Japanese woodblock prints-andreas marks

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Works Date Artist(s)unserialized actor prints Chikanobu, Kuniaki II, Kunichika, Kunisada, Kuniyoshiunserialized beauty prints c.1835 Eisen, Gekkō, Kuniaki II, Kunisadaunserialized Genji prints 1849 Kunisadaunserialized pictures of flowers and birds 1852 Kosonunserialized sumo prints 1856 Gyokuha, Hishikawa Harunobu, Kuniaki II, Kunisadaunserialized warrior prints or historical pictures 1861 Hanko, Kuniaki II, Kunisada, Kunitarō, Kuniteru IIKanadehon Chūshingura 1862 KunisadaJūroku Musashibō 1862 KuniyoshiImayō rokkasen 1863 Kunisada IIKiyogaki nanatsu iroha / Nanatsu iroha shūi 1863 KunisadaSetsugekka no uchi 1864 Kuniaki IISuehiro yōsan no zu 1867 KuniteruMushin yōjōden 1870 SadahideMusha shugyō gonin zoroi 1870 Kunisada IIImayō bijin zoroi 1876–79 Kunisada IITōkyō sanjūrokkei 1877 Hiroshige IIYoshitsune senbon zakura 1883 Kuniteru IITōkyō sanjūrokkei 1884 Hiroshige IIIJūni toki hitsushi no toshimaru 1884 Kunisada IIUntitled series of views of Tokyo 1884–85 KiyochikaKagoshima shinbun 1885 Kuniaki IIShinsen Taikōki 1886 ToyonobuIchinin rokumen sō 1887–99 KiyochikaKoga 1888 KiyochikaKinko seiga: Ukiyo-e ruikō no uchi 1889 KunichikaKyōdō risshi no motoi (Kyōdō risshiki) 1890 Kiyochika, Kunichika, Yasuji, YoshitoshiKyōdō risshi no motoi (Kyōdō risshiki) 1892–98 Chikanobu, Kiyochika, Kuniaki IIBijin hana kurabe 1893–95 GekkōKyōdō risshi no motoi (Kyōdō risshiki) 1894–95 ToshikataKyōdō risshi no motoi (Kyōdō risshiki) 1894–95 Toshikata, YasujiKyōdō risshi no motoi (Kyōdō risshiki) 1895 ToshikataNihon hana zue 1895–1901 GekkōKōkoku nijūshikō [reissue] 1895–1903 YoshitoshiNippon banzai: Hyakusen hyakusō 1895–96 Kiyochikaunserialized triptychs illustrating the Sino-Japanese War 1896–97 Gekkō, Hanko, Kiyochika, KiyookiSetsugekka 1896–97 ChikanobuBijin meisho awase 1896–99 GekkōGishi shijūshichi zu 1897–1900 GekkōShakai gentō: Hyakusen hyakusō 1897–1902 KiyochikaJidai kagami 1897–98 ChikanobuNihon meishō zue 1898 KiyochikaGekkō zuihitsu [reissue] 1898 GekkōTake no hitofushi 1898–99 ChikanobuNōgaku zue 1899–1901 KōgyoMeishō bijin-e 1901 ChikanobuBijutsu gajō 1902 GekkōFujin fūzoku zukushi [reissue] 1903–04 GekkōBijin jūnikagetsu Miyagawa ShunteiSetsugekka ChikanobuAzuma fūzoku ChikanobuKoga [reissue] KiyochikaEdo nishiki Chikanobu Getsuzō, Hirose Yoshikuni, Kiyochika, Kōkyo,unserialized triptychs illustrating the Russo-Japanese War 1904 Miyagawa Shuntei KiyochikaNippon banzai: Hyakusen hyakusō 1904–05 ChikanobuTake no hitofushi [reissue] 1905 KōgyoNichiro kōsen zue 1905Right top 1896 Kiyochika. “Yōrō Right bottom 1904 Kiyochika. TheFalls” (Yōrō no bakufu), from the army of the north melts away beforeseries “Gathering of Pictures of the Rising Sun, from the series “LongBeautiful Places in Japan” (Nihon Live Japan—One Hundredmeishō zue). Ōban. Santa Barbara Selections, One Hundred Laughs”Museum of Art, Gift of Mr. and Mrs. (Nippon banzai—HyakusenRoland A. Way. Smith 1988, fig. 152. hyakusō). Ōban. Library of Congress.274 publishers





Above 1850 Kunisada. The actorsArashi Kichisaburō III asMatsuōmaru, Bandō Mitsugorō IV asFujiwara Shihei, Seki Sanjūrō III asUmeōmaru, and Ichimura UzaemonXII as Sakuramaru in the playSugawara denju tenarai kagami,Ichimura Theater, VII/1850. Ōbandiptych. Collection Arendie and HenkHerwig.Left 1856 Kunisada. The syllable Nefor “Rat-technique” (Nezumi no jutsu)and the actor Matsumoto Kōshirō VIas Nikki Danjō, from the series “SevenVariations of the Alphabet” (Kiyogakinanatsu iroha). Ōban. Collection of theauthor. DAIKOKUYA HEIKICHI 275

