Japanese woodblock prints-andreas marks

rks Date Artist(s)erialized actor prints Hiroshige, Kuniaki II, Kunichika, Kunisada, Kunisada II, Kunitoshi,erialized beauty prints 1800s Kuniyoshi, Toshinobu, Toyokuni,erialized Genji prints 1800s Toyokuni II, Yoshifuji, Yoshiharu IIerialized landscape prints early 1800s Kunisada, Sadahide, Shun’ei, Utamaroerialized pictures of flowers and birds early 1800s Kunisadaerialized satirical pictures c.1803–06 Chikuyō, Sadahideerialized sumo prints c.1804–06 Utamaro IIerialized toy pictures c.1806 Kuniyoshierialized warrior prints 1810s Kunisada tled horizontal series on rivers 1810s Yoshiharu IIō Niwaka no asobi 1810s Kunisadasei rokkasen 1810s Utamaro tled series of courtesans on fans 1811 Utamaronpan uki-e 1812 Tsukimaroa-e 1814 Utamaronpan uki-e 1820s Hokusaiyū bijin meishu awase 1820s Hokusai waka sannin 1822 Tsukimaronpan Chūshingura 1824 Eizan tled series of flower arrangements 1824–25 Eizanyū odoke hyakku 1824–25 Tsukimaroyū bijin e-kyōdai 1829 Utamaro II shi no uchi c.1831 Hokusai ji uta awase 1832 Eizanō bijin dōchū sugata 1832 Toyokuni kōmei kaiseki zukushi 1833 Kuniyasuusha butai ōgi c.1834 Eizanmō abura-e fū late 1830s Kunisadamō abura-e meisho zukushi c.1839–42 Kunisadau kurabe azuma fushigi early 1840s Kunisada c.1843–46 Kunisada tled landscape series 1847–48 Kuniharuusha mu tamagao c.1847–48 Kuniyoshiusha tōsei uchiwa c.1847–48 Kunisada adehon Chūshingura 1850 Kunisada shingura 1850 Kunisada meisho [kotanzakuban format] 1852 Kunisada hana kurabe 1852 Hiroshige eijo kagami 1852–53 Hiroshige no hana nishiki-e kurabe 1853 Sadahide i meiba kurabe 1856 Sadahidegen banji Ōmi hakkei 1856 Kunisada homare no esetsu 1856 Kuniyoshi o yashinai gusa 1856 Kuniyoshio nishiki imayō kuni zukushi 1856 Isaikai medetai zue 1856 Kunimaro ryūkō sanjūroku kaiseki 1856 Kuniyoshi tled series on Snow, Moon, and Flowers with Genji 1857 Kuniyoshi and students rd harimaze Tōkaidō” 1857 Kuniyoshi and studentsyū ikiningyō 1857 Kuniteru ashira eiyū zoroi 1857–58 Hiroshige oden gōketsu kagami 1858 Kuniyoshiyū odori zukushi 1858 Kuniyoshi gaki nanatsu iroha / Nanatsu iroha shūi 1858 Yoshiharu IIu asobi jūni toki 1859 Torinyō kumensō ningyō no uchi 1859 Kunisadamensō ningyō no uchi 1860 Kunisada and studentskun zen’aku kozō zoroi 1861 Kuniaki II meisho hyakunin bijo 1861 Kunisada II adehon Chūshingura 1861 Kuniyoshi meisho 1865 Kunisada/Kunihisa II hō Genji iro murasaki gosekku 1865 Kuniaki o yukari jūni toki 1868 Hiroshige II yō sanjūni sō 1872 Kunisada IItsushi ikoku jinbutsu 1877 Kunisada meisho kenbutsu ijin 1888 Kunisada/Gengyo yō sanjūni sō Sadahide o ji zukushi 1894 Sadahidehiro gojūsan tsugi Kunisada/Gengyo oku meisho no uchi Kunisadan-Yoshiwara Edochō Itchōme Yoshitoshi adehon Chūshingura Sadahideyō meishō kaika shinkei Kunisada IIyō kaika meishō Kunisada IIIerialized triptychs illustrating the Sino-Japanese Chikuyō Kunitoshi Shungyō

Left top 1811 Toyokuni. The acSawamura Gennosuke I as Okano Rokuyata in the play Ichinofutaba gunki, Nakamura TheatIX/1811. Ōban. National MuseumEthnology, Leiden, The NetherlanLeft bottom c.1850 Kunimaro.woman brushing worms on towith a feather, another preparichooped mulberry leaves, fromseries “Silkworm Cultivation” (Kyashinai gusa). Ōban. Asian ArtMuseum, National Museums in B

ctor Above 1822 Kunisada. The actorabe Ichikawa Omezō I as Satō Masakiyootani in the play Gion sairei shinkōki, ter, Ichimura Theater, III/1822, from anm of untitled actor series. Ōban. Collectionnds. Arendie and Henk Herwig. A trays ingm the KaikoBerlin. YAMAGUCHIYA TO– BEI 249

A A th R k M A o n M R A fr Ō M L S in is Ō L250 publishers

Above left c.1822 Kunisada. “TheAsadaya Restaurant in Namiki”, from he series “A Collection of RestaurantsRenown in These Days” (Tōji kōmeikaiseki zukushi). Ōban. Japan Ukiyo-eMuseum, Matsumoto.Above right 1854 Kunimitsu II. “Dawnof spring snow” (Haru no yuki yukarino akatsuki). Ōban triptych. Asian ArtMuseum, National Museums in Berlin.Right 1832 Kunisada. “A picture ofAkashi Bay” (Akashi-no-ura no zū),rom an untitled landscape series.Ōban. Japan Ukiyo-e Museum,Matsumoto.Left 1811 Toyokuni. The actorSawamura Gennosuke I as Hisatsugun the play Nennen saisai masago noshikawa, Nakamura Theater, III/1811.Ōban. National Museum of Ethnology,Leiden, The Netherlands.



