The Complete Woodblock Prints of

KITAGAWA UTAMAROA Descriptive Catalogue

Gina Collia Suzuki

NEZUPRESS

Published by Nezu PressPO Box 587

Weston super MareBS23 9GN

United Kingdomwww.nezupress.com

First published 2009

© Gina Collia Suzuki 2009www.ginacolliasuzuki.com

All rights reserved. No part of this publication may be reproduced, stored in a

retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise,

without the prior permission of the publishers.

ISBN 13: 978 0 9559796 3 7

Contents

Acknowledgements 6

Introduction 7

The Enigmatic Artist 8

Notes to the Catalogue 23

I. Titled Series 27

II. Untitled Series 257

III. Titled Multi sheet Prints 344

IV. Untitled Multi sheet Prints 364

V. Titled Single sheet Prints 440

VI. Untitled Single sheet Prints 467

VII. Yamauba and Kintar 507

VIII. The Niwaka Festival 520

IX. Animals, Birds & Flowers 548

X. Fan Prints 558

Index I: Publishers’ Marks 564

Index II: Title 570

Index III: Subject 575

Index IV: Ukiyo e Zuten 13 Reference 582

Artist’s Signatures 591

Glossary 593

List of Illustrations 598

Image Credits 607

Bibliography 608

Acknowledgements

Back in 1987, when I first announced to Jack Hillier my intention to attempt to catalogue every woodblock print by Kitagawa Utamaro, he did not bat an eyelid at the thought of so ambitious a project; he merely suggested that I allow at least twenty years, and then handed me his own personal handwritten notes. Had it not been for the unwavering support of both he and his wife, Mary, and their patience in dealing with my endless, and sometimes quite protracted, written and verbal mumblings about my research, this project would never have begun, let alone reached the point of completion. I will be forever grateful to them both.

Throughout the process of compiling the information required to put this catalogue together, numerous private and public collections have been rummaged through by me. I would like to express my heartfelt thanks to those curators and private collectors who gave up copious amounts of their time and provided unlimited access to the treasures in their care, often more than once and sometimes with the addition of a lengthy question and answer session; especially to Kate Newnham of Bristol’s City Museum and Art Gallery, and to Daan Kok and Chantal Kozyre of the Musées Royaux d'Art et d'Histoire in Brussels.

I am immensely grateful to my family for putting up with this life long obsession of mine; for the provision of refreshments when I neglected to fetch them for myself, and for their constant support and encouragement. To my grandfather, sadly no longer with us, I owe my passion for both art and writing; his enthusiasm, knowing no bounds, was contagious and, thankfully, I caught the bug at a very early age as a result.

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Introduction

It would be unwise to suggest that the current catalogue, or any other for that matter, could contain every woodblock print ever produced by Kitagawa Utamaro. There are doubtless a number of designs which are currently contained within private collections which, until they are made available to the public, by being put up for sale or reproduced within published works, will remain unknown to us. Far from being a bad thing, the possibility that there are further designs just waiting to be uncovered is surely the hope of print collectors and enthusiasts alike. There may also be prints held within public collections which, having failed to be attributed correctly when they were first purchased, and remaining in storage since then without ever being exhibited, have also escaped our attention. Unquestionably, there must also be designs which have not survived to the present day; designs which, sadly, we will never have the opportunity to enjoy. What can be said, however, is that this catalogue contains the result of more than twenty years of

exhaustive research and is the most complete descriptive listing of Utamaro’s prints that is possible at the current time.

This catalogue began its life as a personal project, my initial aim being solely to produce a record for every design I located in order to keep track of what I’d seen. Later, a desire to gain a better understanding of the scope of the artist’s work and the visual di erences between the various stages in his artistic development, which would then aid in the dating of his prints, resulted in more in depth research and the production of numerous large volumes of notes. These numerous volumes contained all the information I needed, but were cumbersome and unindexed, so the location of individual prints required considerable time and patience. Discussions with many print enthusiasts and collectors, who were struggling to identify the designs they were encountering, brought me to the conclusion that I was not alone in needing a wellorganised catalogue of Utamaro’s works; one in which the information could be accessed easily and quickly. The present work is designed to fulfil that need, for both myself and every other student of Utamaro’s work.

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1. Woman reading a letter, from Ten Physiognomic Classes of Wome Fujo nins juppo , published by Tsutaya J zabur , c. 1792 3 cat. no. 36/6a .

The Enigmatic Artist

We know next to nothing of the details of Utamaro’s life, or the nature of his character, other than what can be gleaned from studying his works; the lowly status of an Ukiyo e artist in 18th century Edo, even one who was as well known and respected during his own lifetime as Utamaro, meant that little attempt was made to accurately record details of his life, and the sole reference to him within o cial records relates to the date of his death. References to the artist within native sources produced during his lifetime, and in the few years following his death, go no way in shedding light on the subject and have been shown to be erroneous and contradictory, so what little information they do contain must be considered with caution. For the most part, the details of Utamaro’s life have been lost to the mists of time, most likely never to be recovered.

So, that said, what do we know of Kitagawa Utamaro? He died at the age of fifty four on the twentieth day of the ninth month of Bunka 3 1806 , according to the death register at Senk ji, where his remains were interred. Taking into account the Japanese tradition of considering an infant to be one year old at birth, which means that Utamaro was in fact fifty three years old when he died, it is generally accepted that he was born in 1753. Several locations have been put forward with regard to his birthplace, but no firm evidence exists to support any one of them, and his parentage is equally uncertain. At a young age, Ichitar , as Utamaro was called as a boy, entered the home of Toriyama Sekien 1712 88 , a Kan school artist forty years his senior, who came from a rather more

privileged background than those usually associated with the popular Ukiyo e school. It has been suggested from time to time that Sekien may have been Utamaro’s father, but as neither claimed any blood relationship there seems to be no reason to suppose that this is true. He was, however, the young artist’s teacher and undoubtedly a great influence upon the early development of his art. An accomplished artist and poet, a familiar face in literary circles, well connected with the leading figures of Edo’s publishing world and founder, in 1770, of his own school for the study of the Ukiyo e style of painting, Sekien was surrounded by the most creative and talented of individuals; company which the young Utamaro must also have benefited from keeping as his own creativity developed. Sekien’s postscript to A Picture Book of Selected Insects Ehon mushi erabi , of 1788, provides us with a glimpse of Utamaro during his formative years within his teacher’s household, showing him to have been a young boy with an acute awareness of the beauty of nature and a keen eye for detail; attributes which were to serve him well in later life:

‘To capture images of living things in one’s mind and transfer them to paper with the brush is the true art of painting. In this present volume by my pupil Utamaro, the world of insects is captured in true painting om the heart. I reca that since childhood Uta shi acquired th habit of observing the minutest details of things. He would become so engrossed when playing

ith a dragonfly tied to a piece of string or with a cricket held in the palm of his hand. And o en I had to caution him for fear that he would hurt the living creatures. Now, with his mature talent, he has made these studies of insects the glory of his profession. He manages to

8

Notes to the Catalogue

Collections:Institutions and private collections referred to throughout this catalogue have been abbreviated as follows:

AMS Rijksmuseum, AmsterdamBAUR Collections Baur, GenèveBerès Huguette Berès CollectionBickford Lawrence Bickford CollectionBM British Museum, LondonBMAG Birmingham Museums and Art GalleryBN Bibliothèque Nationale, ParisBOS Museum of Fine Arts, BostonBRI Bristol City Museum and Art GalleryBRU Musées Royaux d’Art et d’Histoire, BruxellesCHI The Art Institute of ChicagoCHIBA Chiba City Museum of ArtCLV The Cleveland Museum of ArtCMA Chazen Museum of Art, MadisonFAM The Fine Arts Museum of San FranciscoFITZ The Fitzwilliam Museum, CambridgeGEN Museo d’Arte Orientale Edoardo Chiossone, GenovaGrabhorn The Grabhorn CollectionGUI Musée National des Arts Asiatiques Guimet, ParisHNL Honolulu Academy of ArtsHU Harvard University Art Museums, Cambridge, Mass.JUM Japan Ukiyo e MuseumKANS Spencer Museum of Art, University of KansasLEI National Museum of Ethnology, LeidenMAK Österreichisches Museum für angewandte Kunst / GegenwartskunstMIN The Minneapolis Institute of ArtsMM The Metropolitan Museum of Art, New YorkMonet Claude Monet Collection, GivernyNY New York Public LibraryOTA The ta Memorial Museum of Art, TokyoPHIL Philadelphia Museum of ArtPopper Hans Popper CollectionPOR The Portland Art MuseumRiese Otto Riese Collection, Museum für Ostasiatische Kunst KölnSchindler Werner Schindler CollectionSO Musée de l’hôtel Sandelin, Saint Omer

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Stoclet Adolphe Stoclet CollectionT&S Tobacco and Salt Museum, TokyoTIK Tikotin Museum of Japanese Art, HaifaTNM Tokyo National MuseumV&A Victoria and Albert Museum, LondonVever Henri Vever CollectionYALE The Yale University Art Gallery

Reference:Reference works referred to throughout this catalogue have been abbreviated as follows:

AMS Rappard Boon, C. van, The Age of Utamaro, Japanese Prints Date: c. 1780 1800. Rijksmuseum, Amsterdam, 1979.

Berès Utamaro: Estampes, Livres I ustrés. Huguette Berès, Paris, 1976.Berès S Co ection Huguette Berès: Estampes, Dessins et Livres I ustrés Japonais. Sotheby’s,

Paris, 2002.Bickford The Lawrence Bickford Co ection of Japanese Wrestler Prints. Christie’s, New York,

1994BM Asano, Sh g , and Timothy Clark, The Passionate Art of Kitagawa Utamaro.

Tokyo and London, British Museum Press, 1995. BRI Wilson, Arnold, Japanese Prints, City Art Gallery, Bristol, 1965BRU Kozyre , Chantal, Estampes Japonaises: Co ection des Musées Royaux d ’Art e

d ’Histoire, Bruxe es. Bruxelles, 1989.CALAIS Plaisirs d ’Edo: Co ections d ’Estampes Japonaises des Musées de Calais et de Saint

Omer. Musée des Beaux Arts et de la Dentelle Calais / Musée de l'Hotel Sandelin Saint Omer, 2007

EBV The Edward Burr Van Vleck Co ection of Japanese Prints. Elvehjem Museum of Art, University of Wisconsin Press, 1990.

Gale Hillier, Jack, Catalogue of the Japanese Paintings and Prints in the Co ection of Mr & Mrs Richard P. Gal . Vol. II. Minneapolis, 1970.

Grabhorn Twelve Woodblock Prints of Kitagawa Utamaro: I ustrating the Process of Sil Cultur . California, 1965

GUI Ukiyo e Masterpieces in European Co ections 7: Musée Guimet, Paris, II. Tokyo, 1990Hillier Hillier, Jack, Utamaro: Colour Prints and Paintings. Oxford, Phaidon Press, 1961.HNL Link, Howard A., and Tadashi Kobayashi, Edo Beauties in Ukiyo : The James A.

Michener Co ectio . Honolulu Academy of Arts, Honolulu, 1994.Kurth Kurth, Julius, Utamaro. Leipzig, 1907.Markus Markus, Helena, Utamaro: La Poesia de a Beltà Femminil . Firenze, 1981.Monet Aitken, Genevieve, and Marianne Delafond, La Co ection d ’Estampes Japonaises

de Claude Monet à Giverny. Paris, 1983.MSU3 Meihin soroimono ukiyo . vol. 3, gen. ed. Muneshige Narazaki. Tokyo, 1991.MSU4 Meihin soroimono ukiyo . vol. 4, gen. ed. Muneshige Narazaki. Tokyo, 1991.NY Trotter, Massey, Catalogue of the Work of Kitagawa Utamaro 1753 1806 in th

Co ection of the New York Public Library. New York, 1950.Pins Pins, Jacob, The Japanese Pi ar Print: Format: hashira . London, 1982.

The Complete Woodblock Prints of Kitagawa Utamaro: A Descriptive Catalogu

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Popper The Hans Popper Co ection of Japanese Prints. Sotheby Parke Bernet Inc., New York, 1972.

Riese Hempel, Rose, Meisterwerke des Japanischen Farbholzschnitts die Sammlung Otto Ries . München, 1997.

S Shibui, Kiyoshi, Ukiyo e zute , vol. 13: Utamaro. Tokyo, Kazama Shob , 1964.Schindler Fine and Important Japanese Prints om the Co ection of the Late Werner Schindler.

Christie’s, New York, 1987.Stoclet Important Japanese Prints, i ustrated Books & Paintings om the Adolphe Stocle

Co ectio . Sotheby’s, London, 8 June, 2008.Surimono Polster, Edythe and Alfred H. Marks, Surimono: Prints by Elbow. Washington

DC, 1980.T&S 100 Woodblock Prints of Edo Culture: From the Ukiyo e Co ection of the Tobacco and

Salt Museu . Ann Arbor, 2008.TNM T ky kokuritsu Hakubutsukan zuhan mokuroku, ukiyo e hanga te I ustrated

Catalogues of Tokyo National Museum: Ukiyo e Prints , vol. 2. Tokyo National Museum, Tokyo, 1974.

UA Ukiyo e Ar , no.6. The Japan Ukiyo e Society, Tokyo, 1964.US Kitagawa Utamaro sakuhin mokuroku List of Utamaro’s Complete Works , Ukiyo

sh ka, vol. 3: Bosuton Bijutsukan III. Tokyo, 1978, pp. 235 254.UT5 Kikuchi, Sadao, Ukiyo e taikei. vol. 5, Tokyo, 1976.UT6 Kikuchi, Sadao, Ukiyo e taikei. vol. 6, Tokyo, 1976.Vever I Highly Important Japanese Prints, I ustrated Books and Drawings om the Henri

Vever Co ection: Part I. Sotheby & Co., London, 1974.Vever II Highly Important Japanese Prints, I ustrated Books, Drawings and Fan Paintings o

the Henri Vever Co ection: Part II. Sotheby & Co., London, 1975.Vever III Highly Important Japanese Prints, I ustrated Books, Drawings and Paintings om th

Henri Vever Co ection: Part. III. Sotheby Parke Bernet & Co., London, 1977.Vever FP Highly Important Japanese Prints om the Henri Vever Co ection: Final Par .

Sotheby’s, London, 1997.Vever S Hillier, Jack, Japanese Prints and Drawings om the Vever Co ectio , Vol. II.

London, 1976.V&I Vignier Inada Catalogue, Vol IV: Utamaro, Estampes Japonaises... exposées au

Musée des Arts Décoratifs en Janvier 1912. Catalogue dressé par M. Vignier avec la co aboration de M. Inada. Préface de R. Koechli . Paris, 1912.

References to illustrations or text entries within the above works list the abbreviated reference followed by the plate or exhibition catalogue number, like so: Hillier 52 Hillier, Jack, Utamaro: Colour Prints and Paintings, plate no. 52 . In the case of sale catalogues, the lot number is given. If the sale catalogue has not been given an abbreviated reference in the list above, then full catalogue details are given, including the sale venue, date, number, and the individual lot number, for example: Bonhams London Sale 15678, 6 Nov. 2007, lot no. 208. References to the list of Utamaro’s works included in Ukiyo e sh ka give the number of the text entry for a specific print, or for the series followed by that for the individual print, like so: US 468/1 Ukiyo e sh ka, vol. 3, text entry for series no. 468, individual print no. 1 . For each entry, if a print is included in Shibui’s Ukiyo e zute , this

Notes to the Catalogu

25

reference is given first, followed by that for Ukiyo e sh ka; the remaining references are listed alphabetically.

Wherever possible, as the illustrations contained within Shibui’s Ukiyo e zute are so small, making it di cult to make out much of the detail of the individual designs, an alternative source for illustrations is given. The list of reference works referred to for each entry is not intended to be exhaustive; it is hoped, however, that they will be titles to which an Utamaro print enthusiast will already have relatively easy access.

Catalogue entries:The entries within this catalogue are divided into ten sections: titled series, untitled series, titled multi sheet prints, untitled multi sheet prints, titled single sheet prints, untitled single sheet prints, depictions of Kintar and Yamauba, prints issued to commemorate the Niwaka Festival, images of animals, birds and flowers, and fan prints. All entries are arranged alphabetically. For the titled prints, the Japanese transliterated title is given first, followed by the English translation and then the title in kanji. For the untitled prints, where a Japanese title is already in general use, the English translation of the attributed title is given first, followed by the Japanese transliteration and then the title in kanji. Where there is no commonly used title for a print or series of prints, a descriptive English title is given without a Japanese translation.

When looking at multi sheet compositions, where sheets are referred to by number to indicate their position within the composition, number counts begin with the right hand sheet and end with the left hand one, after the Japanese fashion.

In the small number of cases where it has not been possible to view a specific print, the series title and/or individual print title is given, along with the print’s current location if it is known, without a description of the design.

The Complete Woodblock Prints of Kitagawa Utamaro: A Descriptive Catalogu

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Section On

Titled Series

1. Ai bore iro no gosekkuThe Colour of Love During the Five Festivals合惚色の五節句Date: c. 1800Artist’s signature: Utamaro hitsuPublisher: Wakasaya YoichiFormat: ban, colour woodblock

1. The first month. A half length depiction of a young man and a young woman who have paused during a New Year’s game of hanetsuki to retrieve a shuttlecock that has landed in a pine tree. The young man is holding a hagoita battledore and observing his female partner as she reaches into the branches of the tree to retrieve the lost shuttlecock. Title in cartouche at top right.Collection: TNMReference: S 105 1 1; US 233/1; Neret Minet Tessier Paris , 15 Nov. 2008, lot no. 114

2. The third month. A young man is shown seated holding a display case for the Doll Festival Hinamatsuri that contains a figure of a young boy playing a hand drum. The young man’s female companion, who is standing beside him, is clasping her handkerchief between her hands and appears to be quite excited. Title in cartouche at top right, but lacking the ‘bore iro no’ within the title.Collection: TNM Reference: US 233/2; Bonhams London Sale 15678, 6 Nov. 2007, lot no. 208

3a. The fifth month. A Young man is shown holding a brush in one hand and a saucer of ink in the other, painting a picture of Zhong Kui Japanese: Sh ki , the demon queller, onto a screen during the Boys’ Festival. His young female companion is seated beside him, watching him paint. Title in cartouche at top right.Reference: S 105 1 3; US 233/3 1

3b. As above, but without the ‘bore iro no’ within the title.Collection: BOS; LEIReference: US 233/3 2

3c. As above, but without the series title.Collection: BRU

4. The seventh month. A young girl is shown seated at a table with a number of leaf

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Titled Series

127

Section Two

Untitled Series

188. Beauties applying make up before a mirrorDate: c. 1795 6Artist’s signature: Utamaro hitsuPublisher: Ise MagoFormat: ban, colour woodblock

An untitled series of bust portraits showing young women in the process of applying make up with the aid of a mirror.

1. A young woman is shown facing left, painting her eyebrows whilst holding an oval lacquered hand mirror in her left hand. She has paused with brush in hand to smooth the brow that she has just painted and is using the hand mirror to ascertain the accuracy of her work.Collection: GUI; StocletReference: S 59 3 1; US 520/1 2; BM 250; GUI 29; Stoclet 254

2a. Usually referred to as Powdering the nec Eri yosooi . A young woman is shown applying cosmetic to her neck with her back turned to us. Her hair is swept up in the maru mag style and the collar of her yukata, decorated with a large tie dyed pattern of starfish, has been lowered to facilitate the application of white powder. Her reflection is visible in the hand mirror she is using. Ky ka poem at top left.Collection: GUI; Monet; TNM; VeverReference: S 59 3 3; US 520/2 1; Berès 64; BM 251; GUI 27; Hillier 60; Monet 12; TNM 1835; UT5 158; V&I 121; Vever FP/89; Vever S/420

2b. A later impression of the above, with the poem removed.Collection: PopperReference: Popper 164

2c. A later impression of the above, with the poem removed and with the pattern on the young woman’s yukata altered to one of plovers in flight.Collection: GUI; VeverReference: S 59 3 2; US 520/2 2; BM 252; GUI 28; UT5 157

3. A young woman is shown facing right, looking into a mirror as she wipes away excess lip rouge from her lips, having just applied it. Kiwam censorship seal.Collection: BOSReference: BM 253

257

360. Mimeguri embankment Mimeguri dot三囲土手Date: 1799Artist’s signature: Utamaro hitsuPublisher: miya GonkurFormat: ban triptych, colour woodblock

A party of sightseers are on their way to Mimeguri Inari shrine during the cherry viewing season, to see the treasures that were on display there from the fifteenth day of the second month of 1799 for a period of sixty days. The right hand and centre sheets show a party of three women and one man preparing to exit a pleasure barge that has just pulled up alongside the landing stage near the entrance to Mimeguri Shrine. A young woman and a small boy are gathering herbs beneath flowering cherry trees on the embankment. In the left hand sheet, a young man is unfastening the tobacco pouch which is held at his waistband, with the intention of filling his pipe, while before him two young women, one of whom is admiring the blossoms on the trees above them, stand holding hands. Behind them, in the distance, a section of a banner advertising the display of treasures can be made out which bears the characters ‘sei 11’, referring to the year ‘kansei 11’ which corresponds to 1799.Collection: BOS right and centre sheets ; CHI right sheet ; NY; TNM; Vever right and centre sheetsReference: S 20 1 1, 20 1 2, 20 1 3; US 305; BM 328; TNM 1982, 1983, 1984; UT6 70, 71, 72; Vever II/206 right and centre sheets ; Vever S/496 right and centre sheets

361. Morning after at the pleasure quarter’s temporary lodgings Karitaku no kinuginu仮宅の後朝1800Artist’s signature: Utamaro hitsuPublisher: Moriya JiheiFormat: ban triptych, colour woodblock

The karitaku, or 'temporary lodgings', were established when the Yoshiwara pleasure quarter su ered fire damage, as was the case during the second month of 1800. This design depicts the second floor of the temporary lodgings, with clients leaving during the morning after having spent the night. In the right hand sheet, a courtesan is seated on the ground, leaning over to give a letter to a young man who, still in bed behind a mosquito net, is smoking his pipe. To the left of them, another courtesan is standing behind a folding screen, looking right. In the centre sheet, a young woman stands holding a black lacquered hand mirror and using it to see to her make up. At her feet, kneeling beside another courtesan, a male servant is attempting to get the attention of the young man in the right hand sheet. In the left hand sheet, three courtesans are bidding farewell to two male clients who are descending the staircase to ground level. Behind them, on the window

Untitled Multi sheet Prints

397

Section Seve

Yamauba and Kintar山姥と金太郎

Yamauba is the old mountain witch of Japanese mythology, half human and half demon, who wanders over mountains and through valleys, preying on unwitting travellers who have lost their way. She is frequently depicted as a wrinkled old hag, with long white hair and shabby clothes. In Utamaro’s portrayals of her, however, she is transformed into a beautiful young woman, with long black hair that tumbles freely about her shoulders, devoted to the young boy Kintar , Japan’s eleventh century boy Hercules, famed for his feats of strength and instantly recognisable due to his brick red skin and chubby form.

Titled Series

621. Kintar sannin ky daiKintar in Three Stages of Infancy金太郎三人兄弟Date: c. 1801 3Artist’s signature: Utamaro hitsuPublisher: Tsuruya KiemonFormat: ban, colour woodblock

1. Basshi Youngest Child . Kintar , wearing an apron bearing the character ‘ki ’, is expressing a great thirst, standing and thrusting an empty sakazuki towards Yamauba, indicating that he requires a refill. Yamauba, sitting holding a kettle in her left hand and wearing a loose summer robe, is turning towards the small boy and looking somewhat surprised.Collection: VeverReference: US 734/2; Vever III/180

2. Jina Second So . Kintar is seated next to a footed wooden chopping block, holding a duck by the neck in his left hand and a knife in his right, looking unhappy at the prospect of preparing it for dinner. Behind him, with her hand raised to her mouth to conceal her amusement, Yamauba sits tending to a pot that is suspended, by means of a cord from the branch of a tree above, over an open fire.Collection: MINReference: S 210 1 4; US 734/1; V&I 206

507

681. Seir niwaka onna geishaFemale Geisha in the Niwaka Festival of the Green Houses青楼仁和賀女芸者Date: c. 1797Artist’s signature: Utamaro hitsuPublisher: Tsuruya KiemonCensorship seal: kiwameFormat: ban, colour woodblock

1. Mai gi natorizuki, inaka musume aki no teodori, ominae sakari no mochizuki Accomplished Fan dancer, Country Maiden Autumn Dancer, and Fu Moon ‘Golden Lace’ Blosso . A halflength portrait of three female geisha. One, at bottom right, is wearing a red strip of cloth around her hair and carrying a hand drum. The woman to the left of her is wearing a scarf around her hair and is carrying a wooden mallet. Behind them, looking left, a third woman stands wearing a tall court hat.Collection: HNLReference: US 96; HNL 72

2. Kairaishi, otokodate roku no tamagawa, ominae sakari no mochizuki Kairaishi, Dandy of the Six Jewel Rivers, and Fu Moon ‘Golde Lace’ Blosso . A half length portrait of three geisha performing in the Niwaka Festival. The woman on the right is dressed as a male dandy and is wearing a jacket that has a plover printed on the shoulder; a reference to the Chidori Jewel River. The woman on the left is wearing a scarf around her hair and is carrying a kinuta. The woman behind them is playing the part of a kairaishi; an itinerant street performer who carries a box filled with various dolls around his neck.

682. Seir niwaka onna geishaFemale Geisha in the Niwaka Festival of th

Green Houses青楼仁和賀女芸者Date: c. 1797Artist’s signature: Utamaro hitsuPublisher: unknownCensorship seal: kiwameFormat: ban, colour woodblock

The Niwaka Festival

531

125. Kairaishi, Dandy of the Six Jewel Rivers, and Full Moon ‘Golden Lace’ Blosso Kairaishi, otokodat roku no tamagawa, ominae sakari no mochizuki , from the series Female Geisha in the Niwaka Festival of the Green Houses Seir niwaka onna geisha , published by Tsuruya Kiemon, c. 1797 see cat. no. 681/2 .

Indices

Index I

Publishers’ Marks

Mark Publisher Catalogue Nos.

Tsutaya J zabur 35, 36, 58, 70, 79 80, 84, 100, 103, 105 106, 124, 142, 164, 203, 206, 211, 229, 231, 236, 241 242, 245, 250, 280, 282 283, 290, 302, 325, 327 328, 337, 339, 342, 347, 354, 356, 359, 362, 364, 367, 379, 383, 390, 396, 401, 410 411, 413, 415 416, 420 422, 435, 437, 439, 442, 467, 480 481, 488, 491 492, 519, 556, 562, 605, 645, 649, 664, 667, 678, 683, 692, 696 698, 703 704, 707 708

Tsuruya Kiemon 5, 18, 29, 34, 37, 50, 53, 66, 74, 77, 86, 109, 118,

123, 125, 130 131, 170, 184, 190 191, 196, 198, 212, 235, 238, 249, 276, 278, 291 292, 300 301, 303, 309, 316 317, 321, 329 330, 332, 341, 345, 357, 365, 368 369, 386, 393, 397 398, 406 407, 417, 424, 428, 430, 432, 438, 449, 454, 558, 565, 567, 599, 613, 621, 654, 659, 665, 668, 681, 685, 686 688, 706

Tsuruya Kinsuke 9, 17, 24, 43 44, 47, 94, 139, 141, 151, 173, 177, 189, 200, 323, 351 352, 358, 380, 387 388, 509, 515, 594, 600, 616, 637, 642, 646, 651, 695

Wakasaya Yoichi 1, 25, 39, 56, 63, 75, 104, 147, 181, 194, 223, 230, 239, 371, 385, 394, 399, 425, 483, 501, 513, 568, 593, 607

Izumiya Ichibei 45, 54, 59, 65, 96, 116, 136, 158 159, 171, 222, 244, 251, 260, 286, 318, 346, 355, 366, 370, 381, 426, 494, 555, 674

Izumiya 107, 135, 185, 240, 254

Sen Sa 10, 116, 127, 160, 183, 464, 503

564

Title: Cat. No.Ai bore iro no gosekku 1Asazuma funaji no marobine 703Atete mi na 2Ayatsuri moy take no hitofushi 3Azuma bijin erami 4Baishoku shinajina nasake kurabe 5Bigan j ni tate 6Bijin aki no nanakusa 7Bijin awase hana sum 8Bijin gomens 9Bijin gosekku 10Bijin gosetsu no asobi 11Bijin goy no matsu 12Bijin hana awase 60Bijin hana no sugata goban tsuzuki 13Bijin ichidai goj san tsugi 14Bijin j y 15Bijin kesh no zu 142Bijin kiry kurabe 16Bijin mens juttai no zu 17Bijin shimada hakkei 18Chiwa kagami tsuki no murakumo 19Ch jiya uchi Karagoto 431Ch shingura 20Ch shingura 21Ch shingura 22Ch shingura misao kurabe 23Ch shingura osana asobi 24Daid zan Bungor 432Daid zan Bungor 433Daimonjiya uchi Hitomoto 434Ebiya uchi Matsuyama, Tatebana 435Edo ch itch me Matsubaya uchi Segawa 436Edo fu bijin zoroe 25Edo hakkei 26Edo meibutsu nishiki e k saku 276Edo meisho asobi 27Edo meisho jikkei 28

Title: Cat. No.Edo mutamagao 29Edo no hana musume j ruri 30Edo no sono hana awase 31Edo san bijin 437Edo shi ire tsu miyage 32E ky dai 33Ench hassen 34Enoshima y ry awabi tori no zu 277Fujin shokunin bunrui 35Fujin s gaku juttai 36Fujin s gaku juttai 37 Fujin tewaza ayatsuri kagami 38 Fujin tewaza j ni k 39Fujin tomari kyaku no zu 278Fujo nins juppon 36Fukujin eh asobi 279Fukurokuju senkyaku banrai 280Fukutoku mutsumashi zuki 281F ry aiky kurabe 40F ry gosekku 41F ry goshiki no hana 42F ry goy no matsu 43F ry hana no ka asobi 282F ry hana no ka asobi 283F ry j ni tsuki 44F ry kodakara awase 45F ry kodakarabune 284F ry mitate gosh 46F ry mutamagawa 285F ry mutamagawa 286F ry nana Komachi 47F ry nana Komachi 48F ry nanatsu me e awase 49F ry rokkasen 92F ry san fukujin 438F ry shiki no asobi 50F ry shiki no asobi 439F ry shogei no nishiki 51

570

Index II

TitleWorks with a title included on the design

Title: Cat. No.F ry zashiki hakkei 52Futaba gusa nana Komachi 53F zoku bijin tokei 54F zoku j ni toki 55F zoku sandan musume 56F zoku sannin ei 440F zoku ukiyo hakkei 57F zoku ukiyo hakkei 58Gei jiman kodakara awase, shichifuku no

uchi 59Gomeir zensei kinki shoga no zu 287Gonin bijin aiky kurabe 60Gor Tokimune, Ichikawa Yaoz 441Gosekku Azuma nishiki 61Gosekku medetai asobi 62Gosekku ukiyo kagami 63Gosetsu no hana awase 288Goshiki zome rokkasen 64Hakoiri ichidai kagami 65Hakoiri sambukutsui 289Hana awase kesh kurabe 66Hana awase shiki no bijin 67Hokkaku zensei kurabe 68Hokkoku goshiki zumi 69Hy goya uchi Tsukioka 442Ichikawa Danj r , Arakawa Tar 443Ichikawa Gory nagori so yakusha hokku

shu 444Ikebana hyakufei no zu 70Itokenai asobi j ni tsuki 71Jimono rokkasen 72 Jitsu kurabe iro no minakami 73Joshoku kaiko tewaza kusa 74J ni k 75J ni tsuki shikishi waka 76Kaich h n ky ka awase 749Kaiun sanmen Daikoku 445Karitaku hakkei y kun no zu 77Karitaku kawabe no asagao 78Karitaku ky ka zuke 122Kasen koi no bu 79Kasumi ori musume hinagata 80Kayoi kuruwa sakari hakkei 81Keisei fumi sugata 82

Title: Cat. No.Keisei geisha hana awase 83Keisei ky ch mit shi mitate j zu 84Keisei sannin ei, sanpuku no uchi 290Keizetsur Urazuru 446 Kindai shichi saijo shiika 85Kinoe ne toshi Daikoku shichi henge 86 Kinoe ne toshi Daikokuten o chokuhitsu

kakizome 291Kinry zan Raijinmon no zu 292Kintar sannin ky dai 621Kodakara tatoe no fushi 87Kodomo asobi niwaka 88Kodomo sanj rokkasen, sanj roku mai

tsuzuki 89Kokei no sansh 90K k musume 447K mei bijin mitate Ch shingura 91 K mei bijin rokkasen 92Konrei iro naoshi no zu, sanmai tsuzuki 293Konrei no zu, sanmai tsuzuki 294Kuroki uri 704Ky ganoko musume D j ji, Nakayama

Tomisabur 751Ky kun k shin no waka 93Ky kun oya no megane 94Makura dokei j ni gumi 95Matsubaya Segawa, Ichikawa 448Matsubaya uchi Ichikawa 449Matsubaya uchi Segawa, Ichikawa 450Matsubaya uchi Someginu, Hananoe 451Matsubaya uchi Somenosuke 452Matsubaya uchi Yaegiku 453Matsubaya uchi Yosooi 454Matsubaya uchi Yosooi 455Matsubaya uchi Yosooi 456Matsubaya uchi Yoyotose 457Matsubaya uchi Yoyotose, Yoyoginu 458Matsubaya Yosooi, Matsumura 459Medetai sambukutsui 295Meifu eika kach f getsu 96Meikun keich no Yosooi 460Meikun no Yosooi 461Meisho f kei bijin j ni s 97Meisho koshikake hakkei 98

Index II: Titl

571

The numbers following each subject listed within this index refer to the catalogue entry numbers, not the page numbers that entries appears on. References to the individual sheets contained within print series give the catalogue entry number followed by the number of the design within that group, eg. 23/3 cat. no. 23, individual sheet no. 3 .

abalone divers 277, 309, 310 Agemaki and Sukeroku 19/7, 73/8, 256, 300Akahime of the Akatsutaya 222/1Akashi of the Tamaya 120/1, 127/5a, 180/4,

211/6, 226/1, 255/3Akechi J bei Mitsuhide 275/5aAma no Kumabito 497Amaterasu Omikami 497Arishige of the Tsuruya 225/1Ariwara of the Tsuruya 81/4, 132/11, 209/1,

216/3, 225/1, 288/3cAriwara no Narihira 64/3, 92/4b, 149/2,

159/2, 260/5, 323, 373, 374, 564see also Six Immortal Poets

Asajiu of the Daimonjiya 106/2Asakusa 27/3, 190, 249/1, 292, 344, 429,

478, 480, 489/BAsakusa Kannon Temple 190, 292, 344,

429, 478awabi divers, see abalone diversAzamino and Gontar 73/20battledore 1/1, 9/5, 41/1, 63/1, 113/11, 152/2,

158/7, 364, 454, 501Benzaiten 28, 44/2, 50/4, 86/6, 145/5, 258/6,

279, 280, 281, 284, 329, 387, 388, 403, 404, 447, 494, 584, 585, 586

see also Seven Gods of Good FortuneBishamon 86/4, 145/3, 258/5, 259/2, 281,

284, 329, 404, 584, 585, 586see also Seven Gods of Good Fortune

Boys’ Festival 1/3a, 10/1, 41/2, 62/1, 63/2, 71/3, 75/2, 76/4, 230/5, 346

Bunshichi and Kiyokawa, see Kiyokawa and Bunshichi

Che Yin 177/1Ch emon and Ohan, see Ohan and

Ch emonCh zan of the Ch jiya 227/3Chrysanthemum Boy 264/2Chrysanthemum Festival 1/5a, 11/5, 41/3,

44/3, 50/10, 61/5, 76/8, 346Ch bei and Umegawa, see Umegawa and

Ch beiCh shingura 19/12, 20, 21, 22, 23, 24, 91,

170, 438Daid zan Bungor 432, 433Daikoku 32/2, 86, 145/2, 258/3, 259/1, 279,

281, 284, 289, 291, 329, 404, 445, 522, 523, 524, 548, 584, 585, 586, 646see also Seven Gods of Good Fortune

Dankin of the giya 414Daruma 59/1, 72/3, 124/4, 238/1, 273/1Dembei and Oshun, see Oshun and

DembeiD j ji 164/5, 526, 576, 751Doll Festival 1/2, 61/2, 71/2, 76/2, 230/3,

346, 372Ebisu 76/9, 86/5, 145/1, 258/4, 279, 281, 284,

289, 329, 337, 338, 403, 404, 524, 529, 530, 548, 584, 585, 586see also Seven Gods of Good Fortune

Eight Immortals 34Eight Views of mi 26, 57, 58, 112, 161,

169, 750Eitai Bridge 26/8 577

575

Index III

Subject

Enoshima 44/2, 50/4, 277, 303, 309, 324, 343, 381, 387, 388

Ensh of the giya 288/1a, 414Eon H shi, see Three Laughers of Tiger

Ravinefalconers 32/3, 341, 531, 532, 533Feng Kan, see The Four Sleepersfive festivals 1, 10, 11, 41, 61, 62, 63, 155,

181, 182, 183, 288, 346Four Accomplishments 125, 241, 287, 354,

355Fujie of the Nakamanjiya 120/7, 217/1,

226/5Fuji musum , see Wisteria MaidenFujiya Otayo 233/3, 478, 562Fukurokuju 32/2, 86/1, 145/6, 279, 280, 281,

284, 329, 403, 404, 438, 584, 585, 586see also Seven Gods of Good Fortune

Fukushima Saemon 275/1Fukusuke 223, 438, 544, 584, 646Fumikoshi of the giya 288/2aFun’ya no Yasuhide 64/1, 92/5c, 159/1,

260/3, 379see also Six Immortal Poets

F shi of the Shizutamaya 83/1Futamigaura 425Gama, see Liu HaiGenji monogatari, see Tale of GenjiGens K tei and Y kihi, see Xuanzong

and Yang GuifeiGenta and Umegae 73/6, 253/2, 496Girls’ Festival, see Doll FestivalGomeir Hana gi, see Hana gi of the

giyaGomeir Takigawa, See Takigawa of the

giyaGontar and Azamino, see Azamino and

Gontargosekku, see five festivalsGuan Yu 356, 488, 547, 565Gyokur Hanamurasaki, see

Hanamurasaki of the Tamaya Kadotamaya

Hachirobei and Otsuma, see Otsuma and Hachirobei

hagoita, see battledoreHambei and Ochiyo, see Ochiyo and

HambeiHanabito of the giya 34/3 204/6, 288/3aHanagoto of the Ebiya 677/2Hanamurasaki of the Tamaya

Kadotamaya 34/8, 103/5, 120/5, 127/6a, 129/3a, 132/5, 147/3a, 182/4, 183/1, 235/2, 348, 676/3

Hananoe of the Matsubaya 451Hana gi of the giya 16/4, 35/5, 64/3, 91/4,

92/3a, 103/4, 120/2, 124/9, 128/4, 132/1, 133/1, 147/6a, 185/6, 190/2a, 190/4, 192/1, 202/2a, 203/3a, 204/3, 213/2, 223/3, 226/4, 228/4a, 229/2, 257/4a, 287/1, 348, 379, 464, 465. 466, 572

Hanazuma of the Hy goya 34/6, 60/4a, 106/1, 126/1, 129/2, 130/1, 132/3, 147/5a

Han Shan, see The Four SleepersHanshichi and Sankatsu, see Sankatsu and

HanshichiHashidate of the giya 122/2bHasseji of the Ebiya 255/2, 676/2Hatsufune of the Matsubaya 412/1cHinadori and Kuganosuke 3/9, 73/19, 732Hinagoto of the Hy goya 16/2Hinamatsu of the Ch jiya 132/9Hinamatsuri, see Doll FestivalHinazuru of the Ch jiya 2/3b, 16/1a, 34/2,

103/3, 132/9, 147/8, 190/2a, 204/1, 210/3, 211/2, 213/1, 228/3, 229/6, 235/1, 260/3, 486/1b, 676/1

Hiranoya Oseyo 60/1, 91/2, 232/2, 314, 379, 478, 493, 539

Hisamatsu and Osome, see Osome and Hisamatsu

Hitomoto of the Daimonjiya 68/1, 81/1, 118/5, 128/1, 132/10, 146/2, 180/6, 185/3, 187/1, 202/4, 207/1, 208/1, 209/6, 213/3, 214/1, 216/2, 223/4, 226/3, 260/5, 434, 462, 676/6, 677/1

Hoshima of the Tamaya 132/14Hotei 86/3, 145/4, 258/1, 279, 280, 281, 284,

289, 329, 403, 404, 584, 585, 586see also Seven Gods of Good Fortune

The Complete Woodblock Prints of Kitagawa Utamaro: A Descriptive Catalogu

576

Shibui No. Cat. No.

3 1 1 4113 2 1, 2 4113 3 1, 2, 3 3544 1 1, 2 4134 2 1, 2 4164 3 1, 2, 3 3395 1 1 236/45 2 1 236/15 3 1 236/26 1 1 4106 2 1 4107 1 1, 2 3027 2 1, 2 2837 3 2 2828 1 1, 2 3678 1 3, 4 3798 2 1, 2, 3 3258 3 1, 2 3568 3 3, 4 4159 1 1 4229 2 1, 2, 3 42110 1 1, 2, 3 36210 2 1, 2, 3 36210 3 1 29211 1 1, 2, 3 34211 2 1, 2 32711 3 1, 2, 3 29012 1 1 38312 2 1, 2 33113 1 1, 2, 3 39613 2 1, 2, 3 28014 1 1, 2, 3 30914 2 1, 2, 3 310

Shibui No. Cat. No.

14 3 1, 2, 3, 4 27715 2 1, 2 “ “

15 1 1, 2, 3 30316 1 1, 2, 3 27816 2 1, 2, 3 38616 3 1, 2, 3 40717 1 1, 2 27617 1 3, 4 ” ”17 2 1, 2, 3 29817 3 1, 2, 3 43018 1 1, 2, 3 36818 2 1, 2 36918 3 1, 2, 3 35819 1 1, 2, 3 31119 2 1, 2, 3 31120 1 1, 2, 3 36020 2 1, 2, 3 30620 3 1, 2, 3 41421 1 1, 2 35321 2 1, 2, 3 36322 1 1, 2, 3 33622 2 1, 2, 3 28122 3 2 37423 1 1, 2, 3 34323 2 1, 2, 3 40024 1 1, 2, 3 34425 1 1, 2, 3 39225 2 1, 2, 3 34025 3 1, 2, 3 39126 1 1, 2, 3 70227 1 1, 2, 3 ” ”

26 2 1, 2, 3, 4 34927 2 1 ” ”

Shibui No. Cat. No.

26 3 1, 2, 3 38927 3 1, 2, 3 41928 1 1, 2, 3 31828 2 1, 2, 3 42629 1 1, 2, 3, 4 34629 2 1 ” ”

30 1 1, 2, 3 37030 2 1, 2, 3 38131 1 1, 2, 3 38531 2 1, 2, 3 39431 3 1, 2, 3 37132 1 1, 2, 3, 4 28833 1 1 ” ”

32 2 1, 2, 3, 4 ” ”32 3 1, 2, 3, 4 42933 3 1 ” ”

34 1 1, 2, 3 39934 2 1, 2, 3 42535 1 1, 2, 3 27935 2 1, 2, 3 41235 3 1, 2, 3 ” ”36 1 1, 2, 3 36136 2 1, 2, 3 37636 3 1, 2, 3 32337 1 1, 2 31337 2 1, 2, 3 37737 3 1, 2, 3 28438 1 1, 2, 3, 4 39539 1 10 ” ”

38 2 1, 2, 3, 4 29338 2 4, 39 2 1, 2 29438 3 1, 2, 3 37840 1 1, 2, 3 308

582

Index IV

Ukiyo e Zuten Reference

References to individual sheets within print series give the catalogue entry number followed by the number of the design within that group, eg. 21/3 cat. entry no. 21, individual sheet no. 3 .

Artist’s Signatures

1 2 3 4 5 6

7 8 9 10 11

12

13 14 15 16 17 18

591

Glossary

Age b shi: A cloth head covering worn to protect a woman’s oiled hairdo from dust and dirt. See Fig. 128

Ama cha: A special tea prepared from a variety of hydrangea that is poured over small statues of Buddha on his birthday.

Bai mag : A hairstyle that includes a single hairpin placed vertically through the piled up section of hair on top. See Fig. 22

Bon no kubo: An infant’s hairstyle in which the baby’s head is almost completely shaved, with only a small section of hair remaining at the base.

Chasen mag :A hairstyle in which the hair is dressed on top in the shape of a Japanese tea whisk. See Fig. 50

Chokibun : The small ferry boats that transported passengers and goods at speed along the river.See Fig. 107

Daimy : Powerful feudal landholders.

Ema: A wooden votive plaque upon which prayers or wishes are written before presentation at a Shint shrine.

Engawa: The veranda outside a Japanese room. See Fig. 94

Fukubiki: ‘Lucky pulls’, a game in which players pulled at lengths of string that were held in a bundle, the ends of which were attached to prizes.

Gosh guruma: An Imperial ox carriage used by members of aristocratic families. See Fig. 104

Hakama: A form of traditional Japanese clothing; a pleated garment usually referred to as either a divided skirt or full cut trousers.

593

128. Shrine Visit in the Eleventh Month Shimotsuki no kami m d , from the series Elegant Pastimes of the Four Seasons F ry shiki no asobi , published by Tsuruya Kiemon, c. 1798 9 see cat. no. 50/11 .

List of Illustrations

1. Woman reading a letter, from Ten Physiognomic Classes of Wome Fujo nins juppo , published by Tsutaya J zabur , c. 1792 3 cat. no. 36/6a . Page 7

2. Toriyama Sekien’s postscript, written in the winter of 1787, to Utamaro’s A Pictur Book of Selected Insects Ehon mushi erabi , published by Tautaya Jûzaburo in 1788. Page 9

3. Top: Geisha house at Tachibana ch . Bottom: Street scene depicting a sushi shop at T ri ch . Both from Picture Book: The Sparrows of Edo Ehon Edo suzum , published by Tsutaya J zabur in 1786. Page 11

4. Paper wasp and hairy caterpillar, from A Picture Book of Selected Insects Ehon mushi erabi , published by Tsutaya J zabur in 1788. Page 12

5. Gathering shells along the beach at Shinagawa Bay, from Gi s of the Ebb Tid Shiohi no tsuto , published by Tsutaya J zabur in 1789. Page 13

6. The Fancy ee typ Uwaki no s , from Ten Physiognomic Studies of Wome Fujin s gaku juttai , published by Tsutaya J zabur , c. 1792 3 cat. no. 36/2a . Page 15

7. Happy Togetherness of Umegawa and Ch bei Umegawa Ch bei no kiha , from Eigh Views of Lovers’ Meetings mi hakkei , published by miya Gonkur , c. 1798 9 cat. no. 112/2 . Page 18

8. Utamaro putting the finishing touches to a painting of a H bird in one of the Yoshiwara ‘Green Houses’, from the illustrated book Annals of the Green Houses Seir ehon nenj gy ji , published by Kazusaya Ch suke in 1804. Page 21

9. A young woman belonging to the giya, from the series Guess it if you Ca Atete mi na , published by miya Gonkur , c. 1795 6 see cat. no. 2/1a . Page 29

10. Young woman holding an umpire’s fan, from the series Beautiful Women Compared to Sum Bijin awase hana sum , published by Yamaguchiya Ch suke, c. 1803 4 see cat. no. 8/1 . Page 34

11. Girl playing with a goldfish, from the series Ten Forms of Beauty Bijin j y , published by Enomotoya Kichibei, c. 1797 see cat. no. 15/8b . Page 39

12. Oshichi the Greengrocer’s Daughter, Kichisabur the Boy Servant and Dozaemon Denkichi Yaoya Oshichi, kosh Kichisabur , Dozaemon Denkichi , from the series A Mirror of

Flirting Lovers: Cloud Clusters across the Moo Chiwa kagami tsuki no murakumo , published by Ensh ya Matabei, c. 1798 1800 see cat. no. 19/10 . Page 47

13. Act On Shodan , from the series A Treasury of Loyal Retainers Ch shingura , published by Nishimuraya Yohachi, c. 1801 2 see cat. no. 21/1 . Page 52

598

14. Act Four Yo damme , from the series A Treasury of Loyal Retainers Ch shingura , published by Nishimuraya Yohachi, c. 1801 2 see cat. no. 21/4 . Page 53

15. Act Te J damme , from the series A Treasury of Loyal Retainers Ch shingura , published by Nishimuraya Yohachi, c. 1801 2 see cat. no. 21/10 . Page 54

16. Young woman tuning a shamise , from the series Flowers of Edo: J ruri Ba ads by Young Wome Edo no hana musume j ruri , published by Yamaguchiya Ch suke, c. 1804 see cat. no. 30/2 . Page 62

17. Hanabito of the giya as Ts gen, from the series The Eight Charming Immortals Ench hasse , published by Tsuruya Kiemon, c. 1793 4 see cat. no. 34/3 . Page 65

18. The Interesting Typ Omoshiroki s , from the series Ten Physiognomic Studies of Wome Fujin s gaku juttai , published by Tsutaya J zabur , c. 1792 3 see cat. no. 36/1a . Page 70

19. Beauty smoking a pipe, from the series Ten Physiognomic Classes of Wome Fujo nins juppo , published by Tsutaya J zabur , c. 1792 3 see cat. no. 36/7a . Page 73

20. Young woman reading a letter, from the series Ten Physiognomic Studies of Wome Fujin s gaku juttai , published by Tsuruya Kiemon, c. 1802 3 see cat. no. 37/6 . Page 75

21. Young woman engaged in needlework, from the series Women’s Handiwork: Models of Dexterity Fujin tewaza ayatsuri kagami , published by Yama Sh , c. 1797 8 see cat. no. 38/4 . Page 77

22. Young hairdresser combing out a client’s hair, from the series Twelve Forms of Women’s Handiwor Fujin tewaza j ni k , published by Wakasaya Yoichi, c. 1798 9 see cat. no. 39/2 . Page 78

23. Young female dressmaker, from the series Twelve Forms of Women’s Handiwor Fuji tewaza j ni k , published by Wakasaya Yoichi, c. 1798 9 see cat. no. 39/4 . Page 80

24. Young women preparing Gion bean curd, from the series Twelve Forms of Women’s Handiwor Fujin tewaza j ni k , published by Wakasaya Yoichi, c. 1798 9 see cat. no. 39/9 . Page 81

25. Okiku and K suk , from the series Comparing the Charms of Fashionable Lovers F ry aiky kurab , published c. 1802 see cat. no. 40/5 . Page 82

26. Matsukaze and Murasam , from the series Elegant Five needled Pin F ry goy no matsu , published c. 1797 8 see cat. no. 43/5a . Page 86

27. Young mother taking a nap, from the series A Collection of Elegant Little Treasures F ry kodakara awas , published by Izumiya Ichibei, c. 1802 see cat. no. 45/1 . Page 88

28. Young mother and her two children, from the series A Co ection of Elegant Littl Treasures F ry kodakara awas , published by Izumiya Ichibei, c. 1802 see cat. no. 45/7 . Page 90

List of I ustrations

599

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Fenollosa, Ernest A., Epochs of Chinese and Japanese Ar . London, 1912.Ficke, Arthur Davison, Chats on Japanese Prints, London, 1915.Sexton, J. J. O’Brien, ‘Illustrated Books of Japan II: Utamaro’s Books on Natural

History’, Burlington Magazin , XXXII/No. CLXXX. London, 1918.Stewart, Basil, Subjects Portrayed in Japanese Colour Prints. London, 1922.Waley, Arthur, The No Plays of Japa . London, 1921.Nogushi, Yone, Gonkôru no Utamaro. Tokyo, 1921.Binyon, Laurence & J. J. O’Brien Sexton, Japanese Colour Prints. London, 1923.Noguchi, Yone, Utamaro. Tokyo and London, 1925.Lo Kuan Chung, San Kuo, or Romance of the Three Kingdoms. Shanghai, 1925 trans. C. H.

Brewitt Taylor .Ukiyo e taika shûsei, Vol 12: Kitagawa Utamaro. Tokyo, 1926.Noguchi, Yone, Utamaro, Hokusai, Hiroshig . Tokyo, 1926.Miyamori, Asataro trans. , Masterpieces of Chikamatsu: The Japanese Shakespear . London,

1926Noguchi, Yone, L’Art au Japon: Utamaro. Paris, 1928.Toda, Kenji, Descriptive Catalogue of Chinese and Japanese I ustrated Books in the Ryerso

Library of the Art Institute of Chicago. Chicago, 1931.Takimizawa Woodcut Institute, Rare Colour Prints by Utamaro. Tokyo, 1931.Edmunds, Will H., Pointers and Clues to the Subjects of Chinese and Japanese Art as Shewn i

Drawings, Prints, Carvings and the Decoration of Porcelain and Lacquer. London, 1934.Kondô, Ichitarô, Utamaro. Tokyo, 1940.Yoshida, Teruji, Utamaro zenshû. Tokyo, 1941.Ledoux, L.V., Japanese Prints of the Ledoux Co ection: Bunchô to Utamaro. New York, 1948.Volker, T., Ukiyo e Quarte . Leiden, 1949.Trotter, Massey, Catalogue of the Work of Kiragawa Utamaro 1753 1806 in the Co ection of New

York Public Library. New York, 1950.Baltus, George M., Outamaro, Catalogue of an Exhibition at the Palais des Beaux Arts,

Brussels. Introduction by George M. Baltus. Brussels, 1951.

608