in issuing illustrated booksby Eisen, Kuniyasu, and other artists. The last known publication is anactor print from early 1832. It is a memorial print by Utagawa Kuniharu(1807–1839) of the actors Segawa Kikunojō V (1802–1832) and BandōMitsugorō III (1775–1832) who both passed away in early 1832.202 publishers

Works Date Artist(s)unserialized beauty prints 1770s Eishi, Eishō, Hiroshige, Kiyomitsu, 1780s Kunisada, Shunchō, Utamarounserialized actor prints c.1786–87 Kuniharu, Kunisada, Shun’ei, c.1792–93 Toyokuni, Toyomaruunserialized landscape prints c.1793 Toyokuni IIShinpan uki-e c.1794–95 ToyoharuUkiyo setsugekka c.1794–95 ShunchōShinpan uki-e HokusaiUntitled series of famous beauties 1795 UtamaroIse monogatari EishiSeirō bisen awase c.1795 EishiSeirō geisha sen c.1795 EishiUntitled actor series from the play Kanadehon c.1796Chūshingura, Miyako Theater, c.1796–97 Shun’eiShichikenjin ryaku bijin shinzō zoroi late 1790sFūzoku awase jūni yō early 1800s EishiYūkun rokkasen c.1803 EishiTōsei bijin awase 1805 EishiGayū gosekku c.1810–20s EishōShinpan uki-e 1810s ShunzanKodakara tatoe no fushi 1810s ChōkiSeirō bijin meika awase 1810s UtamaroUntitled landscape series with red cloud band c.1811 UtamaroFūryū bijin kodakara asobi c.1814 Shunkō IITatoegusa fūzoku awase 1816 EizanFūryū kohitsu c.1816 EizanUki-e Chūshingura c.1816 KuninagaKyōzome kōrin moyō late 1810s KunisadaUntitled Chūshingura series c.1818–20 EizanUntitled series of triptychs on the Twelve Months c.1818–20 KunisadaYakusha hidokei c.1818–21 KunisadaFūryū jōruri odori zukushi c.1820 KunisadaKeisei misao kagami early 1820s EizanFūryū itsutsu karigane c.1821–22 HiroshigeTōsei yakusha hiiki kurabe c.1821–22 Hiroshigeōban diptych of Taira Koremochi killing an oni c.1821–22 KunisadaKeisei mitate shichifukujin c.1823 HiroshigeImayō Benten zukushi EizanGokusaishiki utsushi-e HiroshigeBijin fūzoku awase HiroshigeOatsura-e ema zukushi Hiroshige KunisadaLeft 1810s/20s Shunkō II. Chinese Right top 1795 Shun’ei. Ther actorchildren pulling a cart with a Kataoka Nizaemon VII as Onoflower vase, from an untitled Kudayū, from an untitled actorlandscape series with red cloud series from the play Kanadehonband. Ōban. National Museum of Chūshingura, Miyako Theater, IV/1795. Ōban. National Museum ofEthnology, Leiden, The Netherlands. Ethnology, Leiden, The Netherlands. Far right 1795 Shun’ei. The actor Ichikawa Danjūrō VI as Ono Sadakurō, from an untitled actor series from the play Kanadehon Chūshingura, Miyako Theater, IV/1795. Ōban. Asian Art Museum, National Museums in Berlin. Right bottom 1832 Kuniharu. Memorial print of the actors Segawa Kikunojō V and Bandō Mitsugorō III who both passed away in early 1832. Ōban. Asian Art Museum, National Museums in Berlin.



IWATOYA KISABURO– 203

Tsutaya Jūzaburō1774–1852Seal name: Tsutajū; firm name: Kōshodō; family names: Maruyama, Kitagawa; poet name: Tcated at Shinyoshiwara Gojukkendō Higashigawa (1774–83), Nihonbashi Tōriaburachō MinNihonbashi Yokoyamachō Itchōme (unclear when), Nihonbashi Kotenmachō Nichōme (uncNamikichō Kaminarimon-nai (c.1841–42), Asakusa Sensōji-naka Baionin (1851).Tsutaya Jūzaburō is probably the best known publisher today, mainly because oposition and connection to Utamaro and Sharaku. Apparently born in the Yosseventh day of the first month 1750, Tsutaya Jūzaburō opened a shop at the enYoshiwara and his first publications all concentrate on the Yoshiwara beauties.produced his earliest publication, “Thousands at a Glance” (Hitome senbon), witShigemasa. In 1775, or perhaps already in 1774, Tsutaya joined the publisher Uregularly issuing the “Guide to the Yoshiwara” (Yoshiwara saiken). In fall of 177over and continued these guides on a regular basis until 1836. In the same yearother books as well as his first print series together with the fellow publisher NYohachi, “Models for Fashion: New Designs as Fresh Young Leaves” (Hinagathatsumoyō) by Koryūsai. However, Nishimuraya alone continued this series untTsutaya Jūzaburō’s involvement. Tsutaya Jūzaburō soon engaged Hokusai, Kitao Masanobu (Santō Kyōden; 1and others for both books as well as prints. In 1783, he took over the businessMaruya Kohei. In the same year, he worked for the first time with Utamaro whlived at his house and created beauty prints and book illustrations for him. In 1791, Tsutaya Jūzaburō was punished for producing three books by the wrthat apparently broke the law. Relatively late, Tsutaya Jūzaburō started to produsuch as striking close-up portraits by Shun’ei. From 1794 until 1795, Jūzaburō Iknown designs by Sharaku. Jūzaburō I passed away on the sixth day of the fifth month 1797. A flamboyhimelf, his portrait is in at least five books: “Itsumono kata machigai Soga” (1782bakemono” (1787), “Hakoiri musume men’ya ningyō” (1791), “Kan’ninbukuro ojim(1793), and “Shintai kaichō ryaku engi” (1797). He was active as a kyōka poet unTsuta no Karamaru. Jūzaburō I’s chief clerk Yūsuke now continued the business and became Jūzacontinued with the same concept and engaged again Utamaro for beauty seriesfor actor prints. After the 1810s, only a very few publications appeared. The shop is illustrated by Hokusai in the “Picture Book of the Pleasure SpotCapital” (Ehon azuma asobi; 1799). In 1807, he is listed as a member of the PicPrint Publishers Guild (Jihon toiya) and as a member of the Guild of Book Putoiya). In 1811, 1812, and 1813 he served as a censor (gyōji) in an attempt by thto control the print market. In 1833 Jūzaburō II passed away and shortly thereJūzaburō III died. The business was continued by Jūzaburō IV and, in 1851, isof the Old Faction (Motogumi) of the Picture Book and Print Publishers GuildThe business was taken over in the fourth month 1852 by Yamadaya Shōjirō. Ktriptych “Bath House at Akashi” (Akashi furo) and his beauty triptych “ImperiaModern Brocade” (Gosho moyō tōsei nishiki) are the last known publications. Top c.1849–51 Kunisada. “Modern Right c.1803 Utamar brocade in Imperial style” (Gosho moyō daughter,” in later ed tōsei nishiki). Ōban triptych. Japan Ukiyo-e Sakikusa of the Daim Museum, Matsumoto. series “Courtesan’s fe see good prospects” Mitōshi mitate uwate Peter Rieder. Ukiyo-e s edition of no. 50.3.204 publishers