YAMAGUCHIYA TO– BEI 251

Kawaguchiya Uhei1800s–1852Seal name: Kawaguchi; firm name: Fukusendō; family name: Kawaguchi Uhei. Located atNihonbashi Sakamotochō.Kawaguchiya Uhei started his business in the 1800s. He established a very goodrelationship with the young artist Kunisada and, in 1808, seems to have been thefirst who issued his actor prints. Shortly in 1812 Kawaguchiya served as an officicensor of prints. In 1815, he produced one of Kunisada’s best early series, “TheGreat Hits of the Stage” (Ōatari kyōgen no uchi), showing striking close-up portraof actors. Kawaguchiya’s portfolio was not restricted to actor prints alone as he alsopublished many beauty prints in his early period, like the figure to the right byEizan. Other artists were commissioned as well in this field, e.g. Kunisada, EisenToyokuni, and also Toyokuni II who designed the series “Eight Views of theYoshiwara” (Yoshiwara hakkei) in the late 1820s. In the 1820s, there was an interest in landscapes with a red cloud band in thehorizontal format that a few publishers fed and Kawaguchiya called upon ShunkII to create a small, untitled series for him. By the late 1830s, Kawaguchiya entered the market for illustrated books withSadahide who also did print series for him like “Japanese Syllabary Copybook onthe Treasury of Loyal Retainers” (Kanadehon Chūshingura). In 1851, Kawaguchiya is listed as a member of the Old Faction (Motogumi) ofthe Picture Book and Print Publishers Guild (Jihon toiya), but his business wassoon taken over by Tsujiya Yasubei, in the sixth month of 1852.Works Date Artist(s)Shinpan uki-e early 1810s Kunimitsuunserialized satirical pictures c.1810–20s Kuniyoshiunserialized beauty prints c.1811–14 Eisen, Kunisada, Toyokuniunserialized actor prints c.1812 Kunisada, Kuniyoshi, Toyokuni II, Yoshimuneunserialized pictures of flowers and birds 1815 Kunisadaunserialized warrior prints c.1816 Kunisadaunserialized Genji prints late 1810s KunisadaTōsei bijin zoroi late 1810s EizanUntitled landscape series with red cloud band late 1810s Shunkō IIBijin awase late 1810s ToyokuniSeirō jūni toki 1818 EizanŌatari kyōgen no uchi 1818–20 KunisadaUntitled series of triptychs on the Twelve Months 1820s KunisadaFūryū Yoshiwara hakkei 1821–22 EizanSeirō bijin setsugekka 1821–22 EizanSeirō gyōji hakkei c.1822–26 EizanShinpan uki-e 1824–25 EisenOatsura-e tōsei gonomi late 1820s KunisadaNana Komachi c.1826 KunisadaKeichū dōgu hakkei c.1830 KuniyasuEdo jūnishō 1830s KunisadaHaru kōka early 1840s KunisadaYoshiwara tokei nihen—Mitate hakkei c.1842–43 KunisadaTōsei bijin awase 1843 KunisadaYoshiwara hakkei c.1845–46 Toyokuni IIŌgi hakkei EisenTōryū onna shorei shitsuke kata KuniyoshiShin-Yoshiwara zensei: shichikenjin EisenKanadehon Chūshingura SadahideUo no kokoro KuniyoshiKokon honchō meijo hyaku den KuniyoshiDai Nihon rokujūyoshū no uchi Kunisada and students252 publishers

eialaitsn,kōnf

Left top c.1812 Eizan. “One to ThreeO‘clock at Night—Shigerie of theOkamotoya“ (Yoru ushi nokoku—Okamotoya uchi Shigerie),from the series “Twelve Hours of theGreen Houses“ (Seirō jūni toki). Ōban.Asian Art Museum, National Museumsin Berlin.Left bottom Late 1820s Toyokuni II.“Descending geese at the Great Gate,juxtaposed to Tsukasa of the Ōgiyaand her attendants Ageha andKochō” (Ōmonguchi no rakugan,ōgiya uchi tsukasa), from the series“Eight Views of the Yoshiwara”(Yoshiwara hakkei). Ōban. Library ofCongress.Right top 1815 Kunisada. The actorIchikawa Danjūrō VII as Kan Shōjō inthe play Sekai no hana Sugawaradenju, Ichimura Theater, XI/1814,from the series “The Great Hits of theStage” (Ōatari kyōgen no uchi). Ōban.Asian Art Museum, National Museumsin Berlin.Right bottom c.1810-20s Shunkō II.Travellers and playing children infront of Mount Fuji, from an untitledlandscape series with red cloud band.Ōban. National Museum of Ethnology,Leiden, The Netherlands.

KAWAGUCHIYA UHEI 253

Ōmiya Heihachic.1811–51Located at Nihonbashi YagenborichōThere is not much known about the publisher Ōmiya Heihachiapart from his location at Nihonbashi Yagenborichō. His earliestpublications date to 1811 when he began to issue actor printsand prints of beautiful women. Ōmiya worked most with theartist Kuniyasu during this early period of his business. The figure at the top of the opposite page from the 1810sis an example of the horizontal format that Ōmiya only rarelyproduced, here showing cherry blossom season in the Yoshiwara. The two artists Ōmiya engaged most after Kuniyasu wereToyokuni and Kunisada. Approximately two-thirds of theprints he produced were actor portraits, in most cases snapshotsfrom performances with actors depicted in full-length. He alsoproduced around two dozens large-head close-ups of actors byKunisada. Ōmiya occasionally issued warrior prints. The few examplesdate to the late 1820s such as an untitled series by Shuntei. By the late 1830s/early 1840s, Ōmiya’s productive periodended and, for whatever reason, he stopped issuing prints. Justone, an actor diptych with his publisher seal, dates from 1851,suggesting that the business still existed at that time.Works Date Artist(s)unserialized actor prints 1810s Kunisada, Kuniyasu, Toyokuniunserialized beauty prints 1818–21 Kunisada, Kuniyasuunserialized warrior prints 1820s Kunisada, Shunshō II, ShunteiUntitled series of beauties 1820s KuniyasuTōsei hana kurabe 1820s KunisadaFūryū seirō meika awase early 1820s EizanSeirō imayō bijin awase 1824–26 KuniyasuTōto meisho 1826 KuniyasuUntitled series of warriors 1827 ShunteiSumidagawa yuki no shōkei 1830s KunisadaUntitled actor series c.1833 KunisadaChūshingura mid 1830s KunisadaTōsei meibutsu kanoko early 1840s EisenImayō gosei KuniyoshiBijin awase EisenShin-Yoshiwara gosekku no uchi Sadahide Right top 1826 Kunisada. The actor Ichikawa Danjūrō VII as Tabakoya Genshichi in the play Komochi Yamanba, Kawarazaki Theater, I/1826, from an untitled actor series. Ōban. Collection Peter Rieder. Right bottom 1810s Kuniyasu. Geisha getting dressed, from an untitled series of beauties. Ōban. Collection Erich Gross, Switzerland.254 publishers



Above 1810s Kuniyasu. “Newperspective print—Picture ofNakanochō in New-Yoshiwara duringcherry blossoms” (Shinpan uki-eShin-Yoshiwara Nakanochō sakurano zu). Ōban. Asian Art Museum,National Museums in Berlin.Right 1820s Shuntei. Ichijō JirōTadanori and Noto-no-kamiNoritsune, from an untitled series ofwarriors. Ōban. Library of Congress.Unlisted in Iwakiri 1996..