Takenouchi Magohachic.1832–40Seal name: Takemago; firm name: Hōeidō. Located at Kyōbashi Reiganjima Shiochō,Kyōbashi Minami Shinborichō Itchōme (branch since 1836).Takenouchi Magohachi was born in 1780 or 1781 as the second son of thepawnbroker Takenouchi Magoshichi. In 1832, he first appeared in the printscene, as the illustrator of the kyōka album Haikaika higagotoshū. These andillustrations in other books are signed Bizan. It must have been around thesame time that he started with his publishing enterprise and in 1833 issuedtwo (Kyōka hyakunin isshu yamiyo no tsubute and Godai sōshi meta hatsuuri), in1837 one book (Shokunin zukushi kagetsu shū) with his own illustrations. By 1832, perhaps even in the year before, Takenouchi Magohachi’sHōeidō publishing firm started to produce what would become Hiroshige’smost famous and most successful series, “The Fifty-three Stations along theTōkaidō” (Tōkaidō gojūsan tsugi no uchi). This series, also known as “Hōeidō banTōkaidō” after the name of its publishing firm, was produced with the supportof fellow publisher Tsuruya Kiemon. The landscape series seems to havebeen an immediate hit for the unknown publisher and the minor artist whoverifiably received the inspiration for many of his designs from illustrationsin guide books like the Tōkaidō meisho zue (“Gathering of Views of FamousSights along the Tōkaidō;” 1797) and not from sketches he took during analleged journey to Kyoto as Hiroshige III stated sixty years later. In 1834,the entire series of 55 designs was available as an album and in the years tocome, blocks had to be replaced as the original ones wore out as the series wasrepeatedly reprinted. In 1833, during the production of the “Hōeidō ban Tōkaidō,” Takenouchibegan to produce works by Kuniyoshi and especially Kunisada. The beautyseries “A Collection of Bridges in Edo” (Edo no hashi zukushi), the actor series“Thousand Shrines Visited” (Sensha mōde), and another, untitled actor seriesin the same style, were all issued in the same year. Takenouchi also produceda small number of unserialized actor and warrior prints. Following the successof the Tōkaidō landscapes, Takenouchi and Hiroshige produced similar series:“The Eight Views of Ōmi” (Ōmi hakkei no uchi) in 1834, and Kisokaidō fromc.1835 for which he first engaged Eisen and later turned to Hiroshige (thepublisher Iseya Rihei also produced prints of this series). During that time,Takenouchi produced a few illustrated books by Kunisada, Eisen, and others. Takenouchi’s business must have flourished immensely as he opened abranch of his shop some distance away in the first month of 1836. Customerswere now able to visit both locations, however, the production of new designsslowed down significantly. He died on the twenty-first day of the seventh month 1854.Works Date Artist(s)“Hōeidō ban Tōkaidō” c.1832–33 HiroshigeEdo no hashi zukushi c.1833 KunisadaSensha mōde c.1833 KunisadaUntitled actor series in the style of“Sensha mōde” 1833 Kunisadaunserialized actor prints 1833–40 Kunisadaunserialized warrior prints 1833–35 KuniyoshiŌmi hakkei no uchi 1834 HiroshigeGojūsan tsugi no uchi 1835 KunisadaKisokaidō c.1835–38 Eisen, Hiroshige276 publishers

n Above 1833 Kunisada. Shirahige and the actor Onoe Kikugorō III off stage; promoted by Senjokō Face Powder, from the series “Thousand Shrines Visited” (Sensha mōde). Ōban. Collection of the author. Right 1833 Kunisada. “Kamiarai Bridge” (Kamiaraibashi), from the series “A Collection of Bridges in Edo” (Edo no hashi zukushi). Ōban. Japan Ukiyo-e Museum, Matsumoto.



TAKENOUCHI MAGOHACHI 277

Above c.1832 Hiroshige. “Hara— Below c.1832 Hiroshige. “Kanbara— OMount Fuji in the Morning” Night snow (Kanbara, yoru no yuki), a(Hara—Asa no Fuji), from the series from the series Known as “Hōeidō Tknown as “Hōeidō ban Tōkaidō” ban Tōkaidō” (Tōkaidō published by V(Tōkaidō published by Hōeidō). Ōban. Hōeidō). Ōban. Japan Ukiyo-e Museum, mJapan Ukiyo-e Museum, Matsumoto. Matsumoto. Sakai 1981, p. 245, VSakai 1981, p. 245, horizontal ōban no. horizontal ōban no. 55.16.55.14. M278 publishers

Opposite top 1833 Kunisada. The Opposite bottom c.1832 Hiroshige.actors Onoe Kikugorō III as “Yoshiwara—Mount Fuji on the left”Tamamo-no-mae and Ichikawa Ebizō (Yoshiwara, hidari Fuji), from theV as Tobain in the play Tamamo-no- series Known as “Hōeidō banmae kumoi no hareginu, Kawarazaki, Tōkaidō” (Tōkaidō published byV/1833. Ōban. Japan Ukiyo-e Museum, Hōeidō). Ōban. Japan Ukiyo-e Museum, Matsumoto. Sakai 1981, p. 245,Matsumoto. horizontal ōban no. 55.15.



TAKENOUCHI MAGOHACHI 279

Ebiya Rinnosukec.1832–1895Seal name: Ebirin; firm name: Kaijudō; family name: Ueki Rinnosuke. Located at NihonbashAs early as 1832, Ebiya Rinnosuke was in business as a fan merchant,issuing fan prints. The figure at the bottom right of the opposite pageis the earliest work known, showing a scene by Kunisada from a kabukiplay performed in the third month of 1832. Fan prints are rare today asthey were intended to be glued on a frame and used. How productiveEbiya actually was in his early period is therefore not possible to tell. By the mid 1840s, Ebiya turned towards regular sized prints andsoon found great partners in Kuniyoshi and Kunisada. By 1854Kuniyoshi designed at least ten different series for him and Ebiyaseems to have refrained from commissioning series by any otherartist during that time. On the other hand, Kunisada was very activein designing unserialized actor prints for Ebiya. The figure at thebottom of page 283 is from the series “Collection of Mount Fujifrom the Capital in Iroha Order” (Nanatsu iroha Tōto Fuji zukushi),where Kuniyoshi designed the main motif and one of his studentscontributed the inset landscape. The figure at the top of the oppositepage shows an example from the series “Shank’s Mare along the Fifty-three Stations” (Hizakurige gojūsan tsugi) of which only a small numberof designs exists. This seems to be the last series they did together. In 1851, Ebiya was a member of the New Faction (Karigumi) ofthe Picture Book and Print Publishers Guild (Jihon toiya) as well asa member of the Fan Producers Guild (Uchiwa toiya). We know thatat that time he was situated in the same shop as his fellow publisherEnshūya Matabei. An earlier address for Ebiya is not known andhe might have actually joined the established Enshūya when he hadstarted his business. Already in 1845, both publishers were engagedin two co-operational projects, “Imaginary Twelve Animals of theZodiac” (Mitate jūnishi) by Kuniyoshi and “Fifty-three Pairs of theTōkaidō” (Tōkaidō gojūsan tsui) by Kuniyoshi, Hiroshige, and Kunisada. By the late 1850s, Ebiya increased his output and also issued serieslike “Gathering of People of the Barbarian Nations” (Bankoku jinbutsuzue) by Yoshitsuya from 1861. Kunisada’s series “Set of Famous Swordsin Kabuki” (Kabuki meitō zoroi) from 1861–62 was—with 22 differentdesigns—one of the largest projects that Ebiya undertook. At the sametime he continued putting actor prints on the market. Ebiya was part of the group of publishers that jointly issued Tōkaidōseries from 1863 until 1867, namely the “Processional Tōkaidō” (“Go-jōraku Tōkaidō”) series in 1863, “Fifty-three Stations with a FoldingFan” (Suehiro gojūsan tsugi) in 1865 and “Tōkaidō–Stars at a Glance”(Tōkaidō hitome senryō) in 1867. Sealed as Ueki Rinnosuke since 1876, Ebiya was in business untilc.1895, however not exceedingly active. He issued works by artists likeGinkō, Yoshitoshi, and Hiroshige III.280 publishers