Tsuta no Karamaru. Lo- namigawa (from 1783), clear when), Asakusa of his forerunnershiwara on thentrance to the . In 1774, he th illustrations by Urokogataya in 76, Tsutaya took r, he also producedNishimuraya ta wakana no til 1781, without 1761–1816) of the publisher ho apparently riter Santō Kyōdenuce actor prints I published all yant personality 2), “Kisanjin ie nome no zendama”nder the name aburō II. He s, and Toyokuni ts of the Eastern cture Book andublishers (Shomotsu he government eafter, in 1837, listed as a member d (Jihon toiya). Kunisada’s Genji al Patterns on ro. Trigram for “first dition inscribed as monjiya, from the eelings—Expected to (Keisei kyōchū— e). Ōban. Collection shūka 3 (1978), earlier

Works Date Artist(s)unserialized actor prints 1776 Hokusai, Kunisada, Kuniyasu, Sharaku, c.1780–82 Shun’ei, Toyokuni, Toyokuni IIunserialized beauty prints 1783 Chōki, Kiyonaga, Kunisada, Masayoshi, c.1783 Utamarounserialized Genji prints c.1785–86 Kunisadaunserialized pictures of flowers and birds c.1787–89 Chōkiunserialized sumo prints c.1789 Sharakuunserialized warrior prints c.1789 Hokusai, Kuniyasu, SharakuHinagata wakana no hatsumoyō 1790s KoryūsaiMibu kyōgen 1790s HokusaiSeirō yūkun no yō c.1790–91 Kitao MasanobuSeirō Niwaka onna geisha bu early 1790s UtamaroHotaru ni yoseru koi c.1791 ShunchōHaikai odamaki c.1792 HokusaiSetsugekka azuma fūryū c.1792 KiyonagaUntitled koban series on the \"Niwaka Festival of the c.1792Yoshiwara\" c.1792–93 HokusaiUki-e c.1792–93Fūryū jūnikagetsu c.1793 MasayoshiUntitled series of beauties on the Four c.1793 ShunchōAccomplishments c.1793–94Edo no jissha 1794 UtamaroYōdo iu koitsu wa nipponKōto shichifukujin mairi ShunchōFujin sōgaku juttai KiyonagaFujo ninsō juppon KiyonagaIkebana hyakuhei no zu UtamaroSugatami shichinin keshō UtamaroKasen koi no bu UtamaroMu tamagawa UtamaroTōsei odoriko zoroi UtamaroUntitled series of half-length actors against mica Utamarobackground Utamaro Sharaku

Works Date Artist(s)Untitled series of half-length actors with crest 1794 SharakuNatorizake rokkasen c.1794 UtamaroSeirō jūni toki c.1794 UtamaroSantō Kyōden mise c.1794 UtamaroKodakara gosetsu asobi c.1794–95 KiyonagaKasumi-ori musume hinagata c.1794–95 UtamaroFūzoku ukiyo hakkei c.1795 UtamaroFujin shokunin bunrui c.1795 UtamaroYoshiwara Niwaka c.1795 UtamaroFūryū geisha mifuri sugata-e c.1798 ToyokuniSeirō Niwaka c.1798 UtamaroHana moyō c.1798–1802 ChōkiFūryū nakute nana-kuse c.1798–99 HokusaiŌsaka Shinmachi late 1790s ChōkiUki-e c.1800 ChōkiSeirō bijin awase early 1800s ChōkiSeirō Niwaka early 1800s ChōkiChūshingura early 1800s TsukimaroKodakara gosetsu asobi c.1801 KiyonagaMiruga tokueika no issui c.1802 UtamaroUki-e taiheiki chūshin c.1802-04 ChōkiUki-e Sugiwara c.1802-04 ChōkiKeisei kyōchū: Mitōshi mitate uwate c.1803 UtamaroZensei hana no sugata-e c.1804 TsukimaroUki-e Chūshingura c.1805 ChōkiTatsumi hakkei c.1820–22 EisenKitaguni hakkei no uchi 1820s EisenShin-Yoshiwara hakkei early 1820s EisenEdokko zoroi—Hiiki katagi 1823–25 KunisadaGorishō musubu no ennichi c.1824 EisenShiki no nagame osana asobi 1830s EisenShokoku mu tamagawa 1835 Hiroshige TSUTAYA JU– ZABURO– 205

206 publishers



Left 1794 Sharaku. The actor Onoe Matsusuke I asMatsushita Mikinojō in the play Katakiuchi noriaibanashi, Kiri Theater, V/1794. Ōban. Asian Art Museum,National Museums in Berlin. Narazaki 1979, no. 16, and Asano2002, no. 12.Above c.1791 Shun’ei. The actor Sawamura Sōjūrō III.Chūban. Asian Art Museum, National Museums in Berlin.Right late 1790s Utamaro. Yamauba and Kintarō withkite string. Ōban. Asian Art Museum, National Museums inBerlin. Ukiyo-e shūka 3 (1978), no. 722-1.