O– MIYA HEIHACHI 255

Jōshūya Jūzō/Jūbeic.1812–76Seal name: Jōjū; firm name: Kinjūdō. Located at Nihonbashi Ningyōchō-dōriGakuyajinmichi Kado, later Nihonbashi Ningyōchō-dōri Motoōsakachō Daichi Kado(around 1851), then Nihonbashi Ningyōchō-dōri Chōgorō-yashiki (from c.1852).Jōshūya Jūzō started in the publishing business around 1823 by issuingseries of Kunisada’s beauties and actors. He occasionally engagedToyokuni for actors and sometimes Shuntei for warrior prints. As he concentrated on the highly competitive actor prints market,business was rather slow during the early 1830s. Most of the prints heissued show the actors in full-length and he rarely produced half-length actor portraits like the figure below from an untitled seriesissued in 1839. Next to this untitled series by Kunisada, he issued atthe same time similar bust portraits by Kuniyoshi as well. In the early 1840s Jōshūya returned to his early years and producedmore beauty prints, but still kept the actor market as his main focus. By the 1860s, Jōshūya discovered the interest in foreigners and otherunfamiliar objects and issued many prints for this market segment.The two figures at the top of the opposite page are some examples ofthis trend. The figure on the right shows a print by Hiroshige II titled“Amerika,” and the figure on the left depicts a big imported elephantby Yoshiiku. In 1851, Jōshūya is listed as a member of the New Faction ( to b d t J o J t w h w e su b fi L Ic th K a p M256 publishers

Works Date Artist(s)unserialized actor prints 1823 Kunisada, Kuniyasu, Kuniyoshi, 1825 Sadafusa, Toyokuni, Yoshitsuyaunserialized warrior prints or historical pictures 1826 Hiroshige II, Kunisada, Shuntei, Yoshiikuunserialized satirical pictures 1840–45 Kyōsaiunserialized beauty prints c.1840 KunisadaGenji awase no uchi 1842–43 KunisadaUntitled series of horizontal prints with eight actor 1845–46busts c.1845–46 KunisadaMitate yakusha rokkasen 1852Ukiyo nenjū gyōji 1853 ToyokuniShōtoku Taishi go-ichidaiki 1855 KunisadaYamato kōmyō retsujo kagami 1855 KuniyoshiUkiyo jūnishi 1861 Kunisada 1863 KunisadaDai Nihon rokujūyoshū no uchi 1863 Kunisada and students, Kuniyoshi and 1868 studentsKodai imayō shikishi awase 1870s Kunisada/Kiyomitsu IIHodo Yoshitsune koi no Minamoto ichidaiki [later ed.] 1873–75 KuniyoshiShinpan Chūshingura 1876 KuniteruSetsugekka KuniteruGaikoku nyusen no uchi Hiroshige II, YoshitomiKyoku musubi osana e-tehon Kyōsai Hiroshige II, Kunisada, Yoshiiku,“Go-jōraku Tōkaidō” Yoshimune, Yoshitsuya Kunisada IIShashin bijin kagami Hiroshige IIBankoku nyusen sugoroku [game board] KyōsaiIsoppu monogatari no uchi Hōshū, Kunisada IIIDai Nihon koku eiri shinbun(Karigumi) of the Picture Book and Print Publishers Guild (Jihonoiya). There has been some confusion with the publisher’s first namebeing Jūzō, Jūshichi or Jūbei, as the seals that Jōshūya mostly useddo not tell that information. One source tells us that Jūzō inheritedthe business in the second month of 1862 from his father Jūbei andJūzō’s son was Jūshichi. Another source says that in the ninth monthof 1863 the son Chiyomatsu inherited the business and took the nameJūzō. However, an inheritance in 1862/63 by Jūzō is contradicted bythe name Jūzō appearing on some prints from the 1830s and 1840s aswell as being listed in the list of Guild members from 1851. Jūzō musthave run the business by the 1830s at the latest. In fact, it was Jūbeiwho inherited the business from Jūzō as a game board by Hiroshige IIexists, “Foreign Ships Calling at Port Game Board” (Bankoku nyusenugoroku), with his name on it. Unfortunately a date for this gameboard could not be verified. The last known prints by the publishingfirm Jōshūya date to 1876.Left 1839 Kunisada. The actorchikawa Ebizō V as Abe Munetō in he play Ōshū Adachigahara,Kawarazaki Theater, IX/1839, froman untitled series of half-length actorportraits. Ōban. Japan Ukiyo-eMuseum, Matsumoto.

Left top 1863 Yoshii“Picture of a newly imbig elephant from ov(Shindo hakurai daizŌban. Library of CongLeft bottom 1852 Kuand Kiyomitsu II. ThIchikawa Ebizō V as Kand Shibaraku, from“Comparison of ancimodern times on calpaper” (Kodai imayōawase). Ōban. JapanMuseum, Matsumoto.

iku. Above 1860 Hiroshige II. mported “America” (Amerika). Ōban. verseas” Library of Congress. Yoshida 1991, zō no zu). p. 8.gress. unisadahe actor Kugeakum the series ient and lligraphyō shikishi Ukiyo-e . JO– SHU– YA JU– ZO– /JU– BEI 257

Yamamotoya Heikichic.1812–86Firm name: Eikyūdō; family name: Yamamoto Heikichi. Located at NihonbashiYoshichō Kawagishi.The publishing firm Eikyūdō was first operated by a YamamotoKyūbei from c.1805 until 1811. Presumably in 1812, Heikichi tookover, who might have been some kind of relative to Kyūbei. Yamamotoya became one of the top five most active publishers inthe history of Japanese woodblock prints. Strong in all fields, he hadpublished from his early days on actor prints and prints of beautifulwomen in almost equal amounts. the figure at the top of the oppositepage is an example of the numerous actor prints Yamamotoya issued,most by artists of the Utagawa school who dominated this field inthe nineteenth century. This is a diptych by Toyokuni from 1820. Beyond these two best-selling fields Yamamotoya issued other,rather unusual prints and commissioned well-known as well assecond tier artists, such as an untitled series of perspective printsdesigned by Kunitora in the 1820s. His output in the 1830s and 1840s was enormous and at thattime he seemed to have rarely produced illustrated books like otherpublishers and instead concentrated fully on prints. By the mid1840s, Yamamotoya issued one of the rare series on the eleventhcentury Tale of Genji (Genji monogatari), “Illustrations of Genji-Incense” (Genji-kō no zu) by Kunisada. With Kuniyoshi, Yamamotoya also did warrior prints as triptychsbut also series of single sheets such as “The One Hundred andEight Heroes of a Popular Water Margin” (Tsūzoku suikoden gōketsuhyakuhachinin no uchi) from the mid 1840s until the early 1850s. In 1851, Yamamotoya is listed as a member of the Old Faction(Motogumi) of the Picture Book and Print Publishers Guild (Jihontoiya). He continued to issue a broad range of prints but, generallyspeaking, Yamamotoya’s publications mainly served the mainstreaminterest and are not very remarkable. A continuous production andmarket presence seem to have been the main goal and he publishedalmost 800 compositions by Kunisada alone. In the sixth month of 1865, the son Kinjirō inherited the businessand took the name Heikichi. He continued until c.1886 by issuingactor prints by Chikanobu and others.Opposite bottom left c.1845-46 hyakuhachinin no uchi). Chūban.Kunisada. “Maboroshi”, from the Collection Erich Gross, Switzerland.series “Illustrations of Genji-Incense” Robinson 1982, no. S47.17.(Genji-kō no zu). Chūban. Collection ofthe author. Opposite top 1820 Toyokuni. The actors Ichikawa Danjūrō VII asOpposite bottom right c.1844-45 Yazama Jūtarō and IchikawaKuniyoshi. Ryūchitaisai Genshōji, Monnosuke III as Orie in the playfrom the series “The One Hundred Kumiawase iroha no tatemae,and Eight Heroes of a Popular Water Kawarazaki Theater, VII/1820. ŌbanMargin” (Tsūzoku suikoden gōketsu diptych. Collection Arendie and Henk Herwig.258 publishers

