Japanese woodblock prints-andreas marks

WAKASAYA YOICHI 223

Above 1854 Kunisato. “Ōiso:” after Opposite left 1810s Eizan. “Dyed fabricKitahachi accidentally hit the bottom from the Hoteiya” (Hoteiya-zome),of the bath several times with his geta from the series “Purple-dyed patternsthe bottom is knocked out, from the of Edo products” (Tōto shiire murasakiseries “Fifty-three stations” (Gojūsan moyō). Ōban. Asian Art Museum, Nationaltsugi). Chūban. Japan Ukiyo-e Museum, Museums in Berlin.Matsumoto. Opposite right top 1820s Eisen.Right After 1800 Utamaro. Ninth ”Imaginary Kayoi Komachi“ (Kayoimonth, from the series “Five seasonal Komachi mitate), from the seriesfestivals in the colors of love” „Stylish seven Komachi“ (Imayō nana(Aiboreiro no gosekku). Ōban. Library Komachi). Ōban. Library of Congress.of Congress. Ukiyo-e shūka 3 (1978), no.233.5-2. Later edition with removed serial Opposite right bottom 1842 Kuniyoshi.title. Performance on the seventh anniversary of Iwai Hanshirō VI‘s death—The actors Iwai Shijaku I as the wet nurse Shigenoi and Iwai Kumesaburō III as Jinenjo no Sankichi in the play Koinyōbō somewake tazuna, Kawarazaki Theater, IV/1842. Ōban. Library of Congress.224 publishers





WAKASAYA YOICHI 225

Moriya Jiheic.1797–1886Seal name: Moriji; firm name: Kinshindō; family name: Ishikawa Jihei. Located atNihonbashi Bakurochō Nichōme Minamigawa Nakahodo.The earliest dateable prints issued by Moriya Jihei date from the year1797. Moriya started with publishing beauties by Utamaro and actorsby Toyokuni. Amongst this early work is an untitled series showing apair of actors in half-length from the play “Tsuki wa Musashi no aki nosewagoto.” Moriya’s business went well and by 1807 he was one of thefew members of the newly founded Guild of Picture Books and PrintsPublishers (Jihon toiya). From 1811 until 1813 he sometimes acted as acensor of prints. He soon also started to produce illustrated books,initially with Shuntei, then with Kunisada and other artists. Moriya saw great potential in Kunisada and was among the firstpublishers that engaged him regularly since 1811. In the followingyears, Moriya concentrated on theater prints and did not only doportraits of actors on stage in specific roles and poses but also outsideand inside views of theaters like the Nakamura Theater in 1817.Works Date Artist(s)unserialized actor prints 1797 Kunisada, Kuniteru, Sadahide, Shuntei, Toyokuni, Toyokuni IIunserialized beauty prints 1798 Kiyohiro, Utamarounserialized Genji prints 1799 Hiroshige II, Kunichika, Kunisadaunserialized sumo prints c.1799 Kunisadaunserialized warrior prints or historical pictures c.1801 Kunisada, Kuniyasu, Sadahide, ShunteiUntitled series of two actors in half-length from the c.1801play Tsuki wa Musashi no aki no sewagoto c.1803 ToyokuniChūshingura 1804Yūkun shiki no hitobin 1810s ToyokuniUkiyo nanatsume awase late 1810s UtamaroEdo hakkei 1820s UtamaroTōsei fūzoku tsū early 1820s UtamaroOngyoku koi no ayatsuri 1830 UtamaroOgura hyakushu koi no utsushi-e 1830–32 UtamaroUki-e Chūshingura 1830–34 UtamaroMitate shinnai 1830s KunimaruFūryū sakaya gosekku 1830s KuniyasuUntitled series of landscapes with a red cloud band c.1830 Eizan, SadafusaUkiyo jinsei tengankyō 1831 EizanFūryū jūnikagetsu no uchi c.1831 KunisadaSeirō bijin awase c.1832 KunisadaMitate nijūshikō no uchi [later ed.] c.1832–33 Kunisadaunserialized pictures of flowers and birds 1799 SadatoraAnnai Yoshiwara sugoroku [game board] c.1799 HokusaiUntitled series of‘blue printed pictures’ c.1801 KuninobuUntitled series of poem slips c.1801 HokusaiUntitled series of humorous surimono c.1803 HokusaiChie no umi 1804 HokusaiYūkun shiki no hitobin 1835–37 HokusaiUkiyo nanatsume awase c.1840 UtamaroEdo hakkei 1842–46 UtamaroTōsei fūzoku tsū 1845–46 UtamaroOngyoku koi no ayatsuri 1852 UtamaroOgura hyakushu koi no utsushi-e 1852 UtamaroGokusaishiki gohon nobori no uchi 1854 UtamaroShinsen Edo meisho 1855 KunisadaGenji monogatari 1858 HiroshigeEdo meisho no uchi 1859 KunisadaImayō Chūshingura 1861 KunisadaEdomurasaki gojūyojō FusataneUntitled series on the Eight Views Kunisada and studentsShinsen Edo meisho FusataneHonchō meishō kagami YoshitoraChūshingura e-kyōdai YoshikazuKi no ji zukushi Kunisada Kunisada226 publishers