hi Horiechō Nichōme.Works Date Artist(s)unserialized actor prints c.1845 Kunichika, Kunisada, Kunisada II, c.1845 Kuniyoshi, Yoshitora, Yoshitsuyaunserialized beauty prints c.1847 Kunichika, Kunisada, Kuniyoshiunserialized satirical pictures c.1847–48 Kuniyoshiunserialized warrior prints c.1847–48 YoshikazuMitate jūnishi c.1849 KuniyoshiTōkaidō gojūsan tsui 1849 Hiroshige, KuniyoshiKiyosedokei nenjū gyōji 1850 KuniyoshiSeichū gishi den 1852 KuniyoshiSekijō gishiden 1854 KuniyoshiSeichū gishin den 1857 KuniyoshiTōkaidō gojūsan tsugi jinbutsu shi 1859 KuniyoshiChūshingura gojūsan tsugi 1859 KuniyoshiNanatsu iroha Tōto Fuji zukushi 1860 Kuniyoshi and studentsHizakurige gojūsan tsugi 1861 KuniyoshiMeiga zukushi no uchi—Shosagoto 1861–62 KunisadaAtari senkin otoko kagami KunisadaKanadehon Chūshingura 1863 KunisadaTōsei sangokushi KunisadaBankoku jinbutsu zue 1865 YoshitsuyaKabuki meitō zoroi 1865 Kunisada 1866 Hiroshige II, Kunisada, Kunisada II,“Go-jōraku Tōkaidō” 1867 Kyōsai 1877 Kuniteru II, YoshitoshiSuehiro gojūsan tsugi 1877 Yoshiharu IIFukagawa karitaku zensei zoroi 1877 KunichikaMitate iroha awase 1879 Kunichika/Hiroshige IITōkaidō hitome senryō 1883 KunichikaKijutsu jūnishi no uchi 1895 YoshitoshiKagoshima shinshi no uchi Ginkō, Yoshitoshiunserialized triptychs illustrating the Satsuma Rebellion Hiroshige IIIKachō zue ToyonobuShinsen Taikōki Hiroshige IIITōkyō meisho

Right top 1854 Kuniyoshi. The stationOdawara, from the series “Shank’s Marealong the Fifty-three Stations” (Hizakurigegojūsan tsugi). Ōban. Japan Ukiyo-e Museum,Matsumoto. Robinson 1961, no. 204.Right bottom 1832 Kunisada. The actorsIchikawa Ebizō V as Sukeroku and IwaiHanshirō V as Agemaki in the play Sukerokuyukari no Edo zakura, Ichimura Theater,III/1832. Fan print. Japan Ukiyo-e Museum,Matsumoto.Below 1861 Yoshitsuya. “King of Italy”(Itaria kokuō), from the series “Gathering ofPeople of the Barbarian Nations” (Bankokujinbutsu zue). Ōban. Library of Congress.

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282 publishers





Above 1863 Kunisada. The actorsBandō Hikosaburō V as KomazawaJirozaemon and Sawamura TanosukeIII as the blind entertainer Asagao inthe play Tsuyu no hinuma asagaonikki, Nakamura Theater, VII/1863.Ōban diptych. Japan Ukiyo-e Museum,Matsumoto.Left 1852 Kuniyoshi and Yoshitorijo.No. 9 (ri)—Fuji at Tajima and theactor Onoe Kikujirō II as Osato,daughter of the Sushiya, from theseries “Collection of Mount Fuji fromthe Capital in Iroha Order” (Nanatsuiroha Tōto Fuji zukushi). Ōban.Collection Erich Gross, Switzerland.Robinson 1961, no. 181.Opposite 1861 Kunisada. The actorSawamura Tanosuke III as the evilOmatsu, from the series “Set ofFamous Swords in Kabuki” (Kabukimeitō zoroi). Ōban. Japan Ukiyo-eMuseum, Matsumoto.EBIYA RINNOSUKE 283

