Japanese woodblock prints-andreas marks

Works Date Artist(s)nagauta libretti 1856 Kunichika, Kunisada, Kunisada II, 1859 Kunisada IIIunserialized actor prints 1861 Yoshitora 1862 Hiroshige IIIunserialized beauty prints 1862 Yoshiikuunserialized landscape prints 1863 Yoshiiku, Yoshitoraunserialized sumo prints Yoshimoriunserialized warrior prints or historical pictures 1863 YoshitoraHonchō eiyū kagami YoshiikuEdo no hana kodomo asobi 1864 YoshitoraGaikoku jinbutsu zuga 1865 YoshitoraSetsugekka no uchi 1865 Kunisada IISono yuen setsugekka 1865 Hiroshige II, Kyōsai, Tsuyanaga,Kanadehon Chūshingura 1866 Yoshimori, Yoshitora 1867 Kyōsai“Go-jōraku Tōkaidō” 1867 Hiroshige II 1868–73 Hiroshige IITanuki no tawamure 1869 Kunisada IITōkaidō gojūsan tsugi 1869–70 YoshitoraSuehiro gojūsan tsugi 1873 Kunichika/Hiroshige IIKachō fūgetsu no uchi 1874 KuniteruDai Nihon rokujūyoshō 1877 Hiroshige IIITōkaidō hitome senryō 1878 YoshitoraYoshitsune senbon zakura 1878 Hiroshige IIITōkyō meishō zukushi 1878 KunichikaHikaru no kimi yūran no uchi 1880 Hiroshige IIITōkyō meishō zue 1881 Hayakawa Shōzan/KunichikaKaika gonin binan 1882 KunichikaTōkyō meisai zue 1883 FusataneKaika nijūshikō 1883 YoshitoshiKaika ninjō kagami 1883–84 YoshitoshiBijin kurabe rokkasen 1883–86 KiyochikaKōto kaiseki beppin kurabe 1884–85 ChikanobuDai Nihon shiryaku zue 1884–86 ToyonobuKiyochika hōchi (Kiyochika ponchi) 1886 Hiroshige IIIChōsen henpō 1886 ChikanobuShinsen Taikōki 1887 YoshitoshiTōkyō kokkei meisho 1888–89 KiyochikaMeiyo iro no sakiwake 1891 ChikanobuYoshitoshi musha burui ChikanobuMusashi hyakkei no uchi YoshitoshiSetsugekka EitakuAzuma nishiki chūya kurabe Kojima ShōgetsuYoshitoshi manga ChikanobuWa-ei taiyaku: Dai Nihon kōmyō ryakudenHana kurabe homare nishikiFugaku shū

Oplar(Tōthe(KiŌbLe“S“FiFaJapYoLe“B(ShserPlaLib

pposite Kiyochika. 1881. “The new Above Yoshitoshi. 1883. Yamanakarge bridge in Tokyo Ōkawabata” Shikanosuke Yukimori, from the seriesōkyō Ōkawabata Shin-ōhashi), from “Yoshitoshi’s Courageous Warriors”e series “Satirical Kiyochika” (Yoshitoshi musha burui). Ōban.iyochika hōchi/Kiyochika ponchi). Collection Peter Rieder.ban. Waseda University Library.eft top Hiroshige II. 1865. akanoshita”, from the series ifty-three Stations with a Foldingan” (Suehiro gojūsan tsugi). Ōban. pan Ukiyo-e Museum, Matsumoto.oshida 1991, p. 14.eft bottom Hiroshige III. c.1869.Black Ship off Shinagawa“ hinagawa oki no kurofune), from the ries “Gathering of Tokyo’s Beautiful aces” (Tōkyō meishō zue). Ōban.brary of Congress. MARUYA TETSUJIRO– 299

Yamadaya Shōjirōlate 1851–c.1866Seal name: Yamashō; firm name: Kinkyōdō. Located at Kyōbashi Nakabashi Hirokōji (until laKyōbashi Nantenmachō Nichōme (from late 1858).As early as 1789, the publisher Yamadaya least five different volumesShōbei issued woodblock prints, e.g. by The later edition of HiroShunkō I. However, until the 1810s thesefirst works are extremely rare to find. “Cursive Script Tōkaidō” (“Publishing prints seems to have not been the is dated to c.1850-51. In lamain business as the few actor prints and in leadership of the businesbeauty series from the 1810s and 1820s change and Yamadaya Shōattest. The figure at the top right of the Yamadaya Shōjirō, continuopposite page is an example from the 1820s, use the same publisher sealillustrating Kunimaru’s series “Elegant Six change was announced in bJewel Rivers” (Fūryū mu tamagawa). during that time. In 1851, member of the New Factio The business started to do better in the Picture Book and Printthe late 1830s with landscape prints by (Jihon toiya). He was then dHiroshige. They were followed by a high he was able to take over Tsnumber of books, predominantly illustrated business in the fourth monby Kunisada and later Yoshitora. These booksbecame Yamadaya’s stronghold and from the In the 1850s, Yamadayalate 1840s until the early 1860s, he issued at with various motifs like act and warriors. From 1858 u300 publishers

ate 1858), laters per year. undertook his largest project, the oneoshige’s so-called hundred prints series “Record of Kannon’s“Gyōsho Tōkaidō”) Miracles” (Kannon reigenki) with the mainate 1851, a change motifs by Kunisada or Kunisada II and the ss caused a name landscape frame on top by Hiroshige II. Thisōbei became is the only series on this theme and it seemsuing however to that it’s popularity was not as high as the ls. This name publisher had originally expected as eighteen books published designs are missing, suggesting a preliminary he is listed as a halt to the production.on (Karigumi) of t Publishers Guild The rising interest in foreigners led to a doing so well that number of prints and books that Yamadayasutaya Jūzaburō’s published in the early 1860s. Amongst themnth of 1852. was Yoshitora’s series “A Collection of People produced prints from Foreign Lands” (Gaikoku jinbutsu tors, beauties, zukushi) from 1861. The business seems tountil 1865, he have come to an end around 1866, as there are no more publications.