With Kuniyasu, Moriya made some attempts to enhancehis portfolio above the two most popular themes, actors andbeauties, and they produced prints that illustrate historicalevents. One of the most famous series by Moriya is Kunisada’s“Types of the Floating World Seen through a Physiognomist’sGlass” (Ukiyo jinsei tengankyō) from around 1830. In 1851, Moriya is listed as a member of the Old Faction(Motogumi) of the Picture Book and Print Publishers Guild(Jihon toiya). Since the 1840s, Moriya used the new interestin prints on the eleventh century “Tale of Genji” (Genjimonogatari) and its nineteenth century persiflage “A CountryGenji by a Fake Murasaki” (Nise Murasaki inaka Genji) andpublished himself many prints on these topics. Amongst themover thirty lavishly colored triptychs by various artists. In the 1870s and 1880s, Moriya’s output decreasedsignificantly. Since 1876, Moriya sealed under his family nameIshikawa Jihei. Around 1886, his business seems to have cometo an end.

Above 186Genji by a fMurasaki itriptych. JapMatsumotoLeft 1797 TŌtani TomYagenji anas retaineruntitled seactors in haplay Tsuki wsewagoto,VIIic/1797.Rieder.Right c.183writing a le“Types of tSeen throuGlass” (UkiŌban. JapanMatsumoto

65 Kunisada. “A stylish fake Murasaki” (Nise imayō Genji). Ōban pan Ukiyo-e Museum, o. Toyokuni. The actorsmoemon II as Iwakind Bandō Mitsugorō II r Tomiji, from aneries showing a pair of alf-length from the wa Musashi no aki no Kiri Theater, . Ōban. Collection Peter 30 Kunisada. Woman etter, from the series the Floating World ugh a Physiognomist’s iyo jinsei tengankyō). n Ukiyo-e Museum, o. MORIYA JIHEI 227

228 publishers





1817 Toyokuni. Exterior View of theNakamura Theater. Ōban triptych. Asian ArtMuseum, National Museums in Berlin. Onetriptych of a double triptych.MORIYA JIHEI 229

Tsuruya Kinsukec.1797–1824Seal name: Tsurukin; firm name: Sōkakudō; family name: Iijima Kinsuke. Locatedfirst at Asakusa Shinyoshiwara Ageyamachi, then Nihonbashi Tadokorochō(c.1809–15), Nihonbashi Ningyōchō-dōri Norimonochō (from c.1815).Since around 1797, Tsuruya Kinsuke issued actor prints by Toyokuniand beauty prints by Utamaro. With both artists, Tsuruya built a solidand successful relationship. Until the early 1800s, Utamaro designed atleast ten different series for Tsuruya. However, these were less than themany unserialized actor portraits by Toyokuni. His actor prints were inhosoban as well as ōban size. The figure on the left of page 232 shows aportrait from 1800 and the other figure on this page illustrates aportrait from 1806. In 1804, Toyokuni produced also an untitled actorseries with a black-framed cartouche that consists of the actor’s crest(mon), the name of the character, and the actor’s name. In the sixth month of 1808, Tsuruya joined the Picture Book andPrint Publishers Guild (Jihon toiya). From around 1811, he was also amember of the Book Publishers Guild (Shomotsu toiya). Several times(in 1811, 1812, 1813, and 1814) Tsuruya had the official function ofa censor (gyōji), an attempt to ensure control over the print market,which, however, ran only for a short period. Tsuruya produced actor prints in different formats: ōban format,hosoban format, and also a few prints in vertical format. In the 1810sand 1820s he produced the majority of actor prints by Kunisada. By1829, Tsuruya suddenly ceased to issue prints but he continued to beactive as a publisher. From the 1810s, Tusurya’s main field of activity was producingillustrated books. He issued several per year, furnished withillustrations by a high number of different artists like Shuntei, KuninaoI, and Eisen.Works Date Artist(s)unserialized actor prints c.1798 Kunisada, Toyokuni, Toyokuni IIunserialized beauty prints c.1799 Kunisada, Toyokuni, Tsukimarounserialized warrior prints c.1799 ShunteiUtsushi uwatehon-e no sugatami 1800s UtamaroFūryū goyō no matsu c.1801 UtamaroShinsei goshiki-zumi c.1802 UtamaroTōsei bijin jūnikagetsu no uchi c.1803 EizanFūryū jūnikagetsu c.1803 UtamaroChūshingura osana asobi c.1803 UtamaroBijin gomensō c.1803 UtamaroKyōkun oya no megane c.1803 UtamaroSeirō Niwaka zensei asobi 1804 UtamaroBijin mensō juttai no zu c.1804 UtamaroFūryū nana Komachi c.1805 UtamaroUntitled actor series with a black framed cartouche 1806 Toyokuni\"Mame ban Tōkaidō\" 1806 HokusaiShunkō shichifuku asobi 1809 UtamaroKanadehon Chūshingura 1809 HokusaiTōsei shichifukujin 1810s ToyokuniSanjūrokuban tzuzuki yakusha jūnitsuki c.1810 ToyokuniSeirō bijin setsugekka KunisadaEdo hakkei early 1810s Toyohiro“Bunka shichinen ban Tōkaidō” HokusaiUntitled series on the Twelve Months with poems by 1811Santō Kyōden 1813 ToyokuniShichi henge no uchiJūnikagetsu no uchi Toyokuni Toyokuni230 publishers