Fujiokaya Keijirōc.1843–1923Seal name: Fujikei; firm name: Shōrindō, Mizuno Shoten (from 1880s); family name: MizunoLocated at Shitaya Ikenohata Nakamachi (c.1843–45), then Nihonbashi Tōriaburachō (fromFujiokaya Keijirō is one of the few publishers about whom detailed informatioavailable. The reason for this lies in family records published by his successors. Fujiokaya Keijirō I (1823–1883) was the younger brother of the publisher FHikotarō. Fujiokaya Keijirō started in the publishing business around 1843 wiwarrior prints by Kuniyoshi. Amongst his earliest works is also the series “Edo(Edomurasaki, c.1844) by Kunisada. In 1851, Fujiokaya is listed as a member of the New Faction (Karigumi) of tPicture Book and Print Publishers Guild (Jihon toiya) and of the Book PublishGuild (Shomotsu toiya). He managed to get all three leading Utagawa artists wfor him from the start and they designed prints as well as book illustrations. Mof the publications that Keijirō issued stand out from the usual prints in the sehalf of the nineteenth century. From 1852 until 1853, he published “A CollectFamous Restaurants in the Capital” (Tōto kōmei kaiseki zukushi), a joint series odifferent designs showing half-length actor portraits by Kunisada, and scenic eby Hiroshige. Another large project he undertook alone was Kunisada’s series “Stylish MirReflections” (Imayō oshi-e kagami) that he issued from 1859 until 1861. Sixty-ndifferent designs from this series are known, all issued in deluxe version with tpaper and blind printing. Fujiokaya was rather active in issuing prints on the “Country Genji,” a motifound great interest in the middle of the nineteenth century. The figure to thefrom 1864 is an example of the many vivid and colorful triptychs that were iss Since 1876, Fujiokaya Keijirō sealed with the family name Mizuno Keijirō. Wexactly Keijirō II (1848–1882), the son of Keijirō I, took over his father’s businunclear. He was very interested in everything new but died early, even before hof cholera. The business was continued under Keijirō III (1866–1916) and lateIV (1898–1923). It was destroyed in the Great Kantō earthquake of Septembe(Kantō daishinsai).Works Date Artist(s)unserialized actor prints c.1843 Kunisada, Kuniteru, Kuniyoshiunserialized beauty prints c.1843-46 Kunisada IIunserialized Genji prints 1844 Hiroshige II, Kunichika, Kunisadaunserialized landscape prints c.1845-46 Hiroshige II, Sadahideunserialized sumo prints 1846 Kunisada 1846 Hokui, Kunisada, Yoshifuji, Yoshikazu,unserialized warrior prints or historical pictures 1847-48 Yoshitoshi c.1847-48 KuniyoshiEiyū Yamato suikoden 1848-49 HiroshigeChūshingura c.1848-51 KunisadaEdomurasaki c.1849-50 Kunisada and students, Kuniyoshi and c.1849-51 studentsDai Nihon rokujūyoshū no uchi c.1849-51 Hiroshige c.1851 KunisadaEdo meisho koseki den 1851 KunisadaMitate fukujin shichin fukon 1852 SadahideGishi seichū fuku shū ryakuden 1852-53 KunisadaMayu wo mawata ni sei suru no zu KuniyoshiNazora-e rokkasen HiroshigeSankyoku ukare no ōgoma HiroshigeGosekku tsuki no imyō KuniyoshiŌmi hakkei HiroshigeChiyū rokkasen Kuniyoshi“Bijin Tōkaidō“ HiroshigeEiyū ippyaku den Kunisada/HiroshigeKuni zukushi harimaze zueTōto kōmei kaiseki zukushi284 publishers

o Keijirō.m 1846). on isFujiokaya ith o Purple” the hersworkingMany econd tion of of fifty elements rror nine thick if that right sued. When ness is his father, er Keijirō er 1, 1923Works Date Artist(s)Shiranui monogatari 1853 KunisadaGenji jūnikagetsu no uchi 1854-58 KunisadaChūshingura 1855 Hiroshige IINagashira eiyū zoroi 1856 KuniyoshiKiyogaki nanatsu iroha / Nanatsu iroha shūi 1856 KunisadaKyōkun zen’aku kozō zoroi 1857 KuniyoshiEdo meisho hyakunin bijo 1857-58 Kunisada/Kunihisa IIŌmi hakkei 1859 Hiroshige IIImayō sanjūni sō 1859 Kunisada/GengyoImayō oshi-e kagami 1859-61 KunisadaEdo sunago kodomo asobi 1860 YoshiikuEdo miyage no uchi 1861 YoshiikuKi no ji zukushi 1861-62 KunisadaEdo meishō zue 1861-64 Hiroshige IIGenji gappitsu shiki 1862-63 Kunisada/Hiroshige IINijūshiko imayō bijin 1863 KunisadaNakatenjiku hakurai no karuwaza Genji gannen yayoijōjun yori Bushū Yokohama no chi no oite kōgyō no zu 1864 YoshitoraAdesugata hana no jūnishiSuehiro gojūsan tsugi 1864 Kunisada/Kunihisa IIKanadehon Chūshingura 1865 Hiroshige II, YoshitoshiNippon chishi ryakuzu 1868 Kuniaki IIRyūsai manga 1876 Hiroshige IIIFuken meisho zue 1879 Hiroshige III 1880 Hiroshige III

Above 1864 Kunisada. “View ofGenji Raising the Ridgepole”(Genji jōtō no kage). Ōbantriptych. Japan Ukiyo-e Museum,Matsumoto.Right 1853 Kunisada andHiroshige. The actor IchikawaShinsha I as Aoi-no-maejuxtaposed to the Futabayarestaurant on the Yoshiwarabank, from the series “ACollection of FamousRestaurants in the Capital”(Tōto kōmei kaiseki zukushi).Ōban. Asian Art Museum, NationalMuseums in Berlin. Sakai 1981, p.251, ōban no. 48.42.Far right c.1844 Kunisada. Alady sitting in a palanquin, fromthe series “Edo Purple”(Edomurasaki). Chūban. JapanUkiyo-e Museum, Matsumoto.

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286 publishers

Above 1849 Yoshifuji.Kusunoki Masashigepreparing barrication anddefence of Chihaya Castle inthe 1330s. Ōban triptych.Library of Congress.Left c.1851 Hiroshige.“Kameyama”, from the seriesKnown as “Bijin Tōkaidō”(Tōkaidō with beauties).Ōban. Japan Ukiyo-e Museum,Matsumoto. Sakai 1981, p. 251,ōban no. 42.47.Right 1860 Kunisada. Theactor Nakamura Nakazō IIIas Kajiwara Heizō Kagetoki,from the series “StylishMirror Reflections” (Imayōoshi-e kagami). Ōban.Collection of the author.Far right 1860 Kunisada.The actor Onoe Kikugorō IVas Tsuchiya Umegawa, fromthe series “Stylish MirrorReflections” (Imayō oshi-ekagami). Ōban. CollectionArendie and Henk Herwig.