Works Date Artist(s)unserialized actor prints 1852 Kunisadaunserialized landscape prints 1852 YoshitoraKanadehon Chūshingura 1853 YoshitoraJūnikagetsu no uchi 1854 KunisadaEdo meisho 1855 HiroshigeTōto meisho hakkei no uchi 1857 YoshitoraAzuma Genji—Mitate gosekku 1858 Kunisada, Kunisada IIEdo meisho harimaze zue 1858 HiroshigeSankai mitate zumō HiroshigeKannon reigenki 1858–60 Kunisada/Hiroshige IIAshikaga-ginu tezome no murasaki—Jūnikagetsu nouchi 1859 KunisadaKanadehon Chūshingura 1859 Kunisada IIKannon reigenki Kunisada/Hiroshige II, Kunisada II/ 1860 Hiroshige IIBankoku zukushi 1860 YoshitoraGaikoku jinbutsu zue Yoshitora 1860 Kunisada/Hiroshige II, Kunisada II/Kannon reigenki Hiroshige II 1861 YoshitoraGaikoku jinbutsu zukushi 1861 YoshitoraBushū Yokohama hakkei no uchi 1862 YoshitoraBankoku meishō zukushi kurabe no uchi 1862, 1865 Kunisada/Hiroshige IIKannon reigenki

Opposite c.1850-51 Hiroshige. Top 1820s Kunimaru. Sumaura from“Totsuka”, from the series “The the Akatsutaya and her attendantsFifty-three Stations along the Ukuno and Omishi, from the seriesTōkaidō” (Tōkaidō gojūsan tsugi no “Elegant Six Jewel Rivers” (Fūryū muuchi), reissued of the “Cursive Script tamagawa). Ōban. Asian Art Museum,Tōkaidō” (Gyōsho Tōkaidō). Aiban. National Museums in Berlin.Japan Ukiyo-e Museum, Matsumoto.Sakai 1981, p. 242, horizontal aiban no. Above 1861 Yoshitora. “Americans”5.6. (Amerika), from the series “A Collection of People from ForeignAbove 1858 Kunisada and Hiroshige Lands” (Gaikoku jinbutsu zukushi).II. “Pilgrimage to the Western Ōban. Library of Congress.Country, no. 10—Mimurotoji inYamashiro and the farmer’s daughterfrom Kahada village” (Saigoku junreidai jū ban—Yamashiro Mimurotoji;Yamashiro Kahadamura nōjo), fromthe series “Record of Kannon’sMiracles” (Kannon reigenki). Ōban.Japan Ukiyo-e Museum, Matsumoto.YAMADAYA SHO– JIRO– 301

Sakanaya Eikichic.1855–66Seal name: Uoei. Located at Shitaya Shinkuromonchō.Not much is known about Sakanaya Eikichi who was active for a rathershort period—from c.1855 until 1866. Sakanaya was the only publisherlocated at Shitaya Shinkuromonchō. The earliest works he produced areserialized and unserialized actor prints by Kunisada, who eventuallybecame the foremost artist Sakanaya worked with. Deluxe printing andhigh quality paper quickly enabled him to reach out to demanding andhard to please customers. In 1856, he undertook an ambitious project byissuing the first prints of Hiroshige’s last masterpiece series “OneHundred Famous Views of Edo” (Meisho Edo hyakkei). During twoyears, until Hiroshige passed away in 1858, 118 different views werepublished. In an attempt to continue the series, one more followed byHiroshige II, published in the fourth month of 1859. Shortly thereafterSakanaya issued the first designs of Hiroshige II’s similar large-scaleseries “One Hundred Views of Famous Places in the Various Provinces”(Shokoku meisho hyakkei) that he produced until 1861. When Hiroshigepassed away, Sakanaya issued Kunisada’s memorial portrait of Hiroshige,the one and only memorial portrait of him that was published. Sakanaya only very rarely commissioned Kuniyoshi, but when he did,such as the 1860 series “Kuniyoshi’s Analogies for the Six Conditionsof Nature” (Rokuyōsei Kuniyoshi jiman), Kuniyoshi’s designs are strikingcompositions. Sakanaya also participated in a number of very successful collaborativeprojects with fellow publishers. From 1857 until 1859, he was one offour publishers issuing Kunisada’s luxury Genji diptych-series “LastingImpressions of a Late Genji Collection” (Genji goshū yojō). The lastproject he participated in was the “Processional Tōkaidō” (“Go-jōrakuTōkaidō”) series from 1863, the greatest joint project in ukiyo-e historywith 24 publishers and 16 artists. The figure to the right by Yoshimori isone of the 162 designs from this series. How Sakanaya’s publishing business came to an end is not clear,but the last designs known date to the first month of 1866. The figureon page 304 is one of these three last designs that complementedKunisada’s series “Biographies of Famous Women Past and Present”(Kokon meifu den). The 34 designs of this series which commenced muchearlier were gradually published over seven years beginning in 1859.These three last designs were published posthumously as Kunisada hadalready passed away one year before, in early 1865.Above 1863 Yoshimori. “Saya,” from Opposite 1860 Kuniyoshi. “Bad luckthe series “Processional Tōkaidō” before noon, good luck after noon:(“Gōjōraku Tōkaidō”) The priest Mongaku” (Senbu:Ōban Japan Ukiyo-e Museum, Mongaku shōnin), from the seriesMatsumoto “Kuniyoshi’s Analogies for the SixRef.: Marks 2007, no. 42D (11) Conditions of Nature” (Rokuyōsei Kuniyoshi jiman) Ōban Publisher: Collection Arendie & Henk Herwig, The Netherlands Ref.: Robinson 1982, no. S93.4302 publishers

Works Date Artist(s)unserialized actor prints 1855 Kunisadaunserialized beauty prints 1855 Kunisadaunserialized toy pictures 1856–57 YoshimoriChūshingura meimei den 1856–58 KunisadaShinpen Kinpeibai 1857 KunisadaMitate sanjūrokkusen 1857 Kunisada/GengyoMeisho Edo hyakkei 1857–59 HiroshigeŌmi hakkei 1859 HiroshigeImayō mitate shi-nō-kō-shō 1859 KunisadaGenji goshū yojō 1859–60 KunisadaMeisho Edo hyakkei 1859–61 Hiroshige IIKokon meifu den 1860 KunisadaToyokuni manga zue 1861 KunisadaShokoku meisho hyakkei 1861 Hiroshige IIRokuyōsei Kuniyoshi jiman 1861 KuniyoshiShiki keshiki no uchi 1861 Kunisada IISoga hakkei jihitsu kagami 1861 Kunisada/Hiroshige IITōsei isami kurabe 1861 KunisadaTōsei jihitsu kagami 1861–62 Kunisada/GengyoToyokuni manga mitsu kumi sakesuki 1862–63 KunisadaKi no ji zukushi 1863 KunisadaKokon meifu den 1863–64, 1866 KunisadaTōto shiki meisho zukushi Kunisada/Hiroshige II“Go-jōraku Tōkaidō” Hiroshige II, YoshimoriKokon meifu den Kunisada