Above 1811 Toyokuni. The actors Right 1803 Toyokuni. The actorsIchinokawa Ichizō I as Fukami Segawa Michisaburō I as Orikoto-Jūemon, Ōtani Sorobei I as hime, Bandō Mitsugorō III asChūgen Kakunai, and Sōgen, and Bandō Yasosuke I asSuketakaya Takasuke II as Kizu Gunsuke in the play Futaba noKansuke in the play Hana no haru kotobuki Soga, Nakamuraharu hitome senbon, Morita Theater, I/1803. Ōban. Asian ArtTheater, II/1811. Ōban. Asian Art Museum, National Museums inMuseum, National Museums in Berlin.Berlin.



ARTIST / PUBLISHER 231

Above 1806 Toyokuni. The actor Right 1800 Toyokuni. The actorOnoe Matsusuke I as the ghost of Ichikawa Danzō IV as Shunkan SōzuIohata in the play Nami makura in the play Shunkan futatsuikoku no kikigaki, Ichimura Theater, omokage, Nakamura Theater,VI/1806. Ōban. Asian Art Museum, III/1800. Hosoban nishiki-e. Asian ArtNational Museums in Berlin. Museum, National Museums in Berlin.232 publishers



Left top 1808 Toyactor Bandō MitsOhana in the plaShinobugusa tamhosshin, NakamuV/1808. HosobanNational MuseumLeiden, The Nethe

yokuni. The Left bottom 1804 Toyokuni. Above 1806 Toyokuni. The sugorō III as The actor Matsumoto Yonezō actor Sawamura Gennosuke IIIay as Tamanae in the play Mishi with a beauty. Ōban. National muke no tamadare yuki no furusato, Museum of Ethnology, Leiden, ura Theater, Ichimura Theater, XI/1804, from The Netherlands. n nishiki-e. an untitled actor series with a black framed cartouche. Ōban.m of Ethnology, National Museum of Ethnology, erlands. Leiden, The Netherlands. TSURUYA KINSUKE 233

Iseya Rihei1790s–c.1879Seal name: Iseri; firm name: Kinjudō; family name: Yamamoto Rihei. Shop first located at Shleast by 1851 in Shitaya Ueno Motokuromonchō.c.1820); Kansetsu (from c.1820). Art namesIseya started in the 1790s with actor prints by Toyokuni and beauties bby Utamaro but became very successful in the 1800s with designs byHokusai. Amongst the many series by him Iseya issued are the inso-called “Maruwaku Tōkaidō” series from c.1802, and the “Ehon ekiro Kno suzu” series (“Illustrated Book of Packhorse Bells”) another Tōkaidō bseries dates to c.1806. In the early 1810s, Iseya and Hokusai seemed to 1have broken as the once vivid cooperation abruptly came to an end Bdespite the fact that Hokusai remained active for another forty years. aIseya found new and very successful opportunities such as publishing a aseries of beauties by Kunisada. From the late 1810s to the early 1830s, pat least sixteen such series and a few unserialized beauty prints came Ron the market. The figure at the bottom right of page 237, titled R“Clearing Mist at Asakusa” (Asakusa no seiran), is an example from an cuntitled series on the Eight Views of Edo, published in the early1830s. At first, Iseya was not very active in publishing actor prints andseemed to have only commissioned Toyokuni from time to time. Thischanged as well after the break with Hokusai and from the early 1810smany unserialized actor prints appeared, again predominantly designed234 publishers