FUJIOKAYA KEIJIRO– 287

Hayashiya Shōgorōc.1845–63Seal name: Rinshō. Located at Ryōgoku Hirokōji (on the seal), RyōgokuYonezawachō (official Guild address in 1851).Hayashiya Shōgorō was only active over a short period in the middleof the nineteenth century. Around 1845, he issued his first prints,warrior triptychs by Kuniyoshi. Soon thereafter portraits of sumowrestlers by Kunisada followed. These portraits are part of a seriesjointly issued with fellow publisher Ibaya Senzaburō. Hayashiya thenturned towards the usual themes of the time and issued actor prints,prints of beautiful women, and prints on the “Country Genji” novel.Around 1850, he also issued one of the many Tōkaidō series byHiroshige, known as “Variation of the Formal Script Tōkaidō” (“Itaireisho Tōkaidō”). In 1851, Hayashiya is listed as a member of the New Faction(Karigumi) of the Picture Book and Print Publishers Guild (Jihontoiya). His address is given as Ryōgoku Yonezawachō, however, on theprints he issued from his early years until the late 1850s he used a sealthat gives Ryōgoku Hirokōji as his address. Be that is it may, from theearly 1850s and even more so the mid-1850s on, Hayashiya becamevery active in issuing predominantly actor prints. Together with otherpublishers he jointly issued a number of series, among them is “LastingImpressions of a Late Genji Collection” (Genji goshū yojō), a luxuriousdiptych series on the popular motif of the “Country Genji” novel.The figure at the top of the opposite page is an example of this serieswhich Hayashiya issued prints from 1857 until 1858. Other publisherscontinued to produce new designs for this series until 1861. Among the many actor prints Hayashiya produced is a fair amountof prints that depict the actors in half-length. From 1858 until1859, he issued, for example, Kunisada’s series “Stories of ModernHandsome Heroes” (Tōsei suikoden). Each print of the nine originaldesigns could stand alone but the prints can also be grouped intogroups of three, each group relating to one of the Three Friends ofWinter (saikan sanyū), pine, plum, and bamboo. The success of theseries led the publisher to add another set of three to it at a later time. Hayashiya’s last known production is the comic series “ImaginaryLook-Alike Goldfish” (Mitate nitaka kingyō) by Yoshiiku from 1863,depicting fish and turtles with faces of popular kabuki actors.Right 1855 Kunisada. Opposite top 1858 Opposite bottom c.1850“Summer Darkness” Kunisada. “Chapter Hiroshige. “No.(Natsu no yami) and the Twenty-three—Hatsune” 2—Shinagawa”, fromactor Nakamura (Dai nijūsan no the series “Tōkaidō—TheUtaemon IV as Danshichi maki—Hatsune), from Fifty-three Stations”Kurobei, from the series the series “Lasting (Tōkaidō—Gojūsan“A Collection of Impressions of a Late tsugi no uchi), known asImaginary Darkness” Genji Collection” (Genji “Variation of the Formal(Mitate yami zukushi). goshū yojō). Ōban Script Tōkaidō” (Itai reisho Tōkaidō). Ōban.Ōban. Collection Arendie diptych. Japan Ukiyo-e Japan Ukiyo-e Museum,and Henk Herwig. Museum, Matsumoto. Matsumoto. Sakai 1981, p. 245, horizontal ōban no. 54.2.288 publishers

Works Date Artist(s)unserialized actor prints c.1846-47 Kunisadaunserialized beauty prints after 1848 Kunisadaunserialized Genji prints c.1850 Kunisadaunserialized satirical pictures 1852 Yoshiikuunserialized warrior prints 1852 Kuniyoshi, YoshitsuyaSumō hanei tamari iri no zu 1852-53 KunisadaMeiyo sanjūrokkassen [later ed.] 1852-53 Kuniyoshi“Itai reisho Tōkaidō” 1853 HiroshigeŌmi hakkei no uchi 1854-55 KunisadaKiso rokujūkyū tsugi 1855 KunisadaKisokaidō rokujūkyū tsugi no uchi 1855-57 KuniyoshiTōkaidō gojūsan tsugi no uchi 1856 KunisadaEiyū rokkasen 1857-58 KuniyoshiMitate yami zukushi 1858 KunisadaDōke jōruri zukushi 1858-59 KuniyoshiMitate tsuki zukushi 1861 KunisadaKiyogaki nanatsu iroha / Nanatsu iroha shūi 1863 KunisadaGenji goshū yojō KunisadaNihon eiyū den no uchi SadahideTōsei suikoden KunisadaHana kurabe shussei zukushi KunisadaMitate nitaka kingyō Yoshiiku



HAYASHIYA SHO– GORO– 289

Ebisuya Shōshichic.1846–83Seal name: Ebisuya; firm name: Kinshōdō (until c.1875), Bunshōdō (around 1883); family naShop first located at Nihonbashi Terifurichō Kitagawa (c.1846–74), then opened a second loKobunachō Sanchōme (1851–77), Nihonbashi Kakigarachō Sanchōme (around 1883).Even though Ebisuya Shōshichi only started in the publishing businbusiness by the mid-1840s, he became one of the most productive Kawapublishers. Beginning about 1846, Ebisuya first issued warrior andactor prints. The figure below is one of the earliest designs he Thissued. It belongs to Kunisada’s series “Mad Arrangement of is oneHaiku Poets in Calligraphy and Painting” (Haika shoga kyōdai) that a fierEbisuya published jointly with the fellow publisher Kobayashi this aTaijirō. publi with Ebisuya worked with a number of artists, among them also Oneminor artists like Kunimori II and Hirokage. Actor prints like the afterfigure at the top left of the opposite page, by Kunimori II from (Kins1847, were frequently published by Ebisuya. Around the same desigtime Ebisuya also started to issue his first illustrated books, a The dproduct that he continued to field until the end of his business. Yoshi genes In 1851, he is a member of the New Faction (Karigumi) ofthe Picture Book and Print Publishers Guild (Jihon toiya) and Abof the Book Publishers Guild (Shomotsu toiya). His flourishing Shōsh Work unser unser unser unser unser unser Koyo Enshi Mibu Kodo Haika Waka Satom Dōke Jūhac Nazo Nazo Tōsei Tōsei Mitat Kiyog Tōsei Tōsei Genji Ume “Kins Untit Nazo “Kins Tenjik “Kins “Kins Haiyū “Kins Yūbin Dai N Yūbin unser Tōkyō290 publishers