SAKANAYA EKICHI 303

304 publishers

Left 1866 KunisadaYaoya Oshichi, from theseries “Biographies ofFamous Women Pastand Present” (Kokonmeifu den) ŌbanJapan Ukiyo-e Museum,MatsumotoOpposite top 1857Kunisada “Chapter Four:Suetsumu Hana” (Daiyon maki: SuetsumuHana), from the series“Lasting Impressions ofa Late Genji Collection”(Genji goshū yojō)Ōban diptych JapanUkiyo-e Museum,MatsumotoOpposite bottom left1856 Hiroshige “TheArmor-hanging Pine atHakkeizaka”(Hakkeizakayoroikakematsu), fromthe series “One HundredFamous Views of Edo”(Meisho Edo hyakkei)Ōban Library of CongressRef.: Sakai 1981, p. 250,ōban no. 62.87Opposite bottom right1859 Hiroshige II“Drying Flounder inWakasa Province”(Wakasa karei o seisu),from the series “OneHundred Views ofFamous Places in theVarious Provinces”(Shokoku meishohyakkei) ŌbanLibrary of CongressRef.: Yoshida 1991, p. 4



SAKANAYA EKICHI 305

Sawamuraya Seikichic.1855–1903Firm name: Seieidō; family name: Takekawa Seikichi. Located at Kanda Izumibashi-dōri (at l(c.1873–76), Kanda Sudachō Yonchōme 4-banchi (1876–79), Nihonbashi HonshiroganechōAt least from 1855, Sawamuraya Seikichi issued Sawamuraya sealedbooks with illustrations by print artists. However, it Takekawa Seikichi bwas not until the mid-1860s that Sawamuraya contemporary sourcestarted to put prints on the market. At first it was fifth position in regaractor prints by Kunichika, the leading artist of actor quality of his prints mprints at that time. Then Sawamuraya joinedMaruya Tetsujirō in publishing Yoshitora’s warrior The rather high acseries “Sixty-odd Generals of Japan” (Dainippon continued in the 189rokujūyoshō). the series “Kyōsai’s D rakuga) for him. Afte Sawamuraya and Yoshitora were a successful of 1894-95 as a newteam in the early 1870s, as was then the work with classical beauty andKyōsai. In 1872, Sawamura engaged many of the half of the 1890s, maleading Utagawa School artists to contribute to the The figure below is aseries “Paintings and Writings along the Fifty-three depicting Akechi SaStations” (Shoga gojūsan tsugi). Each design of this Lake Biwa on his hoTōkaidō series consists of a number of frames withpictures. This series was quite popular and shortly The publishers Takthereafter, in 1875, Sawamuraya issued another Unosuke operated inseries with mixed pictures by leading artists, “The same location as SawBeautiful Places of Advanced Tokyo” (Tōkyō kaika possible that there wmeishō no uchi). relationship between continued to be activ306 artists

least until 1871), Kanda Sujikaibashi Below 1899 Kiyochika. “View of the Nichōme 12-banchi (from 1879). Karasaki Pine as Akechi Samanosuke Mitsuharu crosses Lake Biwa on his d with the family name horse” (Akechi Samanosukebeginning in 1876. A Mitsuharu kosui noriuchi Karasaki e from 1890 ranks him in the matsu no zu). Ōban triptych. rds to his output, calling the Collection Arendie & Henk Herwig, The middle high. Netherlands. Ref.: Smith 1988, fig. 106 ctivity of Sawamuraya 90s. Kyōsai, for example, made Right top 1896 Kiyochika. “Enpō Era” Drawings for Pleasure” (Kyōsai (Enpō no koro), from the series er using the Sino-Japanese War “Flower Patterns” (Hana moyō). Ōbanw theme, he returned to rather triptych. Santa Barbara Museum of Art, Gift of Mr. and Mrs. Roland A. Way. Smith warrior prints in the second 1988, fig. 107. any designed by Kiyochika. a magnificent warrior triptych Right bottom 1892 Gyōsui.amanosuke Mitsuharu crossing “Amusements of the Fortune Gods in orse. the year of the snake” (Midoshi no kekawa Unokichi and then fukujin asobi). Ōban triptych. Waseda n their later years from the University Library. wamuraya, and it is verywas some kind of a family n these publishers. Sawamuraya ve at least until 1903.

Works Date Artist(s)unserialized actor printsunserialized Genji prints 1866 Ginkō, Kunichikaunserialized landscape prints 1870 Yoshitoraunserialized pictures of flowers and birds 1871 Yoshimori, Yoshitoraunserialized warrior prints or historical pictures 1871 KyōsaiDai Nihon rokujūyoshō 1872 Kiyochika, Kiyooki, Kyōsai, YoshitoraTōsei jūni toki no uchi 1874 YoshitoraEnsei utafu zoroi 1874 YoshitoraTōto hakkei no uchi 1875 Yoshitora 1876 YoshitoraShoga gojūsan tsugi 1877 Kunisada II, Kyōsai, Shigekiyo, 1878 Yoshimori, Yoshitora, et al.Kyōsai rakuga KyōsaiShinkai meisho Yoshitora Hiroshige III, Kunichika, Kyōsai,Tōkyō kaika meishō no uchi Yoshitora KunichikaZen’aku sanjūroku bijin Hayakawa Shōzan/KunichikaKaika nijūshikō KunichikaKaika sanjūroku kaiseki

Works Date Artist(s)Aohigusa matsu no urazono 1879 KunichikaJūnikagetsu hana awase 1880 KunichikaTōkyō hakke 1880 KyōsaiMitate jūnikagetsu no uchi c.1880 Kunichika/KyōsaiJunshoku sanjūrokkasen 1881 KunichikaChimei jūnikagetsu no uchi 1882 Kunichika/KyōsaiShinsen Taikōki 1883 ToyonobuGenji gojūyojō 1884 KunichikaGenroku Yamato nishiki 1885–86 KyōsaiNihon meijo hanashi 1893–94 ChikanobuOnna reishiki ryakuzu 1894 Chikanobuunserialized triptychs illustrating the Sino-JapaneseWar 1894 Beisaku, ChikanobuHana moyōShiki no asobi no uchi 1895–96 KiyochikaKodai moyō 1895–96 KiyochikaKyōiku iroha dango 1896 Kiyochika 1897–98 Kiyochika SAWAMURAYA SEIKICHI 307