Works Date Artist(s)unserialized actor prints Chikanobu, Kunichika, Kunisada,unserialized beauty prints 1816–17 Kunisada II, Kunitora, Kuniyasu, late 1810s Kuniyoshi, Toyokuni, Toyokuni IIunserialized Genji prints late 1810s Kunisada, Kunisada II, Sadahide,unserialized landscape prints late 1810s Toyokuni late 1810s Kunisadaunserialized warrior prints or historical pictures 1820 Kunitora 1820–21 Kunisada, Kuniyoshi, Shuntei,Yakusha kōmei kaiseki ryōri 1820s YoshitoraGojūgomai tsuzuki no uchi 1820s KunisadaMusume zoroi shiki no asobi 1822 Shunkō IISeirō mu tamagawa no uchi 1823 EizanGonin bijo 1823 EizanEdo hakkei late 1820s ToyokuniTōsei Edo kanoko late 1820s KunisadaUntitled series of perspective prints c.1829 KunisadaUntitled series of landscapes c.1829 KunitoraShichi henge shosagoto 1830 Shotei HokujuYakusha tōsei kagami 1830 ToyokuniEnmusubi myōto hyōban early 1830s ToyokuniBijin awase early 1830s KunisadaImayō sugata 1832 Toyokuni IIImayō mitate Chūshingura c.1834 Toyokuni IIImayō sugata mitate Chūshingura c.1834 EisenTsuki to yukihana shosagoto no uchi c.1836–38 EisenEdo hanami zukushi early 1840s Toyokuni IIGonin bijo 1843 KunisadaUntitled series of warrior prints with blue background c.1843–46 Toyokuni IIMitate Chūshingura c.1843–46 Toyokuni IIŌmi hakkei no uchi c.1843–46 Toyokuni IIKanadehon Chūshingura c.1843–47 HiroshigeTsuki no kage shinobiau yo 1844–46 KunisadaEdo meisho shiki no uchi c.1845–47 KunisadaHaisen juttetsu no uchi c.1845–53 SadahideNikkōzan meisho no uchi mid 1840s KunisadaKasen no tamagawa 1847 EisenKoka no tamagawa 1847–48 SadahideTōto meisho [horizontal format] c.1847–48 SadahideGenji-kō no zu 1847–50 HiroshigeTenmangū goden emaki 1848–49 KunisadaTsūzoku suikoden gōketsu hyakuhachinin no uchi c.1848–49 SadahideEdo hakkei c.1849–51 KuniyoshiRyūkō neko no tawamure 1852 EisenChūyū gishin roku 1852–53 KuniyoshiMitate Chūshingura 1854 KunisadaSasaki Miyamoto—Eiyū nitō den 1856 KuniyoshiKachō fūgetsu no uchi 1857–58 KunisadaTaiheiki eiyūden 1860 KunisadaIgagoe dōchū sugoroku 1863 KuniyoshiGetsusekka no uchi 1865 KuniteruTōto ryūkō sanjūroku kaiseki 1876 Kunisada IITenfujaya adachi c.1879–82 Kuniyoshi and studentsKiyogaki nanatsu iroha / Nanatsu iroha shūi 1883 KuniyoshiEdo meisho hyakunin bijo KunisadaKanadehon Chūshingura Kunisada/Kunihisa II“Go-jōraku Tōkaidō” Kunisada/Kunihisa IITōsei gofun onna Kunisada II, SadahideKaika osanahaya gakumon Kunisada IITōkyō kakusha erinuki shinbun Kunisada IIIShinsen Taikōki Kunisada III, Shōsō Toyonobu



YAMAMOTOYA HEIKICHI 259

260 publishers



Left top 1820s Kunitora. “View of Dutch Ship Left bottom 1819 ToyokuEntering the Harbor of Rhodes” (Rokosu tō no Nakamura Shikan I as Kurminato Oranda fune nyūshin no zu), from an Onnagori oshie no mazebuntitled series of perspective prints. Ōban. Theater, IX/1819, from theAsian Art Museum, National Museums in Berlin. farewell performance in n transformations” (On-nag kyūhenge shosagoto no u Collection Arendie and Hen at top, right, and bottom.]

uni. The actor Below 1859 Kunisada. The actors Ichimura ronbō in the play Uzaemon XIII as Onzōshi Ushiwakamaru andbari, Nakamura Ichikawa Kodanji IV as Benkei in the play e series “The Hashi Benkei, Ichimura Theater, IV/1859.nine dance Ōban diptych. Collection Arendie and Henk gori kyōgenuchi). Ōban. Herwig.nk Herwig. [Image cut YAMAMOTOYA HEIKICHI 261

Tsujiokaya Bunsukec.1814–96Seal name: Tsujibun; firm name: Kinshōdō; family name: Tsujioka Bunsuke. Located atNihonbashi Sakaichō Gakuyajinmichi (c.1849–52), Nihonbashi Iwashirochō (around1851), Ryōgoku Yokoyamachō Sanchōme 2-banchi (at least from 1855).Tsujiokaya Bunsuke published actor prints by Toyokuni beginning around1814. His output decreased significantly during the late 1820s and early1830s. In the late 1830s and early 1840s, he picked up again and becamemore active by issuing some minor series of Kuniyoshi and Kunisadarespectively. But it was not until the late 1840s when Tsujiokaya’s businessfinally boomed through issuing Kunisada’s actor prints. In 1852, together with other publishers, he jointly issued half-lengthactor series by Kunisada such as “Sixty-nine Stations along the KisoHighway” (Kiso rokujūkyū tsugi). By 1851, Tsujiokaya was a member ofthe New Faction (Karigumi) of the Picture Book and Print PublishersGuild (Jihon toiya). Tsujiokaya then became a member of the Old Faction(Motogumi) of the Guild by taking over the business of the long establishedpublisher Tsuruya Kiemon in the fourth month of 1852. In addition to commissioning the leading print artists, Tsujiokaya alsoengaged second tier artists like Kunihisa II and Hirokage. The latteralmost exclusively worked for Tsujiokaya. Bestselling were the comicalseries “Joyful Events in Famous Places in Edo” (Edo meisho dōke zukushi)which appeared from 1859 until 1861, and “Fifty-three Stations along theTōkaidō” (Tōkaidō gojūsan tsugi) from 1860, which Hirokage jointly drewwith Kuniyoshi. In the mid-1850s, Tsujiokaya discovered illustrated books as a lucrativebusiness and he continued to be active in this field until his final years.By the late 1860s, this field became more important to Tsujiokaya thanpublishing prints. Four about fifteen years, Kunisada II was the foremostillustrator of Tsujiokaya’s books. He was followed by Eitaku who didillustrations for Tsujiokaya for about ten years. The last known publicationby Tsujiokaya dates to 1896. At least one actor triptych from 1880 isknown by a publisher named Tsujioka Bun’ya, located at the same addressas Tsujiokaya Bunsuke. It can be assumed that both were related to someextent.262 publishers