ame: Kumagai Shōshichi.ocation at Nihonbashi ness allowed him to take over the business of the publisher aguchiya Shōzō in the fourth month of 1852.The figure at the bottom left of the opposite page by Hirokage e of a small number of prints from 1860 and 1861 that depict rce tiger exhibited in Ryōgoku. Remarkable compositions like are the foundation for Ebisuya’s success, distinguishing his ications from that of other publishers. High quality printing refined techniques was part of his works by the early 1860s. of the masterpieces he produced is an untitled series named him, “Kinshōdō Edition of Large-Head Actor Portraits” shōdō-ban yakusha ōkubi-e). Between 1860 and 1865, 60 gns by Kunisada and 10 designs by Yoshitora were published. drawings to 67 more designs by Kunisada and one design by itora exist as well as notes and letters, shedding light into the sis of this series. biding the law, he sealed with the family name Kumagai hichi in 1876. The last designs known date to 1883.ks Date Artist(s)rialized actor prints 1847–48 Kunichika, Kunimori II, Kunisada, Yoshiiku, Yoshitorarialized beauty prints c.1847–48 Kunisadarialized Genji prints c.1847–48 Kunisadarialized satirical pictures c.1847–48 Kunisada, Yoshitorarialized sumo prints c.1847–48 Kunisadarialized warrior prints or historical pictures 1849–57 Hirokage, Kunisada, Kyōsai, Yoshitora, Yoshitoshiomi chūdan zukushi 1850 Kunisadai jūroku josen 1851 Kuniyoshiuri jūni omoi gatsu 1852 Kuniyoshiomo odori zukushi 1852 Kuniyoshia shoga kyōdai 1852 Kunisadaamurasaki nenjū gyōji no uchi 1854 Kunisadami hakkenshi no ikko 1855 Kunisadae miburi jūnishi 1855 Kuniyoshichiban no uchi 1856 Kunisadaora-e eto awase 1857 Kunisadaora-e gogyō zukushi no uchi 1858 Kunisadai rokkasen 1858–59 Kunisada/Hiroshigei bijin zoroi no uchi 1859 Kunisada IIte hakkei no uchi 1860 Kunisadagaki nanatsu iroha / Nanatsu iroha shūi 1860 Kunisadai nana Komachi 1861 Kunisadai jukkasen 1862 Kunisada/Hiroshigei goshū yojō 1863 Kunisadae goyomi—Mitate hatsu shōnin 1863 Kunisadashōdō-ban yakusha ōkubi-e” 1864 Kunisadatled series of actor busts in horizontal format 1865 Kunisadaora-e eto awase 1865 Kunisadashōdō-ban yakusha ōkubi-e” 1874–76 Kunisada, Yoshitoraku torai daihyōban 1876 Kyōsaishōdō-ban yakusha ōkubi-e” 1876 Kunisada, Yoshitorashōdō-ban yakusha ōkubi-e” 1877 Kunisadaū mitate yūkyō jūnin zoroi c.1877 Kunichika, Yoshitorashōdō-ban yakusha ōkubi-e” Kunisada, Yoshitoran hōchi shinbun YoshitoshiNihon meishō kagami Yoshitoshin hōchi shinbun Yoshitoshirialized triptychs illustrating the Satsuma Rebellion Yoshitoshiō kaika meisho zue no uchi Hiroshige III

Above 1863 KunisaMatsumoto KōshirōChōbei, from an un“Kinshōdō Edition oActor Portraits” (“Kyakusha ōkubi-e”).Ukiyo-e Museum, MaLeft top 1847 KunimNakamura Utaemothe play Yashima nokaomise, NakamuraXI/1847. Ōban. ColleHenk Herwig.Left bottom 1860 Hwith a cockeral in h“The Tiger of Ryōgotora). Ōban. CollectiHenk Herwig.

ada. The actor Opposite left 1847 Kunisada. Theō V as Banzui actor Ichikawa Kodanji IV as Saitōntitled series Gorō Kunitake in the play Genkeof Large Head hachidai megumi no tsuwamono,Kinshōdō-ban Ichimura Theater, XI/1847, from the Ōban. Japan series “Mad Arrangement of Haiku atsumoto. Poets in Calligraphy and Painting” (Haika shoga kyōdai). Ōban. Japanmori II. actoron IV as Tokubei in Ukiyo-e Museum, Matsumoto. o ura ume nora Theater,ection Arendie andHirokage. Leopardhis fangs, known asoku” (Ryōgoku no ion Arendie and EBISUYA SHO– SHICHI 291