TSUTAYA JU– ZABURO– 207

Izumiya Ichibei A Sc.1686–1886 a HSeal name: Sen’ichi; firm name: Kansendō; family name: Yamanaka Ichibei. Lo- Tcated at Shiba Shinmeimae Mishimachō. “ (YWith several hundred prints Izumiya Ichibei is among the mostsuccessful and productive publishers in the history of Japanese Lwoodblock prints. As early as 1686, Izumiya was active as a publisherbut his first prints date from around 1776, ninety years later. Izumiya started to publish actor prints and beauty prints byKiyonaga and Shunchō, and quickly became important as a publisherof Toyokuni’s actor portraits in the 1790s, most importantly theseries “Likenesses of Actors on Stage” (Yakusha butai no sugata-e).More than fifty of the innovative full-length portraits were issuedbetween 1794 and 1796. The genealogy of Izumiya Ichibei is partly known. Izumiya IchibeiI (died 1730), Ichibei II (died 1753), Ichibei III (died 1781), IchibeiIV (died 1823), Ichibei V (died 1826). In the book “Gathering ofViews of Famous Sights along the Tōkaidō” (Tōkaidō meisho zue)from 1797 is an illustration of Izumiya’s shop, located directly next tofellow publisher Masuya. In 1790, Izumiya was a founding member of the Picture Book andPrint Publishers Guild (Jihon toiya) and was still listed as a memberin 1807 and in 1851 as a member of the Old Faction (Motogumi) ofthe guild. In the ninth month of 1820 he is also a founding memberof the Book Publishers Guild (Shomotsu toiya) and in 1851 a memberof the Nakadōri Faction (Nakadōrigumi) of this guild. In 1812 and1813 he was one of the publishers who functioned as a censor forprints. Izumiya served all kind of interests with his prints. Utamarodesigned several beauty series for Izumiya in the 1800s, so didEiri, Eizan and later Utamaro II, like “Five Layers of Clothing forGorgeous Courtesans” (Gojū no koromobina no kasanegi). In the 1820sit was Eisen und Kunisada who provided Izumiya with pictures ofbeautiful women. With Shunkō II Izumiya produced an untitled series of landscapeswith red cloud band. Izumiya’s success allowed him to challenge allkinds of themes and to open new markets. He landed a big hit with“His Appearance in Purple Magic Lantern Pictures” (Sono sugatayukari no utsushi-e), a series of 54 designs by Kunisada that he issuedfrom 1848 until 1852. The great landscape designers Hokusai and Hiroshige were ofcourse also working for Izumiya at some time. In 1852, Hiroshigedesigned the so-called “Second harimaze Tōkaidō” series with eachprint having two or more motifs. Izumiya continued to issue books, amongst them also titlesillustrated by print designers. One of his most successful is “TheTale of the Gallant Jiraiya” (Jiraiya gōketsu monogatari), written bydifferent hands and published in 43 installments from 1839 to 1868.Kunisada, Kuniteru I, Yoshiiku and others, provided the illustrations. Following the new rules, Izumiya Ichibei signed as YamanakaIchibei since 1876. The last known publications date to 1886,indicating that the publishing firm ceased to exist after being inbusiness for 200 years.208 publishers

Above 1794 Toyokuni. The actor Opposite top.1810–20s Shunkō II.Sawamura Sōjūrō III („Kinokuniya“) Travellers watching the dawn atas Ōgishi Kurando in the play Futamigaura, from an untitledHanaayame Bunroku Soga, Miyako landscape series with red cloud band.Theater, V/1794, from the series Ōban. National Museum of Ethnology,“Likenesses of Actors on Stage”Yakusha butai no sugata-e). Ōban. Leiden, The Netherlands.Library of Congress.

Works Date Artist(s)unserialized beauty prints 1770s Eishi, Eishō, Kunisada, Kuniyoshi, c.1783 Shunchō, Toyokuni, Yoshitoraunserialized landscape prints c.1784 Kuninaga, Kuniteru II, Kuniyoshi, c.1788 Yoshitoraunserialized actor prints 1790s Kiyonaga, Kunisada, Toyokuni, Toyokuni c.1791 II, Yoshitoraunserialized warrior prints or historical pictures c.1791–92 Hiroshige III, Kunisada, Kuniteru II, c.1793 Kuniyoshi, Yoshikazu, Yoshitoraunserialized Genji prints c.1793 Kunisada, YoshitoraShinpan uki-e c.1793–94 ToyoharuMinami jūnikō 1794–96 KiyonagaFūryū shiki no gakkei c.1794 KiyonagaFūryū nana Komachi c.1794 EishiFūryū uki-e 1795 ToyokuniKai awase EishiFūryū yatsushi Genji mid 1790s EishiChūshingura ToyokuniUntitled series on the Eight Views mid 1790s ToyokuniShinpan fūryū gosekku asobi c.1797–98 ToyokuniYakusha butai no sugata-e c.1798–99 ToyokuniFūryū hakkei 1800 ToyokuniUki-e Chūshingura 1800s ToyokuniFūryū jin gi rei chi shin early 1800s ToyokuniUntitled series on the Five Seasons with beautiful c.1800women c.1802 ShunchōFūryū azuma hakkei c.1803Mu tamagawa c.1803 ToyokuniUki-e Edo 1804 UtamaroFūryū ukiyo mu tamagawa c.1804 EiriTōkaidō c.1804 EiriNatsu no Fuji bijin awase 1805 ToyohiroFūzoku bijin tokei 1805 ToyokuniFūryū kodakara awase 1805 UtamaroTōsei kōbutsu hakkei c.1805 UtamaroUntitled series on the Five Festivals 1806 UtamaroTenkatsu bijin ikebana awase 1806 UtamaroFūryū mu tamagawa c.1807 UtamaroTōsei kodomo rokkasen c.1810 UtamaroNatsugoromo tōsei bijin c.1810-20s UtamaroMeifu eika kachō fūgetsu 1810s UtamaroYūkun geisha hana awase 1810s UtamaroYūkun nana Komachi 1810s UtamaroKanadehon Chūshingura 1810s UtamaroGei jiman kodakara awase 1810s HokusaiFūryū ukiyo sugata early 1810s UtamaroUntitled series on the Tale of Ise EizanUntitled landscape series with red cloud band ToyokuniFūryu kyōka bijin awase Shunkō IIUki-e Chūshingura EizanMu tamagawa tsuki mayuzumi Shunkō IIGenji Utamaro IIGojū no koromobina no kasanegi ToyokuniFūryū mu tamagawa Utamaro II Eizan