hitaya Ikenohata Nakamachi-dōri, at s: Bokutei, Yūsai.by Kunisada. In the mid-1830s, Iseya joined the publisher Takenouchi Magohein producing Eisen’s and Hiroshige’s series on the inland highwayKisokaidō between Edo (present Tokyo) and Kyoto. Print publicationsby Iseya are very scarce in the 1840s and 1850s but we know that in1851 he was a member of the New Faction (Karigumi) of the PictureBook and Print Publishers Guild (Jihon toiya). Iseya became activeagain in the 1870s but only for a short period and the prints are onceagain scarce. The figure at the top of page 237 from 1874 is from thisperiod and one of the few actor prints that Kunichika did for IseyaRihei. As was the law, Iseya sealed with his family name YamamotoRihei from 1876 but business seems to have come to a final end byc.1879.Works Date Artist(s)unserialized actor prints Chikanobu, Kunichika, Kunisada, Toyokuni, Yoshitoraunserialized beauty prints c.1796 Kunisada, Sadakageunserialized warrior prints c.1798 KunisadaMeisho koshikake hakkei c.1800–02 UtamaroShinpan uki-e Chūshingura c.1800–02 HokusaiEdo hakkei c.1800–02 HokusaiTōto jūnikei c.1800–03 HokusaiUntitled series on the Eight Views c.1801–04 HokusaiKanadehon Chūshingura c.1802 HokusaiRokkasen no uchi c.1802–04 Hokusai“Maruwaku Tōkaidō” c.1803–05 HokusaiShūitsu mu tamagawa c.1803–06 HokusaiFūryū tōto hakkei c.1804–06 HokusaiShinpan uki-e c.1806 HokusaiToba-e 1811 Hokusai“Ehon ekiro no suzu” 1811 HokusaiFūryū odoke hyakku 1816 HokusaiMitate nishiki-e 1818 ToyokuniHōnō [tenugui] 1818–20 KunisadaHōnō [chōchin] 1819 KunisadaEdo jiman 1819 KunisadaGokusaishiki jisei shitate 1820 KunisadaHoshi no/ya shimo tōsei fūzoku 1820s KunisadaGosekku shosagoto no uchi early 1820s KunisadaTōto meisho bijin awase 1821 KuniyasuŌmi hakkei 1822 ShunteiUkiyo meijo zue 1822 KunisadaBijin awase—Haru no akebono 1825 KunisadaUkiyo meijo zue nihen c.1826 KunisadaTōsei bijo azuma fukei 1827 KunisadaBijin awase 1827 EisenKanadehon Chūshingura youchi ninzu no uchi late 1820s KunisadaŌtsu-e zukushi 1830–35 KunisadaJūnishi zensei matsu no yosooi c.1831 Toyokuni IIUntitled series of Eight Views of Edo 1832 KunisadaKōso goichidai ryakuzu c.1835 KuniyoshiJōruri zukushi c.1835 KunisadaJūnikagetsu c.1835–38 KuniyoshiMeishō hakkei c.1836 Toyokuni IIKisokaidō c.1843–46 Eisen, HiroshigeUntitled series of beauties on the Twelve Months 1870 KuniyoshiSumidagawa meiku awase 1873 YoshimoriChūshingura 1877 KunichikaTaiju jūgosei Yoshitoshiunserialized triptychs illustrating the Satsuma Rebellion Chikanobu

Opposite left c.1806 Hokusai.“Kawasaki”, from the series“Fifty-three Stations along theTōkaidō” (Tōkaidō gojūsan tsugi),known as “Illustrated Book ofPackhorse Bells” (Ehon ekiro nosuzu). Chūban. Japan Ukiyo-eMuseum, Matsumoto. Nagata 1981,p. 227, chūban no. 20.3.Above left 1870s Tōshū. “Newedition of children at play”(Shinpan kodomo asobi). Ōban.Library of Congress.Above right c.1812–13 Toyokuni.The actor Iwai Hanshirō V offstage. Ōban. National Museum ofEthnology, Leiden, The Netherlands.Right c.1802 Hokusai. “Ōtsu”,from the series “Fifty-threeStations along the Tōkaidō”(Tōkaidō gojūsan tsugi), knownas “Maruwaku Tōkaidō”. 17 x 11.5cm (6.7 x 4.5 in.). Japan Ukiyo-eMuseum, Matsumoto. Nagata 1981,p. 225, vertical koban no. 5.54.

ISEYA RIHEI 235

Right 1868 Kunichika. “Just a few Below right Early 1830s Kunisada. Bwords about the dance to a little “Clearing Mist at Asakusa” (Asakusa Iwsong“ (Chotto hitokuchi hauta no no seiran), from an untitled series on Icateburi). Ōban triptych. Library of the Eight Views of Edo. Ōban. Japan SCongress. Ukiyo-e Museum, Matsumoto. T ta T Ja236 publishers

Below left 1838 Kunisada. The actorswai Tojaku as Shirai Gonpachi,chimura Uzaemon XII as HonjōSuke’ichi, and Sawamura Tosshō I asTeranishi Kanshin in the play Gohiiki amuke no Hanakawado, IchimuraTheater, VIII/1838. Ōban triptych. apan Ukiyo-e Museum, Matsumoto.