Works Date Artist(s)unserialized actor prints c.1837 Kunichika, Kunihisa II, Kunisada, Kuniyoshi, c.1840 Toyokuni, Yoshifuji, Yoshiharu IIunserialized beauty prints c.1849–51 Kunisada, Kunisada II, Toyokuni, Yoshitsuyaunserialized Genji prints 1850–51 Kunisadaunserialized landscape prints 1852 Hiroshige III, Kuniteru II, Kuniyoshiunserialized satirical pictures 1852 Hirokage, Hiroshige II, Kuniyoshi, Yoshitsuyaunserialized warrior prints or historical pictures 1852 Hirokage, Yoshitoshi, Yoshitoyo, YoshitsuyaUntitled series of water creatures 1852 KuniyoshiKintarō zukushi 1852–53 KuniyoshiTōto hana kurabe 1854 YoshifujiChūtei gifu den 1854 KunisadaShinpan Chūshingura jūnidan zoku 1855 YoshifujiDai Nihon rokujūyoshū 1856 KunisadaKiso rokujūkyū tsugi 1856–57 KunisadaYakusha mitate Tōkaidō gojūsan tsugi 1857 KunisadaKisokaidō rokujūkyū tsugi no uchi 1858 KuniyoshiHizakurige gojūsan tsugi 1859–61 KuniyoshiKanadehon Chūshingura 1860 KuniyoshiHonchō musha kagami 1860 KuniyoshiNagashira eiyū zoroi 1860 KuniyoshiHonchō musha kagami 1860–61 YoshitsuyaKawanakajima ōkassen kumiuchi zukushi 1861 YoshitsuyaNureginu onna meijin ōmi hachiyū no uchi 1861 Kunisada/Kunihisa IIEdo meisho dōke zukushi 1861 HirokageTōkaidō gojūsan tsugi 1861 Kuniyoshi/HirokageShaka hassō ki imayō utsushi-e 1861 Kunisada IITōto Fuji sanjūrokkei 1862 KunisadaNise Murasaki Genji sugata 1862–63 Kunisada IIYokohama shōka ijin no zu 1863 SadahideBankoku jinbutsu no uchi 1864 Kuniaki IIGokakoku no uchi 1865 Kunihisa IITōgo ichidaiki 1865 YoshitsuyaKi no ji zukushi 1865 KunisadaKanadehon Chūshingura 1866 YoshifujiUme no haru kasumi no hikisome 1866 Kunichika, Kunitaka“Go-jōraku Tōkaidō” 1867 Kunisada, Yoshimune, YoshitsuyaKyōsai manga 1870 KyōsaiHanasakari gakuya no sugatami 1871 KunichikaSuehiro gojūsan tsugi 1872 Kuniteru II, SadahideShin-Yoshiwara Edochō Nichōme 1874 Yoshiharu IIMitate sanjūrokkasen c.1874 FusataneKinka shichi henge no uchi 1876 Kunisada IIGenji kachō fūgetsu no uchi 1877 FusataneTatsumi no hana zensei kurabe 1883–84 YoshiikuGojūsan tsugi no uchi 1886 KunichikaTōkyō Yokohama meisho ichiran zue 1894–95 Hiroshige IIITōkyō kaika meikei kurabe Kunisada IIITōkyō nichinichi shinbun [later ed.] YoshiikuMitate Fuji jūrokkei KunichikaKagoshima kibun FusataneKokon Tōkyō meisho Hiroshige IIITōkyō meishō zu Kunitoshiunserialized triptychs illustrating the Sino-Japanese War Ginkō, Toshihide

Above 1852 Kunisada. The actor Right top1860 Hirokage andSeki Sanjūrō III as Hōkaibō Kuniyoshi. Shinagawa, from thejuxtaposed to Koiiwa at series “Fifty-three Stations along theTsumagome, from the series Tōkaidō” (Tōkaidō gojūsan tsugi).“Sixty-nine Stations along the Kiso Ōban. Collection Arendie and HenkHighway” (Kiso rokujūkyū tsugi). Herwig. Robinson 1961, no. 224.Ōban. Asian Art Museum, NationalMuseums in Berlin. Right bottom 1859 Hirokage. “Thirteen—Prospect ofLeft 1853 Kunisada. “Catching Kasumigaseki” (Kasumigaseki noFire-Flies at the Sumida River” chōbō), from the series “Joyful(Sumida no hotarugari). Ōban Events in Famous Places in Edo” (Edotriptych. Japan Ukiyo-e Museum, meisho dōke zukushi). Ōban.Matsumoto. Collection of the author.

TSUJIOKAYA BUNSUKE 263

Kagaya Kichibeic.1851–1902Seal name: Kagakichi; firm name: Seiseidō; family name: Tsutsumi Kichibei.Located at Ryōgoku Hirokōji Yonezawachō Itchōme Minamigawa, from 1886 atNihonbashi Yoshikawachō.By the mid 1810s, the firm Seiseidō, which was at that time owned byKagaya Kichiemon, started to issue prints. The beauty series “FiveShades of Ink in the Northern Quarter” (Hokkoku goshiki zumi) byKunisada seems to be the first of their publications. However, businessseems to have been rather slow as not much else is known until the late1820s when they began to issue Kuniyoshi’s quickly popular warriorseries “One Hundred and Eight Heroes of a Popular Water MarginAll Told” (Tsūzoku suikoden gōketsu hyakuhachinin no hitori). Manymore prints of warriors by Kuniyoshi followed until the mid 1830s andKagaya clearly dominated the scene. The success with Kuniyoshi’swarriors gave Kagaya a better standing in the highly competitive printmarket. In the 1830s he was also active in issuing actor prints andsome prints of beautiful women. In the 1840s, Kagaya’s output again decreased significantly. Thischanged when the firm was run by Kagaya Kichibei from c.1851. In1851, Kagaya is listed as a member of the Old Faction (Motogumi)of the Picture Book and Print Publishers Guild (Jihon toiya). In thesecond half of the 1850s we can record a larger amount of actor printsand an engagement in the publication of prints from the Edo periodnovelette “A Country Genji by a Fake Murasaki” (Nise Murasaki inakaGenji) as the motif. In the second month of 1862, Kagaya Kichibei’s son Otojirōinherited the business and became Kichibei II. He succeeded in264 publishers