Hiranoya Shinzō1861–c.1869Seal name: Hirashin; firm name: Aikindō. Located at Nihonbashi Yorozuchō.Hiranoya Shinzō started in the publishing business in the secondmonth of 1861 by taking over the business of the small publisherNishinomiya Shinkichi. No publications by Nishinomiya Shinkichi areknown and the only record of him is that he joined the Picture Bookand Print Publishers Guild (Jihon toiya) in the eleventh month of 1857. Hiranoya’s earliest productions are actor prints by Kunisada, theleading artist and grand seigneur of the Utagawa School at that time.During the first half of the less than ten years that Hiranoya issued prints,he managed to publish some of the best and most remarkable series byKunisada, all in high quality, deluxe editions. Though Hiranoya issued some unserialized actor prints, his mainoutput was series of actor portraits mostly in half-length. These serieswere sometimes issued over two or more years because of the manydifferent designs each series consisted of. Three of the series each have 36designs. The figure at the top right of the opposite page is an example ofthe first 36-print series, “Selection of Modern Imaginary Thirty-SixThriving Flowers” (Tōsei mitate sanjūrokkasen) by Kunisada, issuedfrom 1861 until 1862. Quite a number of impressions still exist todaywhich speaks for its popularity. Hiranoya issued almost every design L G C C308 publishers

with different colored background to appeal to as many customers aspossible. From 1861 until 1865, Hiranoya issued Kunisada’s series “Toyokuni’sDrawings: A Magic Contest” (Toyokuni kigō—Kijutsu kurabe), a strikingseries of magicians. The blocks for one of the prints were destroyed ina fire and Kunisada’s disciple Kunichika redesigned it which Hiranoyafinally issued in 1868. To 1864 dates the series “Pride of Edo: Thirty-Six Amusements” (Edojiman sanjūrokkyō). This series was a joint project by Hiroshige II, whomade the scenery and Kunisada who did the figures. Another actor series by Kunisada appeared from 1863 until 1864, “PearOrchard of Biographies of Chivalrous Men” (Rien kyōkaku den). Thisseries was a few years later reissued with alternated faces and names ofother, at that time, popular actors. One of the last projects that Hiranoya undertook was Hiroshige III’sseries “Gathering of Tokyo’s Beautiful Places” (Tōkyō meishō zue). Thefirst designs were issued in 1868 by both the publisher Maruya Tetsujirōand Hiranoya Shinzō. Hiranoya continued with the series in 1869,the year when his business seems to have come to end as no furtherproductions are known.Works Date Artist(s)unserialized actor prints 1861 Kunichika, Kunisadaunserialized Genji prints 1861-62 Hiroshige II, Kunisada, Yoshitoraunserialized warrior prints 1861-65 YoshitoraSumidagawa hakkei 1862 Hiroshige IITōsei mitate sanjūrokkasen 1863 KunisadaToyokuni kigō—Kijutsu kurabe 1863-64 KunisadaUntitled series of actors on battledores 1863-64 KunisadaTōsei mitate sanjūrokkasen 1864 KunisadaAtari yagura kanban zoroi 1864-66 KunisadaRien kyōkaku den 1865 KunisadaEdo jiman sanjūrokkyō 1866 Kunisada/Hiroshige IIYanagimachi rien zensei hana itsui 1867 Kunisada/Kunihisa IIMitate shiranami hakkei 1867 KunichikaYūretsu kekki den 1868 YoshitoraHanashi no hanasakari no ōyose 1868-69 KunichikaTōkaidō hitome senryō 1869 Kunichika/Hiroshige IIToyokuni kigō—Kijutsu kurabe KunichikaTōkyō meishō zue Hiroshige IIIShunshoku sanjūroku kaiseki YoshiikuLeft 1868 Kunichika. The actor Ichikawa Kuzō III as IdatenGorō, from the series “Toyokuni’s Drawings—A MagicContest” (Toyokuni kigō—Kijutsu kurabe). Ōban. SendaiCity Museum.

Above 1864 Kunisada and Right top 1862/63 Kunisada. Right bHiroshige II. “Hashiba ferry The actor Kawarazaki The actin the snow” (Hashiba Gonjūrō I as Yaegaki Monza as Shirsetchu), from the series juxtaposed to Pinks by the the ser“Pride of Edo—Thirty-Six river (Kawara nadeshiko), BiograAmusements” (Edo jiman from the series “Selection of Men” (Rsanjūrokkyō). Ōban. Japan Modern Imaginary Thirty-Six Ōban. CUkiyo-e Museum, Matsumoto. Thriving Flowers” (Tōsei mitate sanjūrokkasen). Ōban. Henk HYoshida 1991, p. 13. Collection Arendie and Henk Herwig.

bottom 1863 Kunisada. tor Ichimura Kakitsu IVrataki no Sakichi, fromries “Pear Orchard ofaphies of Chivalrous Rien kyōkaku den).Collection Arendie andHerwig. HIRANOYA SHINZO– 309