ISEYA RIHEI 237

Maruya Seijirō turned t shortlyc.1799–1863 harimaz 1850 bySeal name: Marusei; firm name: Jukakudō. Located at Shiba ShinmeimaeUdagawachō. At lea illustratAs early as 1799, Maruya Seijirō published actor prints by mastersKunimasa and Toyokuni. Amongst the rare prints that he issuedduring that time are also a few actor bust portraits by Toyokuni In 18from 1802. However, there seems to have been a halt to print of the Pproduction from that time until the late 1820s/early 1830s when also a mwe then again find his actor prints by Toyokuni II and Kunisada, businessbeauties by Eisen, pictures of flowers and birds by Hiroshige and Tashichmuch else. In the late 1830s and early 1840s, Maruya clearly preferredKunisada’s actors and issued many of them. By the mid 1840s,as a result of the new regulations imposed through the TenpōReforms, he turned towards beauty prints but also did warriors.The interest in Genji served him well and the figure on the rightis an example of the type of Genji triptych Maruya put out by1849. By the early 1850s, when Hiroshige was long a successfuldesigner of landscape prints, Maruya engaged him to design theso-called “Reisho Tōkaidō” series, named after the script style ofthe title. This series must have been quite successful as MaruyaWorks Date Artist(s)unserialized actor prints Kunihide, Kunimasa, Kunisada, Kuniyoshi, Toyokuni, Toyokuni IIunserialized beauty prints early 1830s Hiroshige, Kunisada, Yoshinobuunserialized Genji prints early 1830s Kunisadaunserialized pictures of flowers and birds early 1840s Hiroshigeunserialized warrior prints c.1840–42 Kuniyoshi, YoshitsuyaImayō sugata 1844 EisenTōsei gonin bijo 1844 Toyokuni IISetsugekka no uchi 1845–46 YoshitoraNihon minato zukushi c.1848 HiroshigeTōto meisho [horizontal format] 1849 HiroshigeUntitled series on the Seven Komachi c.1849–50 KuniyoshiArigataki miyo no kage-e c.1850–51 KunisadaUntitled triptych series of beauties on the Four Seasons 1850s YoshitoraTōsei bijin fūryū asobi 1852 KunisadaChūshingura 1853 Hiroshige“Reisho Tōkaidō” Hiroshige“First harimaze Tōkaidō”[later ed.] 1853 HiroshigeChūshingura KunisadaUntitled series of famous places in Edo 1853 Kuniyoshiunserialized fan prints with pictures of flowers and 1854birds HiroshigeUntitled series on the Seven KomachiMitama hana no fūzoku Kunisada YoshikazuRight 1849 Kunisada. A lady Top right c.1850 Hiroshige. “No.receiving tiger lilies, from the 11—Hakone—Holding Pineseries “Modern Beauties in Torches in the Night” (Hakone—Elegant Distractions” (Tōsei bijin Yonaka taimatsu tori), from thefūryū asobi). Ōban triptych. Asian series Known as “Reisho Tōkaidō”Art Museum, National Museums in series. Ōban. Japan Ukiyo-eBerlin. Museum, Matsumoto. Sakai 1981, p. 245, horizontal ōban no. 53.11.238 publishers

to the Tōkaidō theme together with Hiroshige again thereafter and issued a later edition of Hiroshige’s “First ze Tōkaidō” series. This series was originally issued iny fellow publisher Ibaya Senzaburō. ast since the early 1840s, Maruya published alsoted books but also fan prints by all three late Utagawas, Kunisada, Kuniyoshi, and Hiroshige.851, Maruya is a member of the Old Faction (Motogumi)Picture Book and Print Publishers Guild (Jihon toiya) andmember of the Guild of Fan Producers (Uchiwa toiya). His s was taken over with not much success by Fukushimayahi in the ninth month 1863.



MARUYA SEIJIRO– 239

Above 1850s Hiroshige. “Nihon Bridge, Shinagawa,Kawasaki”, from the series “Cutout Pictures of the Tōkaidō”(Tōkaidō harimaze zue), reissue of the “First harimazeTōkaidō” series. Ōban. Library of Congress. Sakai 1981, p. 251,ōban no. 46.1.240 publishers





Above 1852 Kunisada. The actors Bandō Shuka I as Shiraito andSawamura Chōjūrō V as Suzuki Mondo in the play Sumidagawatsui no kagamon, Ichimura Theater, III/1852, from an untitledset of double portraits. Fan print. Japan Ukiyo-e Museum,Matsumoto.MARUYA SEIJIRO– 241