Works Date Artist(s)unserialized toy pictures Kunitoshiunserialized actor prints Kakushi, Kunichika, Kunisada, Kunisada III, Yoshiikuunserialized Genji prints 1858 Kunisada, Yoshiikuunserialized landscape prints 1858 Hiroshige III, YoshitoraHonchō eiyū kagami 1861 KuniyoshiGonin danjo no uchi 1861 KunisadaGenji gappitsu shiki 1861 Kunisada/Hiroshige IIHana zoroi gonin otoko 1862 KunisadaKi no ji zukushi 1863 KunisadaYoi matsuri tōsei sugata 1863 KunisadaGenji shiki no yūran 1864–65 FusataneNijūshiko imayō bijin 1865 KunisadaMitate Genji kinkishoga no uchi 1865 KunisadaKyōkaku ha-uta gonindate 1866 KunichikaSuehiro gojūsan tsugi 1866–69 Kuniteru IITōsei zōshi awase 1867 YoshiikuEmakimono gojūyojō 1869 Kunisada IIKotoba no hana hiraku suehiro 1870 Kunichika, Kuniteru IIRyōgoku hakkei no uchi 1874 YoshiikuRyūkō Ryōgoku jiman 1877 YoshiikuTōkyō meisho no uchi 1878 Kuniteru IIunserialized triptychs illustrating the Satsuma Rebellion Hayakawa ShōzanEmakimono gojūyojō 1894 Yoshitoraunserialized triptychs illustrating the Sino-JapaneseWar Nobukazucontinuing the, at that time, successful business and engagedmany more artists, including unknown ones like MyōrindōKakushi. In Yoshitora, Kagaya found a good artist to workwith and they not only collaborated on unserialized prints butYoshitora also illustrated a large number of books for him fromthe late 1860s until early 1880s. In the Meiji period, booksbecame the main business over prints for Kagaya, who sealedwith the family name Tsutsumi Kichibei beginning 1876. Thebusiness continued at least until 1902. Left 1862 Myōrindō Kakushi. The actors Bandō Hikosaburō V as Teraoka Heiemon and Sawamura Tanosuke III as Okaru in the play Kanadehon Chūshingura, Nakamura Theater, III/1862. Ōban diptych. Collection Erich Gross, Switzerland. Right top 1865 Yoshitora. “America” (Amerikakoku). Ōban triptych. Library of Congress. Right c.1827-30 Kuniyoshi. Rōrihakuchō Chōjun forces apart the part of a water-gate, from the series “One Hundred and Eight Heroes of a Popular Water Margin All Told” (Tsūzoku suikoden gōketsu hyakuhachinin no hitori). Ōban. Library of Congress. Robinson 1982, no. S2-49. Far right 1815 Kunisada. A high-ranking courtesan with paper in her mouth, from the series “Five Shades of Ink in the Northern Quarter” (Hokkoku goshiki zumi). Ōban. Japan Ukiyo-e Museum, Matsumoto.



KAGAYA KICHIBEI 265

Ibaya Senzaburōc.1815-69Seal name: Ibasen; firm name: Dansendō. Located at Nihonbashi Horiechō Itchōme.Ibaya Senzaburō specialized in fan prints showing a Kunisada, dated tobroad range of subjects. He started around 1815 opposite page is a fwith actor portraits by Toyokuni and Kunisada but two beauties.soon also issued portraits of beautiful women bythese artists. The figure at the top left opposite page, Ibaya issued alsofrom 1817, is an example of these early fan prints, formats, instead ofshowing two actors by Toyokuni. In the 1830s, Ibaya are the series “Warrbegan to publish designs by Hiroshige which soon nazora-e Genji) by Kturned out to be very popular. Hiroshige understood importantly, the serhow to use the unusual format in his favor and the One Hundred Poetseveral hundred fan prints he designed became an nazora-e hyakunin iimportant part of his oeuvre. With at least twenty and Kunisada, publseries plus several unserialized prints, Ibaya was the Ibaya was a membeforemost producer of Hiroshige’s fan prints but also of the Guild of Pictof Kunisada’s (over 140 different designs) and (Jihon toiya) and alsKuniyoshi’s. The figure below is an example from the Fan Producers (Uchjoint series “A Tour of Seven Hot Springs by Two publication is an unBrushes” (Sōhitsu nanato meguri) by Hiroshige and by Yoshiiku from 1266 publishers

1854. The figure at the top right Right 1817 Toyokuni. The actorsfan print by Kuniyoshi showing Onoe Kikugorō III as Magodayū’s daughter Otsuru and Bandōo a small number of prints in other Mitsugorō III as Gokumon Shōbei in fan-shape. Amongst them in the play Kokomo sakura Soga riors in Allusion to Genji” (Buyū no minato, Nakamura Theater, Kuniyoshi from c.1843, and, most III/1817 Fan print Publisher: Ibayaries “Imitations of the Ogura Senzaburō Collection Arendie & ts, One Poem Each” (Ogura Henk Herwig, The Netherlands.isshu) by Kuniyoshi, Hiroshige,lished from c.1845-48. In 1851, Below 1854 Kunisada ander of the New Faction (Karigumi) Hiroshige “Miyanoshita,” from ture Books and Prints Publishers the series “A Tour of Seven Hotso a member of the Guild of Springs by Two Brushes”hiwa toiya). Ibaya’s last known (Sōhitsu nanato meguri)ntitled series of kabuki fan prints Fan print Publisher: Ibaya Senzaburō Japan Ukiyo-e Museum, Matsumoto1869. Ref.: Not listed in Sakai 1981, p. 230, fan print no. 56

Works Date Artist(s)unserialized actor prints 1822 Kunisada, Kuniyoshi, Toyokuni 1828 Kunisada, Kunisada II, Kuniyoshi,unserialized beauty prints 1829 Toyokuni 1832 Kunisadaunserialized sumo prints 1835 Kuniyoshi, Yoshifujiunserialized warrior prints 1838-39 ToyokuniImayō jūnikagetsu c.1840 KunisadaTōsei rokkasen [fan prints] c.1842-46 KunisadaSuikoden [fan prints] 1843 SadahideŌedo jikkei no uchi [fan prints] c.1843 HiroshigeEdo meien [fan prints] c.1843 HiroshigeUra omote ekiji hakkei [fan prints] c.1843-45 KuniyoshiFukurokuju atama no tawamure c.1843-46 HiroshigeTōto meisho yuki no sankei [fan prints] c.1843-46 KuniyoshiKenjo hakkei c.1843-46 KuniyoshiBuyū nazora-e Genji c.1843-46 KuniyoshiNita ka kingyo c.1844 HiroshigeShokoku meisho [fan prints] 1845 HiroshigeChūkō adauchi zue HiroshigeSoga monogatari zue c.1845 KuniyoshiRyūkō dōke koma zukushi HiroshigeEdo hakkei [fan prints] c.1845 KuniyoshiKenjo reppuden c.1845 KuniyoshiOshi-e hagoita c.1845Honchō suikoden gōketsu happyakunin no hitori [later c.1845 Kuniyoshied.] c.1845-1848Mitate jūnishi c.1846-47 KuniyoshiSuikoden gōketsu hyakuhachinin [later ed.] 1847 KuniyoshiYomairi hakkei c.1847-51 KuniyoshiTōkaidō gojūsan tsui 1848 Hiroshige, KuniyoshiOgura nazora-e hyakunin isshu 1849 Hiroshige, Kunisada, KuniyoshiSumō hanei tamari iri no zu 1849-51 KunisadaNidakaragura kabe no mudagaki 1849-51 KuniyoshiHakone shichitō zue [fan prints] c.1849-51 HiroshigeMitate gedai zukushi 1850 KuniyoshiGosekku no uchi [fan prints] 1850 Kunisada and studentsSugata hakkei 1851 KunisadaAtsura-e Benkei konomi [fan prints] 1851 KunisadaFuji sanjūrokkei no uchi [fan prints] c.1851 Hiroshige“First harimaze Tōkaidō” 1852 HiroshigeTōsei meikasen 1852 KunisadaKyōkun iroha tatoe 1853 KunisadaMitate Sugawara [fan prints] 1854 KunisadaHakone shichitō meguri [fan prints] 1854 HiroshigeJōrurichō hanka no zu 1855 HiroshigeSuzumi chōchin sakari no nanakusa 1856 KunisadaRoku yōmori [fan prints] 1857 KunisadaSōhitsu nanato meguri [fan prints] 1857 Kunisada/HiroshigeGenji setsugekka [fan prints] 1857 HiroshigeMitate Sanbasō [fan prints] 1858 Hiroshige, Kunisada, KuniyoshiEdo meisho mitate sankō [fan prints] 1858 HiroshigeTōto meisui kagami [fan prints] 1859 HiroshigeTōto meisho [fan prints] 1864 HiroshigeHauta no kokoro [fan prints] 1869 KunisadaHauta no kokoro nihen [fan prints] KunisadaŌyama dōchū harimaze zue HiroshigeFūga joshi den [fan prints] KunisadaShokoku meisho [fan prints] Kunisada/Hiroshige IIUntitled series of kabuki fan prints Yoshiiku