Morimoto Junzaburō1861–1923Firm name: Entaidō. Located at Asakusa Kawaramachi.Morimoto first opened a print and book shop in 1861 that wascaptured by Yoshiiku in “The Souvenirs of Edo: Print Shop” (Edomiyage no uchi: Ezōshimise; 1861). Morimoto then took over thebusiness of the publisher Tsujiya Yasubei in the first month of 1863.However, fan prints from 1864 with Tsujiya Yasubei’s seal exist but noprints after 1864 are known and it therefore could have been possiblethat Morimoto did somewhat take over Tsujiya’s business. Be that as itmay, Morimoto’s earliest prints date to the year 1863 when he firstpublished actor prints by Kunisada. Over the years, Morimoto mostly engaged Kunisada III andespecially Kunichika who became the most successful designer of actorprints in the 1870s. From the late 1870s, Morimoto turned away fromKunichika’s series to Yoshitoshi’s and issued one after another untilthe early 1880s. Apart from series like “The Eight Honorable Ways ofConduct” (Meiyo hakkō no uchi), Yoshitoshi also designed triptychsfor him illustrating the 1877 Satsuma Rebellion (Sainan Sensō) inKagoshima, like “New government, rich in virtue” (Shinsei kōtoku) onthe opposite page. In the 1880s, Morimoto produced, from time to time, illustratedbooks, an area that seemed to have been rather marginal for himthough. The prints he produced at that time are again by the leadingartists. With Kiyochika he did “One Hundred Faces: Supplement toThirty-two Faces” (Sanjūni sō tsuika: Hyakumen sō), a comical series.Chikanobu produced many actor prints for him but also astoundingtriptychs like the figure at the bottom of the opposite page, depictingthe warrior monk Benkei hauling the giant bell of Miidera Templeup the slope of Mount Hiei. The bell, which weighed half a ton wasbalanced over Benkei’s shoulder using a paper lantern as a counter-weight. A source from 1890 placed Morimoto’s output in the twelfthposition and the quality of his prints to middle. Morimoto Junzaburō’slast known prints date to 1900. Under the same address in Asakusa,a small publisher of books and occasionally prints named MorimotoShōtarō operated from c.1897 until 1899. It is not clear how bothpublishers were related. After the Great Kantō earthquake ofSeptember 1, 1923 (Kantō daishinsai), Morimoto Junzaburō III’sbusiness had to close.Right top 1883 Kiyochika. Jōrūri Opposite top 1877 Yoshitoshi. “Newrecital, Tsumami eating, Sake government, rich in virtue” (Shinseidrinking, halfway at the agreement, kōtoku). Ōban triptych. Wasedafrom the series “One Hundred University Library.Faces—Supplement to Thirty-twoFaces” (Sanjūni sō tsuika—Hyakumen Opposite bottom 1887 Chikanobu.sō). Ōban. Santa Barbara Museum of Art, “With his superhuman strength, Benkei drags the temple bell upGift of Mr. and Mrs. Roland A. Way. Mount Hiei” (Benkei no kairiki bonshō wo Hieizan ni aku). Ōban triptych. Collection Arendie and Henk Herwig.310 publishers

Works Date Artist(s)unserialized actor prints 1864 Chikanobu, Chikashige, Kunichika, Kunisada, Kunisada 1865 IIIunserialized beauty prints 1867 Chikanobu, Kunichikaunserialized landscape prints 1874 Chikanobu, Hiroshige IIIunserialized sumo prints 1874 Toyonobuunserialized warrior prints 1875 YoshitoshiŌmi hakkei 1876 Hiroshige IISuehiro gojūsan tsugi 1877 Hiroshige II, Kunichika, Sadahide, YoshiikuShinpan kage-e zukushi 1878 Kuniteru IIShiranami gonin otoko 1878 KunichikaNanbi hachibiden 1879–80 KunichikaAzuma no hana matoi zukushi meishō awase 1880–81 Kunichika/Hiroshige IIIZen’aku sanjūroku bijin 1882 KunichikaKagoshima seitō zenki no zu 1883 YoshitoshiMeiyo hakkō no uchi 1883–84 YoshitoshiHonchō chinin eiyū kagami 1887 YoshitoshiDai Nihon shiryaku zue 1890 YoshitoshiShinryū nijūyoshi 1891 YoshitoshiTōkyō meisho miyage 1893–94 KunitoshiSanjūni sō tsuika: Hyakumen sō 1894–95 KiyochikaShinsen Taikōki ToyonobuShinpan musha-e zukushi [single ōban] IkueiBakin chojutsu ChikanobuNikkō meisho ChikanobuMitate jūnishi Chikanobuunserialized triptychs illustrating the Sino-Japanese War Nobukazu



MORIMOTO JUNZABURO– 311

Yorozuya Magobeic.1869–1919Seal name: Manson/Yorozumago; firm name: Kineidō; family name: Ōkura Magobei. LocateYorozuya Magobei was born on the eight day The new regulations in 1of the third month of 1843 as the second son Yorozuya to sign his publicof Yorozuya Shirōbei II, a bookshop owner in family name, Ōkura MagoYotsuya Tenmachō who occasionally also In the second half of the 1produced fan prints such as an untitled series produced more works by Yon flowers by Kunisada, published in 1827. example the series Seiu kanAround 1869, Yorozuya Magobei moved to 1876. Since 1878, YorozuyNihonbashi-dōri Itchōme and started his illustrated by print artists lown publishing enterprise. His earliest Kyōsai. In the 1880s, Yoroknown prints are by Kunichika and Yoshiiku, works by Kono Bairei (184dating from this year. In the early 1870s itwas especially these artists, Yorozuya worked He slowly passed the puwith most. The figure at the bottom right of on to his younger brother-the opposite page is an example from Yasugorō but in 1890, a fel“Flowers of Edo, Kunichika’s Caricatures” placed Yorozuya Magobei(Azuma no hana Kunichika manga) by position in a ranking of mKunichika that Yorozuya issued in 1872. Apart publishers at that time andfrom well-known and popular artists, that the quality of his publYorozuya also engaged lesser known ones like high. Yorozuya Magobei hShōsai Ikkei (act. c.1853–72) who designed developed in an entirely dithe comical series “Thirty-six Famous Places to become the only successfor Amusement in Tokyo” (Tōkyō meisho Japanese woodblock printsanjūroku gisen) for him. In 1889, he opened a shop paper that he imported, Ō312 publishers

ed at Nihonbashi-dōri Itchōme. 1875 caused Yōshiten, today Shinsei Pulp and Paper cations with his Co., Ltd. Additionally, together with one obei, from then on. of the founders of the Ginza-based trading 1870s, Yorozuya company Morimura-kumi, Morimura Yoshitoshi, for Ichizaemon, he started to export porcelain ndankei from to the United States. In 1893, Yorozuya ya also issued books visited the World’s Columbian Exposition like Chikanobu and (aka The Chicago World’s Fair) in Chicagoozuya mostly issued and with the ambition to create the best 44–1895). china possible, they established in 1904 the ublishing business “Nippon Tōki Gōmei Kaisha” in the village of -in-law Ōkura Noritake, near Nagoya, what is today known llow publisher as Noritake Co., Ltd., one of the leading in the eighth ceramic manufacturers worldwide. Stillmost active on the search for the best china, Yorozuya, d also mentioned together with his son Kazuchika, founded in lications was 1919 Ōkura Tōen, today Okura Art China himself, however, Inc. ifferent direction s story of publishers. p for westernŌkura Magobei Left 1827 Kunisada. “Chinese matrimony vine rack” (Kukodana), from an untitled fan print series on flowers. Fan print. Japan Ukiyo-e Museum, Matsumoto. Opposite top left 1872 Ikkei. “Tea-house at a riverbank” (Sukiya kawagishi), from the series “Thirty-six Famous Places for Amusement in Tokyo” (Tōkyō meisho sanjūroku gisen). Ōban. Library of Congress. Opposite top right 1876/77 Yoshitoshi. “Heavy rain” (Ōame)—The actor Nakamura Nakazō III as Murai Chōan, from the series “Barometer of Emotions” (Seiu kandankei). Ōban. Collection Arendie and Henk Herwig. Opposite bottom Kunichika. 1872. No. 6—The actor Onoe Kikugorō V as Oniazami Seikichi, from the series “Flowers of Edo, Kunichika’s Caricatures” (Azuma no hana Kunichika manga). Ōban. Collection Arendie and Henk Herwig.