Kawachiya Genshichic.1802–19Seal name: Kawagen; firm name: Tōeidō. Located at Nihon-bashi Tomizawachō.Kawachiya Genshichi was a short-lived but very Worksactive publisher from the early nineteenth century.The first datable prints are from 1802, the last date to unserialized actor prints1819. His production during the 1800s was balanced unserialized beauty printsbetween serialized prints of beautiful women and Tōsei bijin rokkasenunserialized actor portraits. Seirō meika awase Fūryū gosekku asobi Popular beauty designers like Utamaro rarely Bijin awaseworked for Kawachiya. With Hishikawa Ryūkoku, Chūshinguraa second tier artist, Kawachiya seems to have had an Yakusha chigao mu tamagawaexclusive contract of some sort as he was the only Shichi henge no uchipublisher of Ryūkoku’s beauty prints in the 1800s. Jūnikagetsu no uchi—Bandō Mits Mitsu ningyō no uchi At the beginning of the 1810s, his production Imayō Ōtsu-escheme changed drastically and was now dominated Fūryū bijin kurabeby actor prints. At first, his actors were mostlydesigned by Toyokuni, but then Kawachiya shifted toKunisada in 1812. The figures on the opposite pageare examples of Toyokuni’s works for Kawachiya, thefirst being a diptych from 1808, the second a triptychfrom 1812. The figure to the right is from a beauty series thatKawachiya occasionally produced during the 1810s.This series, “Stylish Ōtsu Pictures” (Imayō Ōtsu-e), isdated to 1815. Kawachiya’s last known prints date tothe third month of 1819.Right 1815 Kunisada. A Leiden, The Netherlands (rightwoman as a spear carrying panel).footman, from the series“Stylish Ōtsu Pictures” Opposite bottom 1812(Imayō Ōtsūe). Ōban. Japan Toyokuni. The actorsUkiyo-e Museum, Matsumoto. Ichikawa Ichizō I as Yodohei, Iwai Hanshirō V asOpposite top 1808 Okaji, and NakamuraToyokuni. The actors Onoe Utaemon III as Seigen in theEizaburō I as Midajirō play Kiyomizu SeigenTokitsuna and Onoe omokage zakura,Matsusuke I as Kohada Nakamura Theater, III/1812.Koheiji and his wife in the Ōban triptych. Nationalplay Eiri otogi sōshi, Museum of Ethnology,Ichimura Theater, VIic/1808. Leiden, The Netherlands.Ōban diptych. Asian ArtMuseum, National Museumsin Berlin (left panel), NationalMuseum of Ethnology,242 publishers

Date Artist(s)sugorō shosagoto c.1805 Kunisada, Shuntei, Toyokuni mid 1800s Eizan, Ryūkoku 1808 Utamaro late 1800s Eizan late 1800s Ryūkoku c.1809 Ryūkoku 1811 Kitagawa Hidemaro 1813 Toyokuni 1813 Toyokuni 1815 Kunisada mid 1810s Kunisada Kunisada Eizan



KAWACHIYA GENSHICHI 243

Sanoya Kiheic.1717–1875Seal name: Sanoki; firm name: Taihōdō until c.1804, then Kikakudō; family name: OkumuraNihonbashi Hiramatsuchō, later Shiba Shinmeimae Mishimachō (at least by 1851).Sanoya Kihei began his publishing business Kunisada’s series “The Fiftaround 1717. At first a publisher of books along the Tōkaidō” (Tōkaidwith and without illustrations, he added no uchi), also known as “Beprints to his portfolio at a rather late stage. (“Bijin Tōkaidō”) he landedFrom the 1800s he issued beauties by Eizan around 1832–33. The serieand later Eisen. In the 1810s/1820s, he issued first Tōkaidō landscpublished an untitled series of horizontal and was so successful thatprints by Shunkō II related to the Twelve new woodblocks for someMonths, a very popular theme in Japanese the original ones wore dowwoodblock prints. times they were used. Amo projects in the history of Ja From the early 1820s, he also issued printing is the beauty serieactor prints, a topic he pursued constantly Selection of One Hundreduntil the mid-1850s. With a few exceptions Each” (Hyakunin isshu e-shhis actor prints are just average and well that Sanoya produced alonover twenty cases are known when Sanoya 1848.reissued already existing woodblocks withold designs and just modified the actor’s face Sanoya continued with tlines to portrait the actual actor of the new theme in the 1840s and issperformance. “Tōkaidō with Poems” (Ky 1840, as well as “On the R Sanoya’s stronghold was clearly prints of Mare” (Dōchū hizakurige), abeautiful women, a field which he dominated images from 1843 after Jipundisputedly. From the 1820s until the 1860s book “On Shank’s Mare Ahe issued several hundred designs. In the (Tōkaidōchū hizakurige, 1801830s and 1840s, Sanoya predominantlyengaged Hiroshige and Kunisada. With Sanoya also furnished th244 artists