Above 1846 Hiroshige. No. 78: The Top c.1842-46 Kuniyoshi. Shinraactor Nakamura Utaemon IV as Manzō Fan print Publisher: IbayaKumagai Jirō Naozane juxtaposed to Senzaburō Collection Gisela Müller andthe poet Minamoto no Kanemasa, Erich Gross, Switzerland.from the series “Imitations of theOgura One Hundred Poets, One PoemEach” (Ogura nazorae hyakuninisshu) Ōban Publisher: Ibaya SenzaburōJapan Ukiyo-e Museum, MatsumotoRef.: Sakai 1981, p. 253, ōban no. 11.28.IBAYA SENZABURO– 267

Tsutaya Kichizōc.1820–90Seal name: Tsutakichi; firm name: Kōeidō; family name: Hayashi Kichizō. Locatedat Kyōbashi Nantenmachō Itchōme.Active from c.1820 until 1890, Tsutaya Kichizō published anenormous amount of prints and was successful with a number of seriesby different artists, especially from the 1830s to early 1860s. In the1820s, Tsutaya first issued series of beautiful women by Eisen and actorprints by Kunisada. Prints of warriors and sumo wrestlers were addedto the portfolio in the 1830s as were illustrated books by various artists.Tsutaya developed an interest in the Tōkaidō theme and issued Eisen’stwo beauty series related to the Tōkaidō. The figure at the bottom leftof page 271 shows the station Hakone from the second and untitledTōkaidō series that was issued around 1837. Eisen’s Tōkaidō series werethen followed by Kuniyoshi’s landscape Tōkaidō series that Tsutayapublished together with Tsuruya Kiemon in the late 1830s. In the late1840s, Tsutaya started to issue works by Hiroshige, and once again aTōkaidō series was published, known as “Tsutaya ban Tōkaidō” (Tōkaidōpublished by Tsutaya). This series, however, was not nearly as popularas Hiroshige’s so-called “Tate-e Tōkaidō” (Vertical Tōkaidō) thatTsutaya published in 1855. In 1848, Tsutaya issued the first issues of the serial novel “Book ofthe Dogs” (Inu no sōshi); the early volumes were illustrated by Kunisadaand written by Ryūtei Senka (1806–1868). Until 1874, 56 volumesappeared of this popular story. By 1851, Tsutaya was a member of theOld Faction (Motogumi) of the Picture Book and Print PublishersGuild (Jihon toiya), issuing works by many different artists likeKunisada II’s series “The Tale of the Eight Dog Heroes” (Hakkendeninu no sōshi no uchi) dated to mid 1852. The biggest hit that Tsutayalanded with Hiroshige was “Thirty-six Views of Mount Fuji” (Fujisanjūrokkei) in 1858. This very successful series was one of Hiroshige’sfinal masterworks that he completed in the year of his death. In the second month of 1862, Tsutaya Kichizō’s son Zenzō inheritedthe business and took the name Kichizō. However, he did not succeedin producing many remarkable series. Outstanding is “Reflections ofGenji’s Fifty-four Chapters” (Omokage Genji gojūyonjō), a joint seriesby Kunisada II and Hiroshige II published from 1864 until 1865. Thefigure at the top left of the opposite page shows a later edition of the28th design from this series, titled “Nowaki.” In the 1870s, Tsutayaproduced works by Ikkei, Hiroshige III, Chikanobu and others.Publications appeared under the family name Hayashi Kichizō from1876 until c.1890 when the business came to an end.Opposite top left 1864 Kunisada II and Tōkaidō” (Vertical Tōkaidō). Ōban.Hiroshige II. “No. 28—Nowaki”, from Japan Ukiyo-e Museum, Matsumoto. Sakaithe series “Reflections of Genji’s 1981, p. 252, ōban no. 24.43.Fifty-four Chapters” (Omokage Genjigojūyonjō). Ōban. Collection of the Opposite bottom c.1847–48 Hiroshige.author. Yoshida 1991, p. 13. “No. 6—Totsuka”, from the series “Tōkaidō—The Fifty-three Stations”Opposite top right 1855 Hokusai. “No. (Tōkaidō—Gojūsan tsugi no uchi),43, Kuwana—Ferryboats at Shichiri” known as “Tsutaya ban Tōkaidō”(Kuwana, Shichiri no watashibune), (Tōkaidō published by Tsutaya).from the series “Famous Sights of the Chūban. Library of Congress. Sakai 1981,Fifty-three Stations” (Gojūsan tsugi p. 236, horizontal chūban no. 23.6.meisho zue), known as “Tate-e268 publishers