Works Date Artist(s)Genji hakkei c.1814 EizanFūryū go iroito 1816 ToyokuniFūryū kaemon Shingata zome c.1816 EizanMitate kodomo Chūshingura late 1810s Shunkō IIFūryū meisho setsugekka late 1810s EizanGokusaishiki sugata no utsushi-e 1820s EisenBien Senjokō early 1820s EisenTōsei kōbutsu hakkei c.1823 EisenGosekku mitate michiyuki 1824 KunitomiBijin kaichū kagami mid 1820s EisenImayō bijin jūnikei mid 1820s EisenFūryū azuma sugata jūnishi late 1820s Toyokuni II and studentsFūryū mu tamagawa late 1820s Toyokuni IIJoyō jūni tebako no uchi 1830–34 KunisadaTōsei kodakara jikkei early 1830s EisenFūryū jisei sugata early 1830s Toyokuni IIFūzoku mu tamagawa early 1830s Toyokuni II and studentsKanadehon Chūshingura c.1834 KunisadaEdo meisho no uchi c.1835 HiroshigeTōto meisho [horizontal format] c.1835–39 HiroshigeChūshingura c.1836 HiroshigeTsuki no kage shinobiau yo c.1836–38 KunisadaUntitled series of pictures of flowers and birds withpoem in yotsugiriban late 1830s HiroshigeTōsei yakusha kaori bakoEdo meisho hashi zukushi 1838–40 KunisadaSugawara denju early 1840s HiroshigeGosekku no uchi early 1840s SadahideŌgi awase Sumidagawa hakkei c.1843 EisenMeikō hyaku yū den 1844 KunisadaUntitled series of sumo prints c.1844–45 KuniyoshiChūshingura 1845 KunisadaGishi yonjūshichinin no uchi c.1847–48 YoshitoraKanadehon Chūshingura c.1847–50 YoshitoraSono sugata yukari no utsushi-e c.1847–50 YoshitoraYūkai sanjūrokkassen 1848–52 KunisadaHana kurabe imayō sugata c.1849–51 KuniyoshiKanadehon Chūshingura c.1849–51 YoshitoraKanadehon Chūshingura 1851 Kunisada IIShokoku katakiuchi 1851 Kuniteru“Second harimaze Tōkaidō” 1851 YoshitoraJūnishi no uchi 1852 HiroshigeSankai medetai zue [later ed.] 1852 KunisadaTōto meisho [horizontal format] after 1852 Kuniyoshi and studentsMorokoshi nijūshikō 1853 HiroshigeTōto meisho 1853 KuniyoshiHana kurabe 1853 YoshikazuAzuma Genji 1857 KunisadaFuran yokoku 1860 KunisadaTōto meisho [horizontal format] 1861 YoshikazuEiyū Taikōki 1862 Hiroshige II 1862 Yoshifusa IZUMIYA ICHIBEI 209

Above 1810s Utamaro II. “The Right top 1795 Toyokuni. The Right bottom 1852courtesan Takigawa of the actor Kataoka Nizaemon VII “Kusatsu, Ōtsu, MiyaŌgiya“ (Ōgiya uchi Takigawa), (“Nariwaya”) as Saibara the series “Cutouts ofrom the series “Five Layers of Kageyu in the play Kimigatete Fifty-three Stations”Clothing for Gorgeous Yoshiwara sodachi, Miyako tsugi harimaze), knoCourtesans” (Gojū no Theater, VII/1795, from the “Second harimaze Tkoromobina no kasanegi). series “Likenesses of Actors on Ōban. Japan Ukiyo-e Stage” (Yakusha butai noŌban. Collection Peter Rieder. sugata-e). Ōban. Asian Art Matsumoto. Sakai 198Ukiyo-e shūka 3 (1978), no. 272.4. Museum, National Museums in ōban no. 23.14. Berlin.210 publishers

Hiroshige.yako”, from of the ” (Gojūsan own asTōkaidō”. Museum, 81, p. 253,



Bottom c.1848–50 Kunisada.No. 15, from the series “HisAppearance in PurpleMagic-lantern Pictures” (Sonosugata yukari no utsushi-e).Ōban. Japan Ukiyo-e Museum,Matsumoto.Left c.1810–20s Shunkō II.Beauties strolling alongSumida River, from an untitledlandscape series with red cloudband. Ōban. National Museum ofEthnology, Leiden, TheNetherlands.IZUMIYA ICHIBEI 211