Ōtaya Takichic.1849–1867Family name: Ōta Takichi; Ōta Hidekatsu (after c.1873). Located at Hongō Mo-tomachi (at least until 1851), Hongō Yushima Yonchōme (at least from 1854).Ōtaya Takichi, or Ōta Takichi as his family name was, was the head ofa carver family and initially also active as a carver from the mid-1840s.He was a student of Asakura Ihachi I (died c.1847). The carvers ŌtaTashichi and Masukichi were his younger brothers, Ōta Utakichi hisson. In the mid 1840s, Ōtaya predominantly worked as a carver forKuniyoshi but then began to publish Kuniyoshi’s actor prints byhimself. The bottom figure is one of his earliest publications, an actortriptych by Kuniyoshi from 1848. In 1851, Ōtaya is listed as a member of the New Faction (Karigumi)of the Picture Book and Print Publishers Guild (Jihon toiya). Heissued satirical pictures by Kuniyoshi and Yoshitora but around eightypercent of his publications are actor prints. Sometimes these actorsare captured in sumo wrestler roles like in the series “Mirror of SumoPast and Present” (Kokon sumō kagami). Quite a number of prints thatŌtaya issued are bust portraits like the series “A Collection of Birds”(Tori zukushi). Ōtaya seems to have stopped his publishing business in 1867 as nolater prints are known. However, he continued to work as a carver andtook the name Hidekatsu around 1873. He continued to work as acarver until at least 1877 and passed away in 1882.Works Date Artist(s)unserialized actor prints Kunichika, Kunihisa II, Kunisada, Kuniyoshi, Yoshiikuunserialized Genji prints Kunisadaunserialized satirical pictures Kuniyoshi, YoshitoraAtari doshi inu no tawamure 1850 KuniyoshiHayari okonomi no sakazuki 1851 KuniyoshiHizakurige gojūsan tsugi 1854 KuniyoshiSetsugekka no uchi 1854 KunisadaKokon sumō kagami 1855 KunisadaUkiyo hakkei no uchi 1855 KunisadaTaimen mitsugumi sakazuki 1856 KunisadaDai Nihon jūtō kagami 1857 KunisadaMitate shusse zumō 1858 KunisadaImei kidori otokoi zoroi 1859 KunisadaGokakoku no uchi 1860 YoshimoriOi ni tsuji hiōtona wo tori zukushi 1860 Kunisada, Kunisada IIShima zoroi uwasa no Benkei 1860 KunisadaTōkaidō iroha nikki 1861 Kunisada“Go-jōraku Tōkaidō” 1863 Kunisada, YoshimoriTōkaidō gojūsan tsugi meiga no kakiwake 1864 Kunisada/Kyōsai, Kunisada/Yoshimori292 publishers

Top left 1860 Kunisada. The actorKawarazaki Gonjūrō I as Taira noTomomori juxtaposed to plovers, fromthe series “A Collection of Birds” (Torizukushi). Ōban. Collection of the author.Top middle 1860 Kunisada. The actorKawarazaki Gonjūrō I as DanshichiKurobei. Ōban. Asian Art Museum,National Museums in Berlin. An identicalbut colorful version of this design withdifferent background and tattooed figurewas simultaneously issued as part of theseries “A collection of birds” (Tori zukushi).Top right 1855 Kunisada. OnigatakeDōemon, from the series “Mirror ofSumo Past and Present” (Kokon sumōkagami). Ōban. Collection Arendie andHenk Herwig.Right 1848 Kuniyoshi. The actorsIchimura Uzaemon XII as WadaYoshimori, Nakamura Utaemon IV asTomoe-gozen, and Bandō Shuka I asYamabuki in the play Goban Tadanobuyuki no nachiguro, Ichimura Theater,XI/1848. Ōban triptych. Library ofCongress.



ARTIST / PUBLISHER 293

Iseya Kanekichilate 1840s–c.1875Seal name: Isekane. Located at Akasaka Shinmachi Sanchōme (c.1851–56), thenNihonbashi Tomimakichō, later Kyōbashi Nakabashi Minamimakichō (sincec.1873).In the late 1840s, Iseya Kanekichi started to issue actor prints byKunisada. Having a good nose for current buyer interests, heimmediately went into producing half-length actor portraits that aredifferent from the standard full-length stage scenes as well as printsserving the Genji boom. In 1851, only a few years after working as a publisher, Iseya became amember of the New Faction (Karigumi) of the Picture Book and PrintPublishers Guild (Jihon toiya). In 1852, the year when actor bust portraits boomed, Iseya issuedamongst others Kunisada’s series “The Imaginary Thirty-Six SelectedPoets” (Mitate sanjūrokkasen no uchi), 36 designs in total. Compositionslike this are seen in many of Iseya’s productions. The figure at the topleft of the opposite page illustrates “The Imaginary Twelve Months”(Mitate jūnikagetsu no uchi), a small series that Kunisada did in 1859with the help of his student Kunihisa II. Another, very successful bust portrait series was published by Iseyafrom 1861 until 1863. “Modern Version of the Heroes of the WaterMargin” (Kinsei suikoden) consists of 36 actor portraits, each furnishedwith a text by the writer Kanagaki Robun (1829–1894) describing thestory of the portrayed hero. In 1863, Iseya produced 11 of the 162 designs of the “ProcessionalTōkaidō” (“Go-jōraku Tōkaidō”) series, the most extensive print seriesthat was ever undertaken. Iseya Kanekichi’s last known prints date to 1875.Right top 1852 Kunisada. The actor Opposite top right 1861 Kunisada.Matsumoto Kōshirō V as Ishikawa The actor Nakamura Fukusuke II asGoemon juxtaposed to Sosei-hōshi, Kasagawa Higezō, from the seriesfrom the series “The Imaginary “Modern Version of the Heroes of theThirty-Six Selected Poets” (Mitate Water Margin” (Kinsei suikoden).sanjūrokkasen no uchi). Ōban. Ōban. Japan Ukiyo-e Museum,Collection Arendie and Henk Herwig. Matsumoto.Right bottom 1862 Kunisada. Act Opposite bottom 1854 Kunisada. The8—The actors Bandō Hikosaburō V actors Bandō Shuka I as Hitomaruas Tonase and Sawamura Tosshō II as Oroku and, in a round inset picture,Konami, from an untitled series on Arashi Rikan III as Jiraitarō in the playthe Treasury of Loyal Retainers. Ōban. Azuma kudari gojūsan tsugi,Japan Ukiyo-e Museum, Matsumoto. Kawarazaki Theater, VIII/1854. Ōban. Japan Ukiyo-e Museum, Matsumoto.Opposite top left 1859 Kunisada andKunihisa II. “Fifth month:” the actorKawarazaki Gonjūrō I as YanoneGorō, from the series “The ImaginaryTwelve Months” (Mitate jūnikagetsuno uchi). Ōban. Collection Arendie andHenk Herwig.294 publishers