Works Date Artist(s)unserialized actor prints 1869 Chikanobu, Ikkei, Kunichika, Kunisada IIIunserialized beauty prints 1869 Kunisada III, Yoshiikuunserialized Genji prints early 1870s Yoshitoraunserialized historical pictures early 1870s Chikanobu, Yasujiunserialized landscape prints 1870–71 Hiroshige IIITōsei sanjūni sō 1871 KunichikaZensei jihitsu sanjūrokkasen 1871 YoshiikuTōkyō kaika sanjūrokkei 1872 Hiroshige IIITōkyō meisho no uchi 1872 Hiroshige IIIGenji gojūyojō 1873 YoshiikuTōkyō sanjūroku kaiseki 1874 KunichikaTōkyō ryōri sukoburu beppin 1874 Yoshitoshi and studentsAzuma no hana Kunichika manga 1875 KunichikaTōkyō meisho sanjūroku gisen c.1875 IkkeiHaiyū rokkasen 1876 KunichikaMitate gekijō shichi yūshi 1876 KunichikaShinpan kyōgen gedai zukushi 1877 KunichikaKokon hime kagami 1877 YoshitoshiKōchō kōmei kagami c.1877 Hayakawa ShōzanOnoono daiku matoi kagami late 1870s YoshitoshiSeiu kandankei 1879 YoshitoshiDai Nihon bussan zue 1881 Hiroshige IIIunserialized triptychs illustrating the Satsuma Rebellion 1881 YoshitoshiKagoshima eimei den 1881 ChikanobuKanadehon Chūshingura 1883 YoshitoraNakayomiya gonin kyōkaku 1884 Kunisada IIIBairei hyakuchō gafu 1885–89 BaireiKaimei Tōkyō meishō Hiroshige III, Kuniaki IIShinsen Rinsai kachō (Sōmoku kachō gafu) RinsaiBairei kachō gafu BaireiBairei hyakuchō gafu, zoku hen BaireiDai Nihon shiryaku zue Ginkō

YOROZUYA MAGOBEI 313

Tsujiokaya Kamekichic.1866–1918Seal name: Tsujikame; firm name: Kinkidō, Tōsendō; family name: TsunajimaKamekichi. Located at Ryōgoku Yokoyamachō Sanchōme (around 1866), AsakusaOkuramae Sugachō (c.1871–72), Asakusa Kawaramachi 12-banchi (c.1873–82),Nihonbashi Bakurochō Nichōme 14-banchi (from c.1884).Around 1866, Tsujiokaya Kamekichi entered the publishing business.Not just because of the similar name does it seem that he was relatedto Tsujiokaya Bunsuke, at that time a well-established publisher whowas active since the 1810s, but also, the first address of TsujiokayaKamekichi is the same as Bunsuke’s. In the third month of 1866,Tsujiokaya Kamekichi joined the Picture Book and Print PublishersGuild (Jihon toiya) and put his first prints on the market, actorportraits by Kunichika. In the early 1870s, Tsujiokaya Kamekichi also started to publishillustrated books, which he continued for at least ten years. Whenexactly he left Bunsuke’s shop and opened his own is unclear but hemust have been at his new location in Asakusa Okuramae at leastby 1871 as the new address is now inscribed on the prints he issued.We can sense serious issues with the new location as he moved againin 1873, this time to Asakusa Kawaramachi. From time to time,Kunichika continued to do unserialized actor prints for him, but hemainly engaged minor artists like Fusatane and he did not play in thefirst rank of publishers at that time. Starting in 1876, he had to seal hisprints by law with the family name Tsunajima Kamekichi. As early as 1866, Tsujiokaya worked with Yoshitoshi and issuedunserialized warrior prints. This relationship was revived in 1880and especially in the second half of the 1880s, print after printfollowed. The figure to the right shows an example from “Yoshitoshi’sCourageous Warriors” (Yoshitoshi musha burui), issued from 1885until 1886. From 1885 until 1889 appeared the diptych series “Newselections of Eastern Brocade Pictures” (Shinsen azuma nishiki-e).In 1888 put Tsujiokaya one of Yoshitoshi’s most renowned series onthe market “Thirty-two Aspects of Customs and Manners” (Fūzokusanjūnisō). In an interview from 1890, a fellow publisher provideda ranking of his colleagues and he set Tsujiokaya on tenth place,remarking that his prints are of high quality. Assessing the demand of his customers, Tsujiokaya also producedunsigned prints such as the series “Collection of Fashionable English”(Ryūkō eigo zukushi, 1887). Around 1884, Tsujiokaya moved one lasttime, to Nihonbashi Bakurochō Nichōme where he stayed until at least1918. Right 1883 Yoshitoshi. Prince Yamato Takeru and Kawakami Takeru, from the series “Yoshitoshi’s Courageous Warriors” (Yoshitoshi musha burui). Ōban. Library of Congress.314 publishers