Ezakiya Kichibeic.1773–1852Seal name: Ekichi; firm name: Tenjudō. Located at Nihonbashi BakurochōYonchōme, Nihonbashi Tadokorochō.The first known prints produced by Ezakiya Kichibei date from around T1773. During that time he predominantly issued Shun’ei’s actor nportraits, but later engaged Toyokuni in this field. In the 1820s and is1830s it was Kunisada who designed most of the actor prints that mEzakiya issued. The majority of them are standard compositions often Pfound during that period. b Ezakiya tried to produce a balance of actor and beauty prints. In Athe 1790s, Ezakiya put many series of beautiful women by Tamagawa gShūchō on the market. From time to time he was able to engage CUtamaro who also designed beauties in full length and also half- Clength. Ezakiya stayed in this field and after Utamaro passed away Rturned to Eizan and later Eisen. In the 1830s, Ezakiya issued a number “of beauty series by Kunisada like “Humorous Matching Pictures” (Gi Fe-kyōdai). T u Landscapes were not often issued by Ezakiya but if he did, he Ttried to be different than other publishers. In the 1820s he produced Jaan untitled series of landscapes with Dutch letter borders by Eisen S(commonly known as Ranjiwaku Edo meisho). Around 1841–42 5together with the publisher Ezakiya Tatsuzō, with whom he probablyhad some kind of a family relation, Ezakiya Kichibei published oneof Hiroshige’s Tōkaidō landscape series known as “Cursive ScriptWorks Date Artist(s)unserialized actor prints 1790s Kuninaga, Kunisada, Shun’ei, Toyokuniunserialized beauty prints 1790s Kunisada, Shūchō, Utamaro 1790s Eisen, Kiyomitsu II, Kunisada, Sadafusa,unserialized warrior prints c.1797 Shuntei mid 1790s ShūchōFūryū nanatsume e-awase c.1796–98 ShūchōShiki kodomo asobi c.1804 ShūchōUntitled series on the Twelve Months 1807 UtamaroSeirō Niwaka bijin awase 1809 ShūchōNiwaka c.1809–10 UtamaroMeisho koshikake hakkei early 1810s UtamaroTōsei kosodate gusa 1810s EizanKaiko yashinai gusa 1817 ToyokuniSanjūrokuban tzuzuki yakusha jūnitsuki 1820s HokusaiUntitled series on the Six Poets EizanFūryū onna rokkasen 1820s EizanTōsei bijin awase KunisadaGosekku no uchi 1820s EisenShin-Yoshiwara yosakuraUntitled series of landscapes with Dutch letter borders 1820s Eisen(“Ranjiwaku Edo meisho”)Shinpan uki-e early 1820s Kuniyasureissue of an untitled series of landscapes with Dutch 1822–26letter borders (“Ranjiwaku Edo meisho”) 1830s ShinsaiAda kurabe ukiyo fūzoku 1830sBijin awase—Ken no tamamizu 1830s EisenMitate fukujin Chūshingura early 1830s KunisadaŌminato takara no irifune 1831 SadatoraTōto shichi fuku mōde no uchi c.1834 SadatoraKokon hyakunin retsujo kagami 1836–38 SadatoraFūryū aishō zukushi late 1830s KuniyasuKanadehon Chūshingura c.1839–42 KunisadaGi e-kyōdai c.1840–42 KunisadaKanadehon Chūshingura [reissue] c.1841–42 KunisadaDōke jūnikagetsu c.1844–45 KunisadaTōto meisho [horizontal aiban] Kuniyoshi“Gyōsho Tōkaidō” HiroshigeMitate shōchikubai no uchi Hiroshige Yoshitamajo212 publishers

Tōkaidō” (Gyōsho Tōkaidō). Ezakiya seems to have been hit hard by the Tenpō reforms (Tenpōno kaikaku) from 1842–43 as there are only a handful of prints hessued during the second half of the 1840s. In 1851, he is listed as amember of the Old Faction (Motogumi) of the Picture Book and PrintPublishers Guild (Jihon toiya) but in the sixth month of 1852, hisbusiness was taken over by the fellow publisher Aritaya Seiemon.Above c.1806–10 Utamaro II. The Right c.1836–38 Kunisada. “Fifth Actgod of good fortune, Daikoku and of Chūshingura” (ChūshinguraChinese children. Ōban. Library of godanme), from the seriesCongress. “Humorous Matching Pictures” (Gi e-kyōdai). Ōban. Japan Ukiyo-eRight top c.1841–42 Hiroshige. Museum, Matsumoto.“Numazu”, from the series “TheFifty-three Stations along the Far right 1800s Artist unknown.Tōkaidō” (Tōkaidō gojūsan tsugi no Yamauba and Kintarō playing with auchi), known as “Cursive Script hobbyhorse. Ōban. Asian Art Museum,Tōkaidō” (Gyōsho Tōkaidō). Aiban. National Museums in Berlin. apan Ukiyo-e Museum, Matsumoto.Sakai 1981, p. 242, horizontal aiban no.5.13.



EZAKIYA KICHIBEI 213

Yamaguchiya Chūsukec.1793–1809Located at Nihonbashi Bakurochō Sanchōme.Not many details are known about the personal life of the publisher YamaguchChūsuke. Yamaguchiya was only active over a short period, from the 1790s to t1800s, but during that time issued a relatively high number of outstanding desi Yamaguchiya was more active in producing beauty prints but also publishedactor prints and some warrior and landscape prints. The two artists who designmost for him are Utamaro and Eishō. The figure at the top of the oppositepage by Utamaro shows three beauties from the pleasure quarters. This was thepredominant theme at that time and the courtesans were captured in various wfrom full-length compositions to close-up large-head portraits like in the serie“Contest of Beauties of the Pleasure Quarters” (Kakuchū bijin kurabe). This seridates to c.1795–97 and Eishi’s best pupils Eishō, Eiri, and Eiu provided designit. It was Yamaguchiya’s answer to the many successful large-head portraits issuby rival publishers Nishimuraya Yohachi and Tsutaya Jūzaburō. In 1796, Yamaguchiya issued over ten different large-head actor portraits, desiby Toyokuni or Kunimasa. The powerful designs were very popular, however theauthorities soon banned them as they were “too conspicuous.” Hokusai also desigsome actor prints for Yamaguchiya, but by the late 1790s was also engaged toillustrate books. Other artists like Ikku and Tsukimaro followed and illustrated bas well. Among the few landscape prints that Yamaguchiya issued is an untitled seriein horizontal format by Tamagawa Shūchō, a lesser known artist, produced in t1790s. The last record of Yamaguchiya’s activity is the book Sōan chazukenushiwith illustrations by Tsukimaro from 1809. It is not known what became ofYamaguchiya Chūsuke after that. Some sources also mention in connection thename Yamaguchiya Chūemon as father of Chūsuke, however, its existence coulnot be verified.Works Date Artist(s)unserialized actor prints 1790s Hokusai, Toyokuniunserialized beauty prints c.1794 Eishō, Utamarounserialized warrior prints 1795 ToyokuniUntitled landscape series in horizontal format c.1795 ShūchōSeirō hana sannin c.1795 UtamaroNiwaka c.1795 UtamaroSeirō shiki no tawamure c.1795–96 EishiJimono rokkasen c.1795–96 UtamaroSeirō bijin hakkei c.1795–96 UtamaroSanka no tsu sōka bijin awase c.1795–97 EiriSeirō bijin awase 1796 Eiri, Eishō, EiuTōsei bijin awase c.1796 EishōKakuchū bijin kurabe c.1796 Eiri, Eishō, EiuUntitled aiban series of large head actor portraits c.1796–97 KunimasaYūkun waka sanjin c.1796–97 EishōTōsei san bijin c.1797–98 EishōFūryū gosekku c.1797–98 EishōSeirō bijin zoroi c.1797–98 EishōE-kyōdai bijin awase c.1798 EishōWaka sanjin c.1799 EishōFūryū warabe asobi c.1799 EishōKodomo asobi Niwaka c.1800 UtamaroSeirō Niwaka egao kurabe early 1800s UtamaroSeirō Niwaka c.1802 UtamaroChiwa kagami tsuki no murakumo c.1803 Shundō, UtamaroShinpan uki-e ToyokuniEdo mu tamagao UtamaroEdo no hana musume jōruri Utamaro214 publishers