KunisadaThe actor Matsumoto Kōshirō V asIshikawa Goemon juxtaposed toSosei-hōshi, from the series “TheImaginary Thirty-Six Selected Poets”(Mitate sanjūrokkasen no uchi)1852ŌbanPublisher: Iseya KanekichiCollection Arendie & Henk Herwig, TheNetherlands

Works Date Artist(s)unserialized actor prints 1850-52 Kunichika, Kunisada, Kunisada II, 1852 Yoshitoshi, Yoshitsuyaunserialized beauty prints 1852 Hiroshige III, Kunisadaunserialized Genji prints 1852 Kunisada 1852 Hiroshige II, Hiroshige III, Kuniteru II,unserialized landscape prints 1852-53 Yoshitora 1852-54 Kunisadaunserialized sumo prints 1853 Yoshikazuunserialized warrior prints 1854-55Untitled series of actors in mirror reflections in 1855 Kunisadahalf-length format 1856Genji monogatari gojūyojō 1856-57 HiroshigeMitate sanjūrokkasen no uchi 1858 KunisadaKiso rokujūkyū tsugi 1859 KunisadaYakusha mitate Tōkaidō gojūsan tsugi 1861-63 KunisadaKisokaidō rokujūkyū tsugi no uchi 1862 KuniyoshiUntitled series of Genji prints related to sounds 1863 KunisadaFūryū Genji 1863 Kunisada/HiroshigeAzuma Genji setsugekka no uchi 1864 KunisadaChūshingura meimei den 1865 KunisadaE-kyōdai mitate shichifuku 1865 KunisadaMitate sanjūrokkusen 1866 Gengyo, KunisadaHonchō meishō kagami 1866 YoshikazuMitate jūnikagetsu no uchi 1867 Kunisada/Kunihisa IIKinsei suikoden 1874 KunisadaUntitled Chūshingura series Kunisada Hiroshige II, Kunisada, Kunisada II,“Go-jōraku Tōkaidō” Kyōsai KunisadaNijūshiko imayō bijin KunisadaAtari kyōgen nibanme taisetsu jōruri SadahideSuehiro gojūsan tsugi Kunisada IIJihitsu sanjūrokku awase KunichikaMitate iroha awase KunichikaNihon meisho no uchi Kunichika/Hiroshige IITōkaidō hitome senryō Hiroshige IIITōkyō fuka jiman kurabe

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296 publishers



Above 1854 KuniKomazō VII as AbKoroku V as SodeAdachigahara, IcŌban. Collection ALeft top 1852 KunNakamura Nakazjuxtaposed to Ōnthe series “The ImSelected Poets” (Muchi). Ōban. CollecHerwig.

isada. The actors Ichikawa Left bottom 1852 Kunisada. The actorbe no Munetō and Arashi Ichikawa Kodanji IV as the ghost of Kasaneehagi in the play Ōshū juxtaposed to Fujiwara no Toshiyuki Ason,chimura Theater, IX/1854. from the series “The Imaginary Thirty-SixArendie and Henk Herwig. Selected Poets” (Mitate sanjūrokkasen no uchi). Ōban. Collection Arendie and Henk nisada. The actor Herwig. zō II as Toneri Matsuōmarunakatomi Yoshinobu, from Opposite 1863 Hiroshige II and Kunisadamaginary Thirty-Six II. “Enoshima”, from the series known as Mitate sanjūrokkasen no “Processional Tōkaidō” (“Gō-jōraku ction Arendie and Henk Tōkaidō”). Ōban. Collection Erich Gross, Switzerland. Marks 2007, no. 05F (28). ISEYA KANEKICHI 297

Maruya Tetsujirōc.1849–97Seal name: Marutetsu; firm name: Enjudō; family name: KobayashiTetsujirō. Located at Nihonbashi-dōri Nichōme 4-banchi (until 1878),Nihonbashi-dōri Sanchōme 13-banchi (1879 until at least 1884), then atKanda Urajinbōchō 6-banchi (around 1895).Maruya was first a publisher of nagauta libretti. It is not clear ifthe fan prints by Toyokuni and Kunisada published between 1814and 1817 were issued by him as the publishing seal used on thisprints was used by other publishers as well. The earliest designsthat can be safely assigned to Maruya date from the late 1840s. Atthat time he engaged Kuniyoshi and Kunisada to design prints forhim. After taking over the business of the publisher Sōshūya Yohei inthe third month of 1858, Maruya’s output increased significantly.He first worked intensively with Yoshitora and added illustratedbooks to his portfolio by the early 1860s. Maruya had an ability to sense the buyers’ interests and to servetheir needs like none of his competitors. In the late 1860s heengaged Hiroshige’s successors Hiroshige II and III and produceda number of landscape series on the Tōkaidō as well as Tokyo. Thefigure at the top left of the opposite page is from the series “Fifty-three Stations with a Folding Fan” (Suehiro gojūsan tsugi) thatMaruya jointly issued in 1865 with twelve other publishers. Thefigure at the bottom left of the opposite page is from HiroshigeIII’s “Gathering of Tokyo’s Beautiful Places” (Tōkyō meishō zue)which he produced from 1869 until 1870. Following the law, Maruya sealed under his family nameKobayashi Tetsujirō after 1876. In 1890, we are told by acontemporary publisher that Maruya had the highest outputof prints and his prints were of high quality. In 1881, Maruyaproduced “Satirical Kiyochika” (Kiyochika hōchi/Kiyochika ponchi),a popular series of caricatures. In the mid-1880s, Maruya alongwith fellow publisher Tsujiokaya Kamekichi issued “Yoshitoshi’sCourageous Warriors” (Yoshitoshi musha burui). The last known prints published by Maruya date to 1891, thelast books to 1897. One Kobayashi Tetsujirō lived from 1848 until1893 but as the name was passed on within the family from oneheir to the business to the next we cannot tell which KobayashiTetsujirō this was.298 publishers