Works Date Artist(s)unserialized actor prints 1866 Kunichika, Kunisada IIIunserialized Genji prints 1869 Kunisadaunserialized landscape prints 1871 Shigekiyo 1873 Chikanobu, Kunimatsu, Nobukazu,unserialized warrior prints or historical pictures 1874 Yoshitoshi 1874 KunichikaKanadehon Chūshingura 1877 KunichikaImayō Genji 1877 Hiroshige IIITōkaidō gojūsan tsugi 1880 FusataneInochi no yōshō zen’aku kagami 1880 KunichikaHōrisha zoroi tōji torikumi 1881 Hiroshige IIITōkyō fuka meisho zukushi 1883 FusataneKagoshima shinwa 1885unserialized triptychs illustrating the Satsuma 1885–86 KunimatsuRebellion 1885–89Kaiko yashinai no zu 1886 ChikanobuKyōkun zen’aku zukai 1887 YoshitoshiTōkyo kaika kyōga meisho 1888 YoshitoshiShinsen Taikōki 1894–95 ToyonobuGenpei seisuiki 1899 ChikanobuYoshitoshi musha burui 1904 YoshitoshiShinsen azuma nishiki-e YoshitoshiAzuma nishiki chūya kurabe ChikanobuSoku mutsu bijin kurabe ChikanobuFūzoku sanjūnisō Yoshitoshiunserialized triptychs illustrating theSino-Japanese War Nobukazu, ToshiakiTōkyō meishounserialized triptychs illustrating the NobukazuRusso-Japanese War Seisai Yoshimura

Right 1888 Yoshitoshi. “Chilly—Theappearance of a mistress during theBunka era” (Tsumetasō—Bunka nenkanmekake no fūzoku), from the series“Thirty-two Aspects of Customs andManners” (Fūzoku sanjūnisō). Ōban.Collection Peter Rieder.Far right 1887 Artist unknown. “Snowday; Cross child; Bear; Refreshiug [!];Swimming; Ship; Song; Cricket; Ring;Wolf; Writing; Cut[t]ing rice; Rat; Box;Cow; Looking moon; Star; Ches[t]nut;Blank book; Cat; Penmanship; Horse;Fishing; School; Monkey; Commandant;Pig; Horse car; Wild hog; Deer; Parrot;Physician; Tea po[t]; Gaot [!]; Creek;Chicken; Bee; Dog; Crab; Bath; Snake”,from the series “Collection ofFashionable English” (Ryūkō eigozukushi). Ōban. Library of Congress.Below 1885 Yoshitoshi. “The Story ofOtomi and Yosaburō” (Otomi Yosaburōhanashi), from the series “Newselections of Eastern Brocade Pictures”(Shinsen azuma nishiki-e). Ōban diptych.Collection Arendie and Henk Herwig.

TSUJIOKAYA KAMEKICHI 315

Fukuda Kumajirō1874–1898Seal name: Gusokuya. Located at Nihonbashi Ningyōchō Yonchōme, NihonbashiFukuda Kumajirō was one of the leading publishers in the Meijiperiod. In 1874, he inherited the publishing firm from his fatherGusokuya Kahei II which produced prints since c.1843. Fukudacontinued to use Gusokuya’s publishing seals that state an address inNihonbashi’s Ningyōchō. It seems that this was the address of theshop which he continued to have and that the address in Hasegawachōon some prints given parallel, relates to another branch or even hishome. The relationship between Kunichika and Gusokuya goes back to the1860s and Fukuda expanded this relationship even further by engagingKunichika for the majority of the prints he produced. For Kunichika,the vivid relationship with Fukuda and the continuous publicationof his designs enabled him to become the leading designer of actorprints at that time. The figure on the left of page 319 dates from 1892;the rare format of a vertical triptych depicts a ghost scene. Kunichikadesigned two comprehensive series of portraits, each consisting ofone hundred prints devoted to one of the leading actors in the 1890s.From 1893 until 1894 and again from 1897 until October 1898,Fukuda produced “One Hundred Performances of Ichikawa Danjūrō”(Ichikawa Danjūrō engei hyakuban). Like the figure on page 318, eachprint provides a portrait of Ichikawa Danjūrō IX (1838–1903). Theproduction of this series was continued from November 1898 byFukuda Hatsujirō, the successor to Fukuda Kumajirō. Onoe KikugorōV (1844–1903) was portrayed in the series “The One Hundred Rolesof Baikō” (Baikō hyakushu no uchi), issued from 1893 until 1894. But Fukuda did not only work with Kunichika. He commissionedother artists as well and produced, for example, an untitled series ofviews of Tokyo with Kiyochika from 1879 until 1881. In 1894 and1895, at least six different artists designed triptychs for Fukuda relatingto the Sino-Japanese War. A contemporary source from 1890 puts Fukuda on third place inregards to his output and mentions his works to be of middle quality.Fukuda Kumajirō ended his business in 1898 and Fukuda Hatsujirōtook over, so we can assume some type of family relation betweenthem.316 publishers

Works Date Artist(s)unserialized actor prints Chikanobu, Chikashige, Kunichika, Kunisada III, Yoshiikuunserialized beauty prints 1876 Chikanobu, Ginkō, Kunichika, Toshinobuunserialized historical pictures 1876 Ginkōunserialized landscape prints 1876 Kunisada IIIunserialized satirical pictures 1877 ChikanobuZen’aku sanjūroku bijin 1877 KunichikaTōkyō kakushu shinbun 1879 KunichikaTōkyō nichinichi shinbun 1879-81 YoshiikuKagoshima shinbun 1881 Ginkōunserialized triptychs illustrating the Satsuma Rebellion 1882 ToshinobuUntitled series on the Eight Views 1883 KiyochikaUntitled series of views of Tokyo 1887 KiyochikaHaiyū rakugo sanjūrokkasen 1890-91 ChikashigeChōsen henpō 1893-94 GinkōShinsen Taikōki 1893-94 ToyonobuJūnikagetsu no uchi 1894 KyōsaiMitate chūya nijūyoji no uchi KunichikaIchikawa Danjūrō engei hyakuban 1894-95 KunichikaBaikō hyakushu no uchi KunichikaMeiyū shikunshi 1896 Kunichikaunserialized triptychs illustrating the Sino-Japanese 1896-97 Chikanobu, Ginkō, Kiyochika,War 1897-98 Kokunimasa, Toshiaki, ToshimitsuYoshiwara jiman meibutsu-e KunichikaTōkyō jiman meibutsu-e KunichikaIchikawa Danjūrō engei hyakuban Kunichika



Above 1886 Kunichika and Yasuji.The actors Ichikawa Danjūrō IX asKumonryū and Ichikawa Sadanji I asKaoshō in the play Yume monogatarirosei no sugata-e, Shintomi Theater,May 1886. Ōban triptych. CollectionArendie and Henk Herwig.Left 1880 Kiyochika. “Late autumncalm on the Sumida River”(Sumidagawa koharunagi), from anuntitled series of views of Tokyo.Ōban. Santa Barbara Museum of Art, Giftof Mr. and Mrs. Roland A. Way. Smith1988, fig. 34.FUKUDA KUMAJIRO– 317