a Kihei. Located at y-three Stations images of Genji and his Edo period dō gojūsan tsugi pendant Mitsuuji from the “Country Genji” eauties Tōkaidō” adaptation and put many triptychs and d a major hit single prints on the market. Foremost wases took on the just an untitled series by Kunisada known as “Acapes by Hiroshige Comparison of Present Genji Brocade Prints” Sanoya had to get (Ima Genji nishiki-e awase) that he produced of the designs as from 1852 until 1854 and was again oftenwn from the many reprinted because of its popularity. ong the largest apanese woodblock It is not known when Sanoya joined the es “Pictorial Picture Book and Print Publishers Guild d Poets, One Poem (Jihon toiya) but in 1851 he is listed as ahō) by Kunisada member of the Old Faction (Motogumi).ne from 1844 until Sanoya was also a member of the Guild of Fan Producers (Uchiwa toiya) and we know the Tōkaidō that he produced fan prints at least from the sued Hiroshige’s 1820s until the 1860s.yōka iri Tōkaidō) inRoad with Shank’s In the 1850s, among others Sanoya did a series of funny warrior prints by Kuniyoshi and his disciple ppensha Ikku’s Yoshitora and in the fifth month 1861, heAlong the Tōkaidō” adopted Yasusaburō inherited the business 02–22). and took the name Kihei. The new Kihei he craze for seems to have almost immediately stopped publishing prints and concentrated on books. Sanoya was in operation until 1875. Left 1843 Hiroshige. “Odawara Inn” (Odawara tomari), from the series “On the Road with Shank’s Mare” (Dōchū hizakurige). Ōban. Japan Ukiyo-e Museum, Matsumoto. Sakai 1981, p. 244, horizontal ōban no. 75.1. Right top 1853 Kunisada. “Three—Utsusemi”, from an untitled series “A Comparison of Present Genji Brocade Prints” (Ima Genji nishiki-e awase). Chūban. Japan Ukiyo-e Museum, Matsumoto. Right bottom c.1844-45 Kunisada. “Twelve—Sōjō- henjō”, from the series “Pictorial Selection of One Hundred Poets, One Poem Each” (Hyakunin isshu e-shō). Ōban. Japan Ukiyo-e Museum, Matsumoto.



Works Date Artist(s)unserialized actor prints late 1800s Kuninobu, Kunisada, Kunisada II, 1808 Kuniyoshi, Toyokuni, Toyokuni IIunserialized beauty prints 1810s Kunisada, Sadahide, Yoshikazuunserialized landscape prints 1810s Hiroshige II, Sadahide 1810s Kunisada, Kuniyoshi, Yoshikazu,unserialized warrior prints or historical pictures c.1810–20s Yoshitora late 1810s EizanShichikenjin early 1820s EizanSeirō meikun hana awase early 1820s EizanFūryū bijin nana Komachi 1820s EizanFūryū Chūshingura e-kyōdai 1820s Shunkō IIUntitled series on the Twelve Months 1820s Shunkō IIUntitled landscape series with red cloud band 1830 EizanFūryū bijin Ōmi hakkei c.1830 EisenRyūkō ai shitate c.1830 EisenUkiyo sugata Yoshiwara taizen 1830s EisenJisei bijo kurabe 1830s EisenTōsei tengan kyō 1830s EizanFūryū jūnikagetsu early 1830s KunisadaHonchō fūkei bijin kurabe 1831–32 EisenBijin ryōri tsū c.1832–33 EisenUkiyo bijin jūnikagetsu c.1832–34 EisenTōsei kaiseki zukushi 1834 EisenTōsei ryōri tsū c.1834 Hiroshigeunserialized pictures of flowers and birds c.1834–35 EisenKanadehon Chūshingura 1835 KunisadaSan shibai mitate taimen 1837 KunisadaTōkaidō gojūsan tsugi no uchi 1837–38 HiroshigeKōto meisho after 1837 KunisadaNaniwa no haru mitate taimen 1839 KunisadaKanadehon Chūshingura 1840 HiroshigeTōto meisho [horizontal format] c.1840 KunisadaTōsei gonin otoko c.1840–42 Hiroshigeunserialized pictures of flowers and birds c.1843–46 KunisadaMitate yakusha gojūsan tsui no uchi 1844 HiroshigeEdo kinkō hakkei no uchi [later ed.] 1844 KunisadaE-kyōdai Chūshingura 1844–48 Hiroshige“Kyōka iri Tōkaidō” c.1845 KuniyoshiSanka shokushi no zu 1847–50 HiroshigeTōto meisho no uchi: Sumidagawa hakkei HiroshigeEdo meisho [fan prints] c.1847 SadahideUntitled series on the Seven Komachi KunisadaUkiyo goshiki awase c.1847–51 KunisadaHyakunin isshu e-shō c.1848 KuniyoshiHonchō buyū kagami 1849 KunisadaHaikai shichifukujin no uchi 1849–51Untitled triptych series of beauties related to the Six 1849–51 KuniyoshiJewel Rivers c.1849–50Tōto meisho [horizontal format] c.1850–51 HiroshigeEdo meisho gojō 1851 Hiroshige“Yotsugiri makimono Tōkaidō” 1851–52 HiroshigeEdomurasaki azuma no utsushi-e 1852 KunisadaYasa sugata azuma no utsushi-e 1852 KunisadaKokon jōruri zukushi 1852 HiroshigeUntitled series of poem slip pairs with actors KunisadaUntitled fan print series of beauties 1852–54 HiroshigeMitate gogyō KuniyoshiFuji sanjūrokkei [horizontal half-length format] 1852–54 HiroshigeHakone shichiyu zue 1853 HiroshigeSankai medetai zue 1853 Kuniyoshi and studentsunserialized fan prints with pictures of flowers and 1854birds 1854 HiroshigeIma Genji nishiki-e awase 1854Imayō bijin awase 1854 KunisadaShiki no nagame 1856 YoshikazuKanadehon Chūshingura 1856–58 KuniteruImayō sugata hana no zoroi 1857 KuniyoshiHakkenshi eimeikan 1858 YoshikazuTōto meisho awase 1859–60 KunisadaTōto meisho [horizontal format] KunisadaTōsei shiki no nagame HiroshigeEiyū goshiki awase KunisadaHonchō meishō kagami KuniyoshiBijin awase jūnikagetsu no uchi Yoshikazu Kunisada SANOYA KIHEI 245