Works Date Artist(s)jōrūri and gidayū libretti 1820s Kunichika, Kunisada, Kunisada II, Kunisada IIIunserialized actor prints 1820s Kunisadaunserialized beauty prints early 1820s Kunisada, Kunisada IIunserialized Genji prints c.1820 Eisai, Yoshitsunaunserialized landscape prints c.1824–25 Kunisadaunserialized sumo prints 1826 Hiroshige III, Kuniyoshi, Toshinobu, Yoshitsuyaunserialized warrior prints or historical pictures late 1820s EisenShokoku Fuji zukushi 1830s KuniyasuKeisei mitate hakkei 1830s EisenYoshiwara hakkei 1830s EisenMitate gessekka 1831 EisenKeisei dōchū sugoroku—Mitate Yoshiwara gojūsan tsui 1832–33 KunisadaMitate Chūshingura 1836–38 EisenKeisei rokkasen 1837–40 EisenShin-Yoshiwara yūkun nana Komachi c.1837 SenchōKeisei hana kurabe late 1830s SenchōZensei azumei fūkei c.1838–42 KunisadaŌatari kyōgen zukushi 1840 KunisadaUntitled series of actors in mirror reflections 1840–42 KunisadaEdo sugata hakkei c.1843 KunisadaYakusha tōsei ka-ga-mi c.1843–46 Eisen“Bijin Tōkaidō“ c.1847–48 EisenYoshiwara bijin c.1848–51 KuniyoshiTōkaidō gojūsan tsugi c.1848–51 KunisadaJūnikagetsu no uchi 1851 KunisadaEdo meijo zue 1852 YoshitoraShinpan Kanadehon Chūshingura jūichidan 1852 EisenJūnikagetsu no uchi 1852 Hiroshige“Tsutaya ban Tōkaidō” 1852–53 Kunisada IIŌmi hakkei no uchi 1854 KuniteruSetsugekka no uchi 1854 Kunisada IITōsei bijin kurabe 1854 Kunisada IIHakkenden inu no sōshi no uchi 1854 Kuniyoshi and studentsSankai medetai zue 1855 KunisadaKiso rokujūkyū tsugi 1856 KunisadaYakusha mitate Tōkaidō gojūsan tsugi 1857 HiroshigeUntitled series of pictures of flowers and birds in chūtanzaku 1857 HiroshigeUntitled series of views of the provinces in chūtanzaku 1857 KunisadaChūshingura 1857 KunisadaJūnikagetsu no uchi 1858 Hiroshige“Tate-e Tōkaidō” 1858 Yoshiharu IIBuyū kōmei kumiuchi sen 1858–60 Kunisada IIMurasaki Shikibu Genji karuta 1860 Kunikiyo IIChūshingura 1860–61 YoshitsuyaGishi youchi zu 1860–61 HiroshigeSangū jōraku dōchū ichiran sugoroku [game board] 1861 HiroshigeFuji sanjūrokkei 1862 Kunisada IIGenji imayō emaki 1863 SūgakudōShō utsushi shijūhattaka 1863–67 Kunisada IIImayō Genji emaki 1864 Hiroshige IIEdo meisho yonjūhakkei 1864–65 KunisadaMeigi sanjūrokkasen 1866 Kunisada IIGōketsu shichidō kurabe 1869 Hiroshige IIShokoku rokujūhakkei 1870 Kunisada IIHaiyū maki-e no sakazuki, shijūhachi mai-e no uchi 1871 Hiroshige IITōkaidō 1871 YoshitsuyaHisago gundan gojūyojō 1872 Hiroshige II/Kunisada IIOmokage Genji gojūyojō 1873 Hiroshige IISanjūrokkasen (Tōkyō meisho sanjūrokkasen ) 1874 Kunisada IIJoshō sanjūrokkisen 1874 Kunisada IIUntitled Chūshingura series 1874 IkkeiTōkyō meisho shijūhakkei 1876 IkkeiTōkyō sanjūrokkei (Tōkyō meisho sanjūrokkei) 1877 IkkeiRiitoru oshiegusa 1878 Hiroshige IIIBeppin zoroi nenjū gyōji 1879 Kunisada IITōto meisho 1882 Hiroshige IIITōkyō kaika meisho 1883 Kunisada IIIE-awase meika kurabe 1887 Hiroshige IIINippon chishi ryakuzu 1887 Ginkō, Toshinobu, Yoshitoshiunserialized triptychs illustrating the Satsuma Rebellion ToshinobuChōya shinbun ChikanobuTōkyō hana kurabe RinsaiKachō kurabe ToyonobuShinsen Taikōki ChikanobuKatsuratsuke sokuhatsu zue KunichikaKinsei meifu bijin kagami



TSUTAYA KICHIZO– 269

270 publishers



Left 1852 Kunisada II. The actor Right 1855 Hiroshige. “No. 1,Segawa Kikunojō V as the nun Nihon Bridge—View of DawnMyōchin, from the series “The Clouds” (Nihonbashi—Tale of the Eight Dog Heroes” Shinonome no kei), from the(Hakkenden inu no sōshi no series “Famous Sights of theuchi). Ōban. Asian Art Museum, Fifty-three Stations” (GojūsanNational Museums in Berlin. tsugi meisho zue), known as “Tate-e Tōkaidō” (VerticalBelow left c.1837 Eisen. “No. Tōkaidō). Ōban. Collection Erich11—Inn at Hakone” (Hakoneshuku), from an untitled Gross, Switzerland. Sakai 1981, p.Tōkaidō series “Bijin Tōkaidō”.Ōban. Library of Congress. 252, ōban no. 24.1.Below right 1858 Hiroshige.“Sagami River” (Sagamigawa),from the series “Thirty-six Viewsof Mount Fuji” (Fujisanjūrokkei). Ōban. Library ofCongress. Sakai 1981, p. 250, ōbanno. 58.9.

ARTIST / PUBLISHER 271

Daikokuya Heikichi1764–1931Seal name: Daihei; firm name: Shōjudō; family name: Matsuki Heikichi. Located atRyōgoku Hirokōji Yoshikawachō (at least until 1851); Ryōgoku Yoshikawachō (in theMeiji period; presumably the same address as before).An ad from 1890 recounts the history of this publishing firm anddates it back to 1764. The earliest known book dates to 1775. Inthe early 1820s, Daikokuya Heikichi published prints andillustrated books. The many books that he issued until the late1840s were mostly illustrated by Kuniyasu and Kuniyoshi. Printsfrom the early period are scarce and mainly show actors or sumowrestlers. His output did not increase during the 1830s and early1840s. From the small amount of prints and the fact thatDaikokuya Heikichi I had already died by 1825, it can be assumedthat prints were just a side business at that time. From the late 1840s, Daikokuya started producing prints on alarger scale and engaged well-known artists like Kunisada but alsolesser known ones like Utagawa Kuniaki II (1835–1888), whodesigned a triptych of a parade of beautiful women. In 1851, Daikokuya is listed as a member of the Old Faction(Motogumi) of the Picture Book and Print Publishers Guild (Jihontoiya). In the fourth month of 1854, the son Ichizō inherited thebusiness and became Heikichi II, which raises the question ofwho ran the publishing firm from the death of Heikichi I in 1825.In the sixth month of 1865, the son Tsunekichi inherited thebusiness and became Heikichi III. Abiding the new rules, printssince 1876 are sealed with the family name Matsuki Heikichi.Heikichi IV (1836–1891) was the publisher of KobayashiKiyochika and Heikichi V (1870–1931) ran the business at theturn of the century. During the 1850s and 1860s, Daikokuya regularly produceda high number of different designs in all possible fields and by awide range of artists. Especially during the 1880s and 1890s, hewas known for high quality prints. In an interview from 1890,Heikichi IV ranked Daikokuya’s output as seventh largest, withhigh quality printing. In the 1890s, Daikokuya also producedreproductions of old prints. Daikokuya published many unserialized triptychs during theSino-Japanese War from 1894 to 1895, depicting battles andthe Japanese army. Once the war was over, publishers and artistsreturned to established themes as the landscape series “Gatheringof Pictures of Beautiful Places in Japan” (Nihon meishō zue) byKunichika from 1896 until 1897 attests. The Russo-Japanese War of 1904–05 gave Daikokuya thepossibility to again increase the production and focus on thisnew topic. For the previous war, Kiyochika designed the popularseries “Long Live Japan: One Hundred Selections, One HundredLaughs” (Nippon banzai: Hyakusen hyakusō) and now new designsfor the new war were produced. Daikokuya continued to be active in the printing business untilHeikichi V’s death in 1931.272 publishers

Right 1895 Toshikata. “Thecourageous Lt. General Tachimi”(Tachimi shōshō gōtan no zu). Ōbantriptych. Library of Congress.Below 1853 Kuniaki II. “Picture of aprocession over the Nihon Bridge inthe Eastern Capital” TōtoNihonbashi gyōretsu zu). Ōbantriptych. Asian Art Museum, NationalMuseums in Berlin.