318 publishers



OppoIchikaShishPerfo(IchikŌbanHerwiLeft 1IchikaTessaOkikuChūtaservakeshōX/189and H

osite 1898 Kunichika. The actor Above 1893 Kunichika. The actor Onoe awa Danjūrō IX as Kumonryū Kikugorō V as Akagaki Genzō with anhin, from the series “One Hundred inset of Bandō Hikosaburō V asormances of Ichikawa Danjūrō” Shioyama Yozaemon, from the serieskawa Danjūrō engei hyakuban). “The One Hundred Roles of Baikō”n. Collection Arendie and Henk (Baikō hyakushu no uchi). Ōban. ig. Collection Arendie and Henk Herwig.1892 Kunichika. The actors awa Danjūrō IX as Asayamaan, Onoe Kikugorō V as the ghost ofu, Onoe Matsusuke IV as Iwabuchi a, and Onoe Kikushirō III as theant Gisuke in the play Sarayashikiō no sugatami, Kabuki Theater,92. Ōban triptych. Collection ArendieHenk Herwig. FUKUDA KUMAJIRO– 319

Akiyama Buemonc.1882–1920sFirm name: Kokkeidō; other name: Akiyama Seikichi. Located at Nihon-bashi Muromachi Sanchōme 9-banchi.Akiyama Buemon was one of the most active publishers in the Works1880s and 1890s, producing high quality prints. Some sourcesmention 1877 as a starting date but the earliest known unserializepublications date to 1882. From c.1882 until 1886, many unserializeromantic novels, some with illustrations by print designers, unserializewere issued by his Kokkeidō firm, stating Akiyama Seikichi as Zensei shikthe name of the publisher, however. During the same time, Tōkyō meisKokkeidō was active in producing unserialized actor prints by Tsuki no hyKunichika and others, inscribed with Akiyama Buemon as the Setsugekkapublisher name. Both Buemon and Seikichi might have been Sanjūrokkathe same person as the firm name as well as address is identical. Sensetsu ro Mitsui no k From the beginning, Akiyama established a good Nazora-e krelationship with Yoshitoshi and published books with his unserializeillustrations as well as print series. Especially successful was Kokkei Yam“One Hundred Aspects of the Moon” (Tsuki no hyakushi), a Kodomo fūseries of one hundred prints, with the first appearing in 1885, Bijin jūnishthe last in 1891. After Yoshitoshi passed away in 1892, his Shin bijinstudents Mizuno Toshikata (1866–1908) and Migita Toshihide Yukiyo no h(1863–1925) took his place and worked predominantly for Imayō bijinAkiyama. Toshihide’s outstanding series of diptychs, “Eighteen Meiyo jūhaScenes of Honor” (Meiyo jūhachiban), dates from 1899. Nichiro kōs Mitsukoshi A contemporary source from 1890 placed Akiyama on unserializefourth position in a ranking of the best print publishers at that Hana moyōtime, mentioning that he was known for high quality prints. Kodai moyBeginning in 1892, Akiyama used a different character inwriting the “e” in his personal name, Buemon. He producedalso reproductions of older prints (fukuseiga) as well as picturesof flowers and birds by Koson for the foreign market. Duringhis career Akiyama was active in publishing unserialized wartriptychs illustrating the Sino-Japanese War of 1894–95 andthe Russo-Japanese War of 1904–05. His last production seemsto date to the 1920s, being later editions of Kiyochika’s series“Flower Patterns” (Hana moyō) and “Ancient Patterns” (Kodaimoyō).Opposite bottom 1920s Kiyochika. Top 1883 Yoshitoshi. “Fujiwara no“Murasaki Shikibu;” later edition, Yasumasa Playing the Flute byfrom the series “Ancient Patterns” Moonlight, a Painting Shown at the(Kodai moyō). Ōban triptych. Santa Exhibition for the Advancement ofBarbara Museum of Art, Gift of Mr. and Painting, Autumn 1882” (Meiji jūgoMrs. Roland A. Way. Smith 1988, fig. mizunoe uma kishū, Kaiga110. Kyōshinkai shuppinga Fujiwara no Yasumasa gekka fue o moteasobu zu, ōju). Ōban triptych. Collection Arendie and Henk Herwig.320 publishers

ed actor prints Date Artist(s)ed pictures of flowers and birdsed warrior prints 1884 Kunichika, Kunisada III, Yoshitoshiki 1885 Kosonsho zue 1885–91 Yoshitoshiyakushi 1890 Yoshitoshia no uchi 1891–94 Hiroshige IIIasen 1892–93 Yoshitoshiokujūroku dan 1893 Yoshitoshikonomi: Miyako no nishiki 1894 Toshikatakyūsei Ichikawa keifu 1894–95 Yoshimune IIed triptychs illustrating the Sino-Japanese War 1895 Toshikatamato shiki 1896–97 Yoshiikuūzoku 1897–1901 Den’ichi, Ei’nen, Toshikatahi 1897–98 Yoshiiku 1897–98 Miyagawa Shunteihana 1898–99 Toshihiden 1899 Chikanobuachiban 1904 Miyagawa Shunteisen kibun 1904 Toshikata i no konomi: Miyako no nishiki 1904 Toshihideed triptychs illustrating the Russo-Japanese War 1920s Toshihideō [later ed.] 1920s Toshikatayō [later ed.] Kiyochika, Toshihide Kiyochika Kiyochika



AKIYAMA BUEMON 321

Above 1899 Toshihide. “Funa Benkei”, Opposite bottom 1889 Yoshitoshi.from the series “Eighteen Scenes of “Moon at Shinobugaoka” (ShinobugaokaHonor” (Meiyo jūhachiban). Ōban diptych. no tsuki), from the series “One HundredCollection Arendie and Henk Herwig. Aspects of the Moon” (Tsuki no hyakushi). Ōban. Collection Erich Gross, Switzerland.Opposite top 1896 Kunichika. “Theeighteen new kabuki plays” (Shin-kabukijūhachiban no uchi)—”MongakuKanjinchō” with the actor IchikawaDanjūrō IX as Mongaku Shōnin. Ōbantriptych. Collection Arendie and HenkHerwig.322 publishers