hiya the igns.nedeways,esiesns foruedignedgnedbooks es the e ld



Left c.1794 Utamaro. Iris, from theseries “Three Beauties of the GreenHouses” (Seirō hana sannin). Ōban.Collection Erich Gross, Switzerland.Ukiyo-e shūka 3 (1978), no. 399.2.Bottom 1790s Shūchō. “View ofShinmeigū Shrine in Shiba” (ShibaShinmeigū no zu), from the series“New edition of Perspective Prints”(Shinpan uki-e). Ōban. Library ofCongress.Opposite top c.1795–97 Eishō. Thecourtesan Shigezuma of theEchizenya, from the series “Contest ofBeauties of the Pleasure Quarters”(Kakuchū bijin kurabe). Ōban. NationalMuseum of Ethnology, Leiden, TheNetherlands. Brandt 1977, cat. A 24.Opposite bottom 1796 Toyokuni. Theactor Ichikawa Komazō II as Shirobei.Ōban. National Museum of Ethnology,Leiden, The Netherlands.YAMAGUCHIYA CHU– SUKE 215

Maruya Bun’emonc.1793–1834Seal name: Marubun; firm name: Bunjudō. Located atKanda Benkeibashi-dōri Kitagawa Matsuedachō.Around 1793, Maruya Bun’emon started toproduce beauty prints by Utamaro, Tsukimaro,and other artists. Among them was also Eisuiwho designed a number of series for Maruya,for example “Five Seasonal Festivals withBeauties” (Bijin gosekku). By at least 1797, Maruya started to issueactor prints as well, all by Toyokuni. In theearly 1810s, he started to engage Kunisada forthis theme and a relationship began that lasteduntil the early 1830s. In 1807, Maruya is listed as a member ofthe Picture Book and Print Publishers Guild(Jihon toiya). In the third month of 1813and the first month of 1814, Maruya servedas censor (gyōji) during a period when thegovernment made an attempt to regulate theprint business better through self-regulation ofselected publishers. In the late 1800s, Maruya tested the waterof illustrated books, hiring Kunisada as well ashis master Toyokuni. Obviously it must haveturned out to be a success for him as Maruyacontinued to publish illustrated books wellinto the 1820s and usually more then oneper year. Amongst the many different artiststhat produced illustrations for Maruya areKuniyasu, Kunimaru, Kunisada, and Eisen. From surviving publications we know thatMaruya was active until 1834, however, duringthe second half of the 1820s and early 1830shis books and prints are scarce.Above right 1810s Kitagawa. “The WorksGod of Wealth turns wealth and rankto the better” (Kaiun fūki Daikokuten) unserialized beauty printsŌban Publisher: Maruya Bun’emon unserialized actor printsMuseum of Asian Art, National unserialized sumo printsMuseums in Berlin unserialized warrior prints Bijin gosekku Bijin jōruri kagami Fūryū onna imagawa Bijin awase jōruri kagami Shikizaki yūkun ikebana Sanjūrokuban tzuzuki yakusha jūnitsuki Bijin waka sanjin Tōfū shin rokkasen216 publishers

Date Artist(s)mid 1790s Eiri, Eisui, Hokusai, Tsukimaro, Utamarolate 1790s Eisui, Kunimasa, Kunisada, Toyokuni, Toyomaruc.1798 Shunteic.1799–1800 Shunteic.1802–03 Eisui1809 Eisuilate 1810s Eiri1820s Eisui Tsukimaro Toyokuni Eizan Eizan

Left topHanabSeasongosekk1977, cLeft boShizukDaikokFortunNationaNether

p 1790s Eisui. late The courtesan Above c.1805 Utamaro. “Wedding scene”bito of the Ōgiya, from the series “Five (Konrei no zu). Ōban. Collection Peter Rieder.nal Festivals with Beauties” (Bijin Ukiyo-e shūka 3 (1978), no. 356.1; right panel of aku). Ōban. Collection Peter Rieder. Brandt triptych.cat. C 2.ottom c.1796–98 Eisui. The courtesanka (representing the fortune godkuten) from the “Seven Gods of Goodne Series” (Shichifukujin tsuzuki). Ōban. al Museum of Ethnology, Leiden, Therlands. Brandt 1977, cat. C 7. MARUYA BUN’EMON 217

Matsumura Tatsuemonc.1793–1832Seal name: Matsu. Located at Nihonbashi Ningyōchō.Matsumura Tatsuemon started in the publishing business around1793. He first produced predominantly beauty prints by Utamaro,among them a few, mainly untitled, series. Utamaro’s portraits thatwere published by Matsumura are either in full-length or large-headclose-ups, serving the vogue of that time. Since the mid 1790s he began also to issue actor prints and reallyconcentrated on this field in the 1810s when he became one of themost active publishers in this field. At first, Utamaro designed actorprints for him, and then Matsumura engaged Toyokuni. Toyokuni’sdesigns are mainly portraits of actors in full-length but he occasionallyalso did large-head close-ups like the portrait of Ichikawa OmezōI (1781–1833) as Ōtomo Kuronushi from 1803. In the 1810s, theoutput of actor prints increased significantly and the figure on theleft of the opposite page by Toyokuni from 1816 is an example ofsuch prints. During that time Toyokuni was no longer Matsumura’sforemost commissioned artist but his disciple Kunisada gained thatposition. Kunisada alone furnished Matsumura with several hundred,sometimes dramatic, designs. In the 1820s, Matsumura began toproduce some actor portraits by lesser known artists, especially bydisciples of Kunisada like Sadafusa, Sadahide, and Sadakage. Matsumura continued to produce beauty prints and after Utamaropassed away, commissioned other artists like Kunimaru, Kunisada, andKuniyasu. With Kunisada, Matsumura returned to large-head portraitslike the ones he had issued by Utamaro in the 1790s. Around 1826–28they did two series, “Modern Views of Spring” (Tōsei haru keshiki) and“Modern Views of Summer” (Tōsei natsu keshiki). In mid 1832, Matsumura seems to have closed his publishingbusiness. The last prints known illustrate kabuki performances stagedin the fifth month of that year. The reason for the closure is not known.218 publishers

Works Date Artist(s)unserialized actor prints c.1795–96 Kunimasu, Kunisada, Kuniyasu, c.1796 Sadafusa, Sadahide, Sadakage, Toyokuni,unserialized beauty prints c.1797 Toyokuni II, UtamaroUntitled series of beauties on the Six Pearl Rivers c.1797–98 Kunimaru, Kunisada, Kuniyasu, UtamaroUntitled series of beauties with love poems 1817 UtamaroUntitled series of rebus prints 1818 UtamaroTōfū shichifuku bijin 1818–20 UtamaroGosekku no uchi c.1818–21 UtamaroShichi henge shosagoto 1820 ToyokuniImayō tokei jūni toki 1820–21 ToyokuniUkiyo shijūhatte 1820s KunisadaGosekku no uchi 1820s EisenOmō koto kagami utsushi-e 1821 ToyokuniGosekku no uchi 1826–28 KunisadaTōto mitate gofukuya hakkei 1826–28 SadafusaShichi henge no uchi early 1830s ToyokuniTōsei haru keshiki ToyokuniTōsei natsu keshiki KunisadaTōsei shiki no nagame Kunisada Sadakage

Opposite bottom 1819 Kunisada. The Above 1816 Toyokuni. The actoractors Iwai Kumesaburō II as Izutsu Ichikawa Danjūrō VII as Jōhachi in thOnnanosuke and Onoe Kikugorō III as play Tsumagasane kanete kikuzuki,Nikki Haradamaru in the play Ura Nakamura Theater, IX/1816. Ōban.moyō kiku no datezome, Kawarazaki Asian Art Museum, National Museums inTheater, VI/1819. Ōban diptych. Japan Berlin.Ukiyo-e Museum, Matsumoto.Opposite top 1820 Toyokuni. Theactor Ichikawa Danjūrō VII as KudōSuketsune in the play Shimemashoshimemasho hiiki no kakegoe,Kawarazaki Theater, IV/1820, fromthe series “The Five SeasonalFestivals” (Gosekku no uchi). Ōban.Asian Art Museum, National Museums inBerlin.

Top 1820s Kuniyasu. Beauty carrying morninghe glory in a basin. Ōban. Library of Congress. Above c.1826–28 Kunisada. “The Water Shop” n (Mizuya), from the series “Modern Views of Summer” (Tōsei natsu keshiki). Ōban. Japan Ukiyo-e Museum, Matsumoto.MATSUMURA TATSUEMON 219

Iseya Magobeic.1794–1813, c.1854–68Seal name: Isemago. Located at Nihonbashi Horiechō Nichōme.The earliest prints by Iseya Magobei are believed to be from the series Th“Five Shades of Ink in the Northern Quarter” (Hokkoku goshiki zumi) inaround 1794. Utamaro designed this series of beauties in close-ups for Ghim and later continued to design other prints of beautiful women. dIseya’s prints are of high quality but the print-runs seem to have been Thrather small. u e In 1795, Iseya engaged Toyokuni to design close-ups of actors asthey were very much sought after and the vogue of the time. Close-upsby Kunimasa followed in 1797, and Kunimasa then continued in thefollowing year with double portraits in half-length. Iseya did not turnaway from Toyokuni, however, but continued to employ him. In the early 1800s, Iseya worked with Eishō and Tsukimaro whodesigned beauty prints for him. At the same time, Toyokuni did someoblong prints of pairs of actors. In the early 1810s, Iseya commissionedKunisada to do a few warrior prints. At that time, Kunisada was atthe beginning of his career and only a few of his designs had beenpublished.220 publishers

Works Date Artist(s)unserialized beauty prints c.1794–95 Eishō, Kunisada, Utamarounserialized warrior prints 1795–98 Kunisadaunserialized fan prints with actors 1802–03 Kunichika, Kunisada IIunserialized actor prints 1806 ToyokuniHokkoku goshiki zumi 1807 Utamarounserialized actor portraits in close-up 1807 Kunimasa, ToyokuniRokkasen egao kurabe TsukimaroKanadehon Chūshingura ToyokuniKanadehon Chūshingura Shun’eiChūshingura Toyokuni By the mid 1810s, there is a sudden end to prints by Iseya Magobei.The next works of this publisher appear in the 1850s and we know thatn the sixth month of 1854, he became a member of the Fan ProducersGuild (Uchiwa toiya). From that year until 1868 he issued fan printsdepicting beauties by Kunisada or actors by Kunichika or Kunisada II.The reason for the period of inactivity between the 1810s and 1850s isunclear and there is even a possibility that the later Isemago and theearlier Isemago are not the same businesses.



Top left 1795 Toyokuni. The actorKataoka Nizaemon VII as SaibaraKageyu in the play Kimigatete Yoshiwarasodachi, Miyako Theater, VII/1795. Ōban.National Museum of Ethnology, Leiden, TheNetherlands.Top right 1798 Toyokuni. The actorSawamura Sōjūrō III in an unidentifiedrole. Ōban. Asian Art Museum, NationalMuseums in Berlin.Left 1855 Kunisada. “Iyo Province-timeat Fukagawa“ (Fukagawa Iyo setsu). Fanprint. Japan Ukiyo-e Museum, Matsumoto.Opposite Early 1810s Kunisada.Musashibō Benkei and MinamotoUshiwakamaru. Ōban diptych. JapanUkiyo-e Museum, Matsumoto.ISEYA MAGOBEI 221

Wakasaya Yoichic.1794–1897Seal name: Wakayo; firm name: Jakurindō; family name: Yamamoto Yoichi.Located at Shiba Shinmeimae Mishimachō.Wakasaya started his business in the early 1790s and was active forover one hundred years, issuing a wide range of prints and booksuntil c.1897. In 1807, he became a member of the Picture Bookand Print Publishers Guild (Jihon toiya). In 1811 and 1812 he wasone of the print censors. In 1851, he is listed as a member of theOld Faction (Motogumi) of the Picture Book and Print PublishersGuild (Jihon toiya) and was then also a member of the Guild of FanProducers (Uchiwa toiya). Beginning in 1876, publications appearedunder the family name Yamamoto Yoichi. Wakasaya’s first publications are series of beautiful women byUtamaro and Toyokuni. Especially with Utamaro he establisheda good relationship and they did at least seven series together, aswell as unserialized prints. Wakasaya soon also employed Kiyonaga,Eishi, Shunkō II, and Eizan and also issued actor and warriorprints in various formats. In the 1820s he predominantly workedwith Eisen who designed at least eleven series for him, but he alsostarted to issue books with illustrations by various artists. In the1830s, he expanded his range of prints and also commissionedlesser known artists. From the mid 1830s, he commissionedKuniyoshi (8 series) and mainly Kunisada, who did 19 series forhim until the early 1860s. The figure at the bottom right of page225 is an actor print by Kuniyoshi from the mid 1830s. With Hokusai, Wakasaya issued the new subject matter ofkachō-e, or Flower and Bird pictures, which he then continuedwith Hiroshige who found another subject that suited him well.Wakasaya’s interest in Hiroshige’s designs, however, seemed to havebeen limited. Infrequently, Wakasaya published Hiroshige’s worksuntil 1854, but none were very successful. Kawaguchiya Shōzōultimately issued more kachō-e by Hiroshige during a longer period. Wakasaya was also engaged in publishing illustrated books. In1855, he started to produce the first volumes of the serial novel“Northern Snows, a Gorgeous Tale and Mirror of Our Times”(Hokusetsu bidan jidai kagami), his most successful publication.Written by Tamenaga Shunshō (1822–1886), it was first illustratedby Kunisada, then by Kunisada II and Ginkō, the last volumeappeared in 1882.Opposite c.1805 Utamaro. The courtesan Shinowara and herattendants Wakaba and Chieda of the Tsuruya. Ōban.Collection Peter Rieder. Ukiyo-e shūka 3 (1978), no. 244.1.222 publishers

Works Date Artist(s)unserialized actor prints c.1790–91 Kunichika, Kunisada, Kuniyoshi, Toyokuni Eishi, Kiyonaga, Kuniaki II, Kunisada,unserialized beauty prints 1790s Kuniyoshi, Shunchō, Shunman, 1790s Toyokuni, Utamarounserialized Genji prints c.1794 Kunisadaunserialized landscape prints c.1794 Toyoharuunserialized sumo prints c.1794–95 Kunisadaunserialized warrior prints or historical pictures c.1795 Hiroshige III, ToyokuniUntitled series of customs of the Twelve Months, with c.1795–96comic poems c.1797 UtamaroUntitled series on the Six Pearl Rivers c.1800Uki-e Chūshingura c.1800 ToyokuniTōji zensei bijin zoroi 1800s ToyokuniTōji zensei nigao zoroi 1800s UtamaroFūzoku sandan musume 1800s UtamaroMeisho sakazuki awase 1810s UtamaroFūzoku sandan musume 1810s EishiNakute nana kuse 1810s UtamaroAiboreiro no gosekku c.1812–13 UtamaroFujin tewaza jūnikō 1820s UtamaroFūryū takara awase 1820s UtamaroUntitled Chūshingura series 1820s Shunkō IIJōruri mitate 1820s Shunkō IITōto shiire murasaki moyō c.1822 Shunkō IINana Komachi c.1825 EizanUki-e Chūshingura mid 1820s EizanFūryū chōshō hakkei c.1829 Shunkō IIGenji jūnijō 1830s EizanImayō bijin awase c.1830 EizanImayō sugata goshiki-zome c.1830 EisenBijin imayō sugata early 1830s EisenYoshiwara nana Komachi c.1832 SadamineImayō bijin kurabe KunisadaUkiyo fūzoku bijo kurabe c.1832–35 EisenUki-e Chūshingura Eisenunserialized pictures of flowers and birds late 1830s KunitomoFuji no yuki c.1840–43 Hiroshige, HokusaiTōto meisho meoto zukushi no uchi c.1842 EisenAzuma sugata c.1842–43 SadatoraTsuki nijūhakkei no uchi [ōtanzaku format] 1843 KuniyasuUntitled series of pictures of flowers and birds with c.1843 Hiroshigepoem in ōtanzaku c.1843–46Dōke Chūchingura 1844 HiroshigeNashitsubo gokasen c.1845Shingaku osana etoki KuniyoshiNijūshikō dōji kagami c.1845–46 KunisadaTōto kyūseki zukushi KuniyoshiSanjūrokkasen dōjo kyōkun kagami c.1849–50 KuniyoshiNashitsubo gokasen [reissue] 1852 HiroshigeHana goyomi kichijitsu sugata 1852–53 KuniyoshiHonchō taoyame zoroi no uchi 1853 Kunisada 1854 KunisadaDai Nihon rokujūyoshū no uchi 1854–55 Kuniyoshi 1856 Kunisada and students, Kuniyoshi andEdo no hana zukushi 1857–58 studentsEdo meisho [chūtanzaku format] c.1857 Hiroshige IIWakamurasaki Genji eawase 1858 HiroshigeNijūshikō dōji kagami 1860–61 KunisadaDōgi musha zukushi [horizontal half-length format] 1860–62 KuniyoshiGojūsan tsugi 1861 HiroshigeKiyogaki nanatsu iroha / Nanatsu iroha shūi 1862 KunisatoEdo meisho hyakunin bijo 1863 Kunisadaunserialized pictures of flowers and birds 1863–66 Kunisada/Kunihisa IIGenji goshū yojō 1864 Hiroshige IIKoi awase hauta zukushi 1873 KunisadaToyokuni hyakushu KunisadaGenji goshū yojō KunisadaChūshingura KunisadaTōkaidō meisho no uchi Kunisada“Kyōsai hyakuzu” KyōsaiChūshin gishi meimei den KyōsaiTōkyō kaku daiku no uchi Yoshitora Kuniteru II