246 publishers



Left c.1832-33 Kunisada. “View ofChiryū” (Chiryū no zu), from theseries “The Fifty-three Stations alongthe Tōkaidō” (Tōkaidō gojūsan tsugino uchi). Chūban. Japan Ukiyo-eMuseum, Matsumoto.Right 1810s Shunkō II. Catchingfireflies, from an untitled series on theTwelve Months. Ōban. Library ofCongress.Below 1840 Hiroshige. “Shimada”,from the series “Fifty-three Stationsalong the Tōkaidō” (Tōkaidō gojūsantsugi)” known as “Tōkaidō withPoems” (“Kyōka iri Tōkaidō”). Chūban.Japan Ukiyo-e Museum, Matsumoto.Sakai 1981, p. 236, horizontal chūbanno. 24.24.

SANOYA KIHEI 247

Yamaguchiya Tōbei Worc.1805–95 unseFirm name: Kinkōdō; family name: Arakawa Tōbei. Located at Nihonbashi unseMotohamachō, later Nihonbashi Bakurochō Nichōme. unse unseYamaguchiya Tōbei was one of the publishers, if not the unsepublisher, with the biggest output in the history of Japanese unsewoodblock printing. He seems to have started in the early 1800s unseand by 1807 was a member of the Picture Book and Print unsePublishers Guild (Jihon toiya). In 1812 and 1813 he was a print unsecensor. Untit Seirō Initially, he commissioned Utamaro to design beauty prints Zensand soon worked with Utamaro’s student Tsukimaro as well as UntitHokusai. In the 1810s he predominantly issued actor prints by ShinToyokuni. But he also started issuing illustrated books by various Tobaartists, a field he was active in until the 1880s. Shin Fūry In the 1820s, we record a growing number of beauty prints, Tōfūmainly by Kunisada. Remarkable is the series “A Collection of ShinRestaurants Renown in These Days” (Tōji kōmei kaiseki zukushi) Untitfrom c.1822, with 43 designs known, one of the largest beauty Fūryseries ever produced. Unique from the vast amount of actor Fūryprints in full-length that were available on the market, were a Jūnisnumber of half-length portraits. Genj Seirō Yamaguchiya’s output did not diminish in the 1830s/40s. Tōji kAround 1832 he issued an untitled series of rare landscape Yakudesigns by Kunisada. Before that Kunisada had designed Kōmlandscapes for fan prints but doing a horizontal landscape series Kōmin the popular large ōban format was something new to him. HaruFrom the late 1840s, the number of illustrated books that he put Tōtoon the market increased significantly. Untit Yaku During all times, Yamaguchiya provided also younger Yakuartists the possibility to publish their works. Like Kunimaro’s Kana“Silk Worm Cultivation” (Kaiko yashinai gusa, c. 1850). In Chūs1851, Yamaguchiya is listed as a member of the Old Faction Tōto(Motogumi) of the Picture Book and Print Publishers Guild Tōto(Jihon toiya), but he also in the list of members of the New Kō teFaction (Karigumi) of the Guild of Book Publishers (Shomotsu Edo ntoiya). Buei Ning During the second half of the 1850s, Kunisada reduced his Eiyūwork for Yamaguchiya significantly. Other artists like his students KaikoKunisada II and Kunimitsu II replaced him. In 1854, the latter Kōtoone designed a Genji triptych. Sank Tōto In the seventh month of 1866, the son Mosuke inherited the Untitbusiness and took the name Tōbei. Following new regulations, “Thirhe then sealed with the family name Arakawa beginning 1875. FūryBusiness ended in 1895 when Arakawa Tōbei became Arakawa NagaKoma. Suiko Fūry At the time when Yamaguchiya dropped out of business he Kiyoghad published over 170 series. Keeping in mind that Kunisada Haruwas by far the most prolific artist, he alone designed close to 700 Hyakdifferent compositions for Yamaguchiya. Ryōm Kyōk Edo m Kana Edo m Baich Sono Imay Ikiut Edo m Imay Ki no Sueh Saiko Shin Kana Tōky Tōky unse War248 publishers