The Complete Woodblock Prints of Kitagawa Utamaro: A Descriptive Catalogue

The Complete Woodblock Prints of

KITAGAWA UTAMARO A Descriptive Catalogue Gina Collia
Suzuki

NEZU PRESS

Published by Nezu Press PO Box 587 Weston
super
Mare BS23 9GN United Kingdom www.nezupress.com First published 2009 © Gina Collia
Suzuki 2009 www.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 Multisheet Prints


344

IV.

Untitled Multisheet Prints


364

V.

Titled Singlesheet Prints


440

VI.

Untitled Singlesheet 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: Ukiyoe 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 lifelong 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.

6

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 indepth 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 well organised catalogue of Utamaro’s works; one in which the information could be accessed easily and quickly. The present work is 1. Woman reading a letter, from Ten Physiognomic Classes of Wome Fujo nins juppo, published designed to fulfil that need, for both myself by Tsutaya J zabur, c. 17923 cat. no. 36/6a. and every other student of Utamaro’s work.

7

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 Ukiyoe artist in 18th century Edo, even one who was as wellknown 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 ocial 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 fiftyfour on the twentieth day of the ninth month of Bunka 3 1806, according to the death register at Senkji, 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 fiftythree 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 171288, a Kan school artist forty years his senior, who came from a rather more privileged background than those usually associated with the popular Ukiyoe 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, wellconnected with the leading figures of Edo’s publishing world and founder, in 1770, of his own school for the study of the Ukiyoe 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 oen 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
BAUR
Berès
Bickford
BM
BMAG
BN
BOS
BRI
BRU
CHI
CHIBA
CLV
CMA
FAM
FITZ
GEN
Grabhorn
GUI
HNL
HU
JUM
KANS
LEI
MAK
MIN
MM
Monet
NY
OTA
PHIL
Popper
POR
Riese
Schindler
SO


Rijksmuseum, Amsterdam Collections Baur, Genève Huguette Berès Collection Lawrence Bickford Collection British Museum, London Birmingham Museums and Art Gallery Bibliothèque Nationale, Paris Museum of Fine Arts, Boston Bristol City Museum and Art Gallery Musées Royaux d’Art et d’Histoire, Bruxelles The Art Institute of Chicago Chiba City Museum of Art The Cleveland Museum of Art Chazen Museum of Art, Madison The Fine Arts Museum of San Francisco The Fitzwilliam Museum, Cambridge Museo d’Arte Orientale Edoardo Chiossone, Genova The Grabhorn Collection Musée National des Arts Asiatiques Guimet, Paris Honolulu Academy of Arts Harvard University Art Museums, Cambridge, Mass. Japan Ukiyoe Museum Spencer Museum of Art, University of Kansas National Museum of Ethnology, Leiden Österreichisches Museum für angewandte Kunst / Gegenwartskunst The Minneapolis Institute of Arts The Metropolitan Museum of Art, New York Claude Monet Collection, Giverny New York Public Library The ta Memorial Museum of Art, Tokyo Philadelphia Museum of Art Hans Popper Collection The Portland Art Museum Otto Riese Collection, Museum für Ostasiatische Kunst Köln Werner Schindler Collection Musée de l’hôtel Sandelin, SaintOmer

23

The Complete Woodblock Prints of Kitagawa Utamaro: A Descriptive Catalogu

Stoclet
T&S
TIK
TNM
V&A
Vever
YALE


Adolphe Stoclet Collection Tobacco and Salt Museum, Tokyo Tikotin Museum of Japanese Art, Haifa Tokyo National Museum Victoria and Albert Museum, London Henri Vever Collection The Yale University Art Gallery

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


RappardBoon, C. van, The Age of Utamaro, Japanese Prints Date: c. 1780
1800. Rijksmuseum, Amsterdam, 1979. Berès
Utamaro: Estampes, Livres Iustrés. Huguette Berès, Paris, 1976. Berès S
Coection Huguette Berès: Estampes, Dessins et Livres Iustrés Japonais. Sotheby’s, Paris, 2002. Bickford
The Lawrence Bickford Coection of Japanese Wrestler Prints. Christie’s, New York, 1994 BM
Asano, Shg, 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, 1965 BRU
Kozyre, Chantal, Estampes Japonaises: Coection des Musées Royaux d’Art e d’Histoire, Bruxees. Bruxelles, 1989. CALAIS
Plaisirs d’Edo: Coections d’Estampes Japonaises des Musées de Calais et de Saint
Omer. Musée des BeauxArts et de la Dentelle  Calais / Musée de l'Hotel Sandelin  SaintOmer, 2007 EBV
The Edward Burr Van Vleck Coection of Japanese Prints. Elvehjem Museum of Art, University of Wisconsin Press, 1990. Gale
Hillier, Jack, Catalogue of the Japanese Paintings and Prints in the Coection of Mr & Mrs Richard P. Gal. Vol. II. Minneapolis, 1970. Grabhorn
Twelve Woodblock Prints of Kitagawa Utamaro: Iustrating the Process of Sil Cultur. California, 1965 GUI
Ukiyo
e Masterpieces in European Coections 7: Musée Guimet, Paris, II. Tokyo, 1990 Hillier
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 Coectio. Honolulu Academy of Arts, Honolulu, 1994. Kurth
Kurth, Julius, Utamaro. Leipzig, 1907. Markus
Markus, Helena, Utamaro: La Poesia dea Beltà Femminil. Firenze, 1981. Monet
Aitken, Genevieve, and Marianne Delafond, La Coection 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 Coection of the New York Public Library. New York, 1950. Pins
Pins, Jacob, The Japanese Piar Print: Format: hashira
. London, 1982.

24

Notes to the Catalogu

Popper
Riese
S
Schindler
Stoclet
Surimono
T&S
TNM


UA
US
UT5
UT6
Vever I
Vever II
Vever III
Vever FP
Vever S
V&I


The Hans Popper Coection of Japanese Prints. Sotheby Parke Bernet Inc., New York, 1972. Hempel, Rose, Meisterwerke des Japanischen Farbholzschnitts die Sammlung Otto Ries . München, 1997. Shibui, Kiyoshi, Ukiyoe zute, vol. 13: Utamaro. Tokyo, Kazama Shob, 1964. Fine and Important Japanese Prints om the Coection of the Late Werner Schindler. Christie’s, New York, 1987. Important Japanese Prints, iustrated Books & Paintings om the Adolphe Stocle Coectio. Sotheby’s, London, 8 June, 2008. Polster, Edythe and Alfred H. Marks, Surimono: Prints by Elbow. Washington DC, 1980. 100 Woodblock Prints of Edo Culture: From the Ukiyoe Coection of the Tobacco and Salt Museu . Ann Arbor, 2008. Tky kokuritsu Hakubutsukan zuhan mokuroku, ukiyoe hanga te Iustrated Catalogues of Tokyo National Museum: Ukiyoe Prints, vol. 2. Tokyo National Museum, Tokyo, 1974. Ukiyoe Ar , no.6. The Japan Ukiyoe Society, Tokyo, 1964. Kitagawa Utamaro sakuhin mokuroku List of Utamaro’s Complete Works, Ukiyo shka, vol. 3: Bosuton Bijutsukan III. Tokyo, 1978, pp. 235254. Kikuchi, Sadao, Ukiyoe taikei. vol. 5, Tokyo, 1976. Kikuchi, Sadao, Ukiyoe taikei. vol. 6, Tokyo, 1976. Highly Important Japanese Prints, Iustrated Books and Drawings om the Henri Vever Coection: Part I. Sotheby & Co., London, 1974. Highly Important Japanese Prints, Iustrated Books, Drawings and Fan Paintings o

the Henri Vever Coection: Part II. Sotheby & Co., London, 1975. Highly Important Japanese Prints, Iustrated Books, Drawings and Paintings om th Henri Vever Coection: Part. III. Sotheby Parke Bernet & Co., London, 1977. Highly Important Japanese Prints om the Henri Vever Coection: Final Par . Sotheby’s, London, 1997. Hillier, Jack, Japanese Prints and Drawings om the Vever Coectio, Vol. II. London, 1976. Vignier  Inada Catalogue, Vol IV: Utamaro, Estampes Japonaises... exposées au Musée des Arts Décoratifs en Janvier 1912. Catalogue dressé par M. Vignier avec la coaboration 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 Ukiyoe shka 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 Ukiyoe shka, vol. 3, text entry for series no. 468, individual print no. 1. For each entry, if a print is included in Shibui’s Ukiyoe zute, this

25

The Complete Woodblock Prints of Kitagawa Utamaro: A Descriptive Catalogu

reference is given first, followed by that for Ukiyoe shka; the remaining references are listed alphabetically.
Wherever possible, as the illustrations contained within Shibui’s Ukiyoe zute are so small, making it dicult 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 multisheet prints, untitled multisheet prints, titled singlesheet prints, untitled singlesheet 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 multisheet compositions, where sheets are referred to by number to indicate their position within the composition, number counts begin with the righthand sheet and end with the lefthand 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.

26

Section On


Titled Series 1. Ai bore iro no gosekku The Colour of Love During the Five Festivals 合惚色の五節句 Date: c. 1800 Artist’s signature: Utamaro hitsu Publisher: Wakasaya Yoichi Format: ban, colour woodblock 1.
The first month. A halflength 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: TNM Reference: S 10511; US 233/1; NeretMinet 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: Shki, the demonqueller, 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 10513; US 233/31 3b.
As above, but without the ‘bore iro no’ within the title. Collection: BOS; LEI Reference: US 233/32 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

27

Titled Series

127

Section Two

Untitled Series 188. Beauties applying makeup before a mirror Date: c. 17956 Artist’s signature: Utamaro hitsu Publisher: IseMago Format: ban, colour woodblock An untitled series of bust portraits showing young women in the process of applying makeup 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; Stoclet Reference: S 5931; US 520/12; 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 marumag style and the collar of her yukata, decorated with a large tiedyed pattern of starfish, has been lowered to facilitate the application of white powder. Her reflection is visible in the hand mirror she is using. Kyka poem at top left. Collection: GUI; Monet; TNM; Vever Reference: S 5933; US 520/21; 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: Popper Reference: 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; Vever Reference: S 5932; US 520/22; 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: BOS Reference: BM 253

257

Untitled Multi
sheet Prints

360. Mimeguri embankment Mimeguri dot 三囲土手 Date: 1799 Artist’s signature: Utamaro hitsu Publisher: miya Gonkur Format: ban triptych, colour woodblock A party of sightseers are on their way to Mimeguri Inari shrine during the cherryviewing 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 righthand 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 lefthand 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 sheets Reference: S 2011, 2012, 2013; 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 1800 Artist’s signature: Utamaro hitsu Publisher: Moriya Jihei Format: 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 righthand 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 makeup. At her feet, kneeling beside another courtesan, a male servant is attempting to get the attention of the young man in the righthand sheet. In the lefthand sheet, three courtesans are bidding farewell to two male clients who are descending the staircase to ground level. Behind them, on the window

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 brickred skin and chubby form.

Titled Series 621. Kintar sannin kydai Kintar in Three Stages of Infancy 金太郎三人兄弟 Date: c. 18013 Artist’s signature: Utamaro hitsu Publisher: Tsuruya Kiemon Format: 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: Vever Reference: 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: MIN Reference: S 21014; US 734/1; V&I 206

507

The Niwaka Festival

681. Seir niwaka onna geisha Female Geisha in the Niwaka Festival of the Green Houses 青楼仁和賀女芸者 Date: c. 1797 Artist’s signature: Utamaro hitsu Publisher: Tsuruya Kiemon Censorship seal: kiwame Format: ban, colour woodblock 1.
Maigi natorizuki, inakamusume aki no teodori, ominae sakari no mochizuki Accomplished Fandancer, Country Maiden Autumn Dancer, and Fu Moon ‘Golden Lace’ Blosso. A half length 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: HNL Reference: 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 halflength 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 geisha Female Geisha in the Niwaka Festival of th Green Houses 青楼仁和賀女芸者 Date: c. 1797 Artist’s signature: Utamaro hitsu Publisher: unknown Censorship seal: kiwame Format: ban, colour woodblock

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.

531

Indices

Index I

Publishers’ Marks Mark

564

Publisher

Catalogue Nos.

Tsutaya Jzabur

35, 36, 58, 70, 7980, 84, 100, 103, 105106, 124, 142, 164, 203, 206, 211, 229, 231, 236, 241242, 245, 250, 280, 282283, 290, 302, 325, 327328, 337, 339, 342, 347, 354, 356, 359, 362, 364, 367, 379, 383, 390, 396, 401, 410411, 413, 415416, 420422, 435, 437, 439, 442, 467, 480481, 488, 491492, 519, 556, 562, 605, 645, 649, 664, 667, 678, 683, 692, 696698, 703704, 707708

Tsuruya Kiemon

5, 18, 29, 34, 37, 50, 53, 66, 74, 77, 86, 109, 118, 123, 125, 130131, 170, 184, 190191, 196, 198, 212, 235, 238, 249, 276, 278, 291292, 300301, 303, 309, 316317, 321, 329330, 332, 341, 345, 357, 365, 368369, 386, 393, 397398, 406407, 417, 424, 428, 430, 432, 438, 449, 454, 558, 565, 567, 599, 613, 621, 654, 659, 665, 668, 681, 685, 686688, 706

Tsuruya Kinsuke

9, 17, 24, 4344, 47, 94, 139, 141, 151, 173, 177, 189, 200, 323, 351352, 358, 380, 387388, 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, 158159, 171, 222, 244, 251, 260, 286, 318, 346, 355, 366, 370, 381, 426, 494, 555, 674

Izumiya

107, 135, 185, 240, 254

SenSa

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

Index II

Title Works with a title included on the design

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

570

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

Index II: Titl


Title:
Cat. No. Fry zashiki hakkei
52 Futabagusa nana Komachi
53 Fzoku bijin tokei
54 Fzoku jni toki
55 Fzoku sandan musume
56 Fzoku sanninei
440 Fzoku ukiyo hakkei
57 Fzoku ukiyo hakkei
58 Gei jiman kodakara awase, shichifuku no uchi
59 Gomeir zensei kinki shoga no zu
287 Gonin bijin aiky kurabe
60 Gor Tokimune, Ichikawa Yaoz
441 Gosekku Azuma nishiki
61 Gosekku medetai asobi
62 Gosekku ukiyo kagami
63 Gosetsu no hana awase
288 Goshiki zome rokkasen
64 Hakoiri ichidai kagami
65 Hakoiri sambukutsui
289 Hana awase kesh kurabe
66 Hana awase shiki no bijin
67 Hokkaku zensei kurabe
68 Hokkoku goshikizumi
69 Hygoya uchi Tsukioka
442 Ichikawa Danjr, Arakawa Tar
443 Ichikawa Gory nagori soyakusha hokku shu
444 Ikebana hyakufei no zu
70 Itokenai asobi jni tsuki
71 Jimono rokkasen
72 Jitsu kurabe iro no minakami
73 Joshoku kaiko tewaza kusa
74 Jni k
75 Jni tsuki shikishi waka
76 Kaich hn kyka awase
749 Kaiun sanmen Daikoku
445 Karitaku hakkei ykun no zu
77 Karitaku kawabe no asagao
78 Karitaku kykazuke
122 Kasen koi no bu
79 Kasumi ori musume hinagata
80 Kayoi kuruwa sakari hakkei
81 Keisei fumi sugata
82

Title:
Cat. No. Keisei geisha hana awase
83 Keisei kych mitshi mitate jzu
84 Keisei sanninei, sanpuku no uchi
290 Keizetsur Urazuru
446 Kindai shichi saijo shiika
85 Kinoene toshi Daikoku shichi henge
86 Kinoene toshi Daikokuten ochokuhitsu kakizome
291 Kinryzan Raijinmon no zu
292 Kintar sannin kydai
621 Kodakara tatoe no fushi
87 Kodomo asobi niwaka
88 Kodomo sanjrokkasen, sanjrokumai tsuzuki
89 Kokei no sansh
90 Kk musume
447 Kmei bijin mitate Chshingura
91 Kmei bijin rokkasen
92 Konrei iro naoshi no zu, sanmai tsuzuki
293 Konrei no zu, sanmai tsuzuki
294 Kurokiuri
704 Kyganoko musume Djji, Nakayama Tomisabur
751 Kykun kshin no waka
93 Kykun oya no megane
94 Makuradokei jnigumi
95 Matsubaya Segawa, Ichikawa
448 Matsubaya uchi Ichikawa
449 Matsubaya uchi Segawa, Ichikawa
450 Matsubaya uchi Someginu, Hananoe
451 Matsubaya uchi Somenosuke
452 Matsubaya uchi Yaegiku
453 Matsubaya uchi Yosooi
454 Matsubaya uchi Yosooi
455 Matsubaya uchi Yosooi
456 Matsubaya uchi Yoyotose
457 Matsubaya uchi Yoyotose, Yoyoginu
458 Matsubaya Yosooi, Matsumura
459 Medetai sambukutsui
295 Meifu eika kach fgetsu
96 Meikun keich no Yosooi
460 Meikun no Yosooi
461 Meisho fkei bijin jni s
97 Meisho koshikake hakkei
98

571

Index III

Subject 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, 300 Akahime of the Akatsutaya 222/1 Akashi of the Tamaya 120/1, 127/5a, 180/4, 211/6, 226/1, 255/3 Akechi Jbei Mitsuhide 275/5a Ama no Kumabito 497 Amaterasu Omikami 497 Arishige of the Tsuruya 225/1 Ariwara of the Tsuruya 81/4, 132/11, 209/1, 216/3, 225/1, 288/3c Ariwara no Narihira 64/3, 92/4b, 149/2, 159/2, 260/5, 323, 373, 374, 564 see also Six Immortal Poets Asajiu of the Daimonjiya 106/2 Asakusa 27/3, 190, 249/1, 292, 344, 429, 478, 480, 489/B Asakusa Kannon Temple 190, 292, 344, 429, 478 awabi divers, see abalone divers Azamino and Gontar 73/20 battledore 1/1, 9/5, 41/1, 63/1, 113/11, 152/2, 158/7, 364, 454, 501 Benzaiten 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 Fortune Bishamon 86/4, 145/3, 258/5, 259/2, 281, 284, 329, 404, 584, 585, 586 see 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 177/1 Ch emon and Ohan, see Ohan and Ch emon Ch zan of the Ch jiya 227/3 Chrysanthemum Boy 264/2 Chrysanthemum Festival 1/5a, 11/5, 41/3, 44/3, 50/10, 61/5, 76/8, 346 Chbei and Umegawa, see Umegawa and Chbei Chshingura 19/12, 20, 21, 22, 23, 24, 91, 170, 438 Daid zan Bungor 432, 433 Daikoku 32/2, 86, 145/2, 258/3, 259/1, 279, 281, 284, 289, 291, 329, 404, 445, 522, 523, 524, 548, 584, 585, 586, 646 see also Seven Gods of Good Fortune Dankin of the giya 414 Daruma 59/1, 72/3, 124/4, 238/1, 273/1 Dembei and Oshun, see Oshun and Dembei D j ji 164/5, 526, 576, 751 Doll Festival 1/2, 61/2, 71/2, 76/2, 230/3, 346, 372 Ebisu 76/9, 86/5, 145/1, 258/4, 279, 281, 284, 289, 329, 337, 338, 403, 404, 524, 529, 530, 548, 584, 585, 586 see also Seven Gods of Good Fortune Eight Immortals 34 Eight Views of mi 26, 57, 58, 112, 161, 169, 750 Eitai Bridge 26/8 577

575

The Complete Woodblock Prints of Kitagawa Utamaro: A Descriptive Catalogu

Enoshima 44/2, 50/4, 277, 303, 309, 324, 343, 381, 387, 388 Ensh of the giya 288/1a, 414 Eon H shi, see Three Laughers of Tiger Ravine falconers 32/3, 341, 531, 532, 533 FengKan, see The Four Sleepers five festivals 1, 10, 11, 41, 61, 62, 63, 155, 181, 182, 183, 288, 346 Four Accomplishments 125, 241, 287, 354, 355 Fujie of the Nakamanjiya 120/7, 217/1, 226/5 Fuji
musum, see Wisteria Maiden Fujiya Otayo 233/3, 478, 562 Fukurokuju 32/2, 86/1, 145/6, 279, 280, 281, 284, 329, 403, 404, 438, 584, 585, 586 see also Seven Gods of Good Fortune Fukushima Saemon 275/1 Fukusuke 223, 438, 544, 584, 646 Fumikoshi of the giya 288/2a Fun’ya no Yasuhide 64/1, 92/5c, 159/1, 260/3, 379 see also Six Immortal Poets Fshi of the Shizutamaya 83/1 Futamigaura 425 Gama, see Liu Hai Genji monogatari, see Tale of Genji Gens K tei and Y kihi, see Xuanzong and Yang Guifei Genta and Umegae 73/6, 253/2, 496 Girls’ Festival, see Doll Festival Gomeir Hana gi, see Hana gi of the giya Gomeir Takigawa, See Takigawa of the giya Gontar and Azamino, see Azamino and Gontar

gosekku, see five festivals Guan Yu 356, 488, 547, 565 Gyokur Hanamurasaki, see Hanamurasaki of the Tamaya Kadotamaya Hachirobei and Otsuma, see Otsuma and Hachirobei

576

hagoita, see battledore Hambei and Ochiyo, see Ochiyo and Hambei Hanabito of the giya 34/3 204/6, 288/3a Hanagoto of the Ebiya 677/2 Hanamurasaki 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 451 Hana 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 HanShan, see The Four Sleepers Hanshichi and Sankatsu, see Sankatsu and Hanshichi Hashidate of the giya 122/2b Hasseji of the Ebiya 255/2, 676/2 Hatsufune of the Matsubaya 412/1c Hinadori and Kuganosuke 3/9, 73/19, 732 Hinagoto of the Hy goya 16/2 Hinamatsu of the Ch jiya 132/9 Hinamatsuri, see Doll Festival Hinazuru 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 132/14 Hotei 86/3, 145/4, 258/1, 279, 280, 281, 284, 289, 329, 403, 404, 584, 585, 586 see also Seven Gods of Good Fortune

Index IV

Ukiyoe 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.

Shibui No.


Cat. No.

311
321, 2
331, 2, 3
411, 2
421, 2
431, 2, 3
511
521
531
611
621
711, 2
721, 2
732
811, 2
813, 4
821, 2, 3
831, 2
833, 4
911
921, 2, 3
1011, 2, 3
1021, 2, 3
1031
1111, 2, 3
1121, 2
1131, 2, 3
1211
1221, 2
1311, 2, 3
1321, 2, 3
1411, 2, 3
1421, 2, 3


411 411 354 413 416 339 236/4 236/1 236/2 410 410 302 283 282 367 379 325 356 415 422 421 362 362 292 342 327 290 383 331 396 280 309 310

582

Shibui No.
1431, 2, 3, 4
1521, 2
1511, 2, 3
1611, 2, 3
1621, 2, 3
1631, 2, 3
1711, 2
1713, 4
1721, 2, 3
1731, 2, 3
1811, 2, 3
1821, 2
1831, 2, 3
1911, 2, 3
1921, 2, 3
2011, 2, 3
2021, 2, 3
2031, 2, 3
2111, 2
2121, 2, 3
2211, 2, 3
2221, 2, 3
2232
2311, 2, 3
2321, 2, 3
2411, 2, 3
2511, 2, 3
2521, 2, 3
2531, 2, 3
2611, 2, 3
2711, 2, 3
2621, 2, 3, 4
2721


Cat. No. 277 “ “ 303 278 386 407 276 ” ” 298 430 368 369 358 311 311 360 306 414 353 363 336 281 374 343 400 344 392 340 391 702 ” ” 349 ” ”

Shibui No.
2631, 2, 3
2731, 2, 3
2811, 2, 3
2821, 2, 3
2911, 2, 3, 4
2921
3011, 2, 3
3021, 2, 3
3111, 2, 3
3121, 2, 3
3131, 2, 3
3211, 2, 3, 4
3311
3221, 2, 3, 4
3231, 2, 3, 4
3331
3411, 2, 3
3421, 2, 3
3511, 2, 3
3521, 2, 3
3531, 2, 3
3611, 2, 3
3621, 2, 3
3631, 2, 3
3711, 2
3721, 2, 3
3731, 2, 3
3811, 2, 3, 4
39110
3821, 2, 3, 4
3824, 3921, 2
3831, 2, 3
4011, 2, 3


Cat. No. 389 419 318 426 346 ” ” 370 381 385 394 371 288 ” ” ” ” 429 ” ” 399 425 279 412 ” ” 361 376 323 313 377 284 395 ” ” 293 294 378 308

Artist’s Signatures

1

2

3

4

5

7

8

9

10

11

6

12

13 14

15

16

17

18

591

Glossary Agebshi:


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

Amacha:


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

Baimag:


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. Chasenmag:
A hairstyle in which the hair is dressed on top in the shape of a Japanese teawhisk. See Fig. 50 Chokibun:
The small ferry boats that transported passengers and goods at speed along the river. See Fig. 107

128. Shrine Visit in the Eleventh Month Shimotsuki no kami md, from the series Elegant Pastimes of the Four Seasons Fry shiki no asobi, published by Tsuruya Kiemon, c. 17989 see cat. no. 50/11.

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.

Goshguruma: 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 fullcut trousers.

593

List of Illustrations 1.


Woman reading a letter, from Ten Physiognomic Classes of Wome Fujo nins juppo , published by Tsutaya J zabur, c. 17923 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 Tachibanach. Bottom: Street scene depicting a sushi shop at Trich. 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 Fancyee typ Uwaki no s , from Ten Physiognomic Studies of Wome Fujin s gaku juttai , published by Tsutaya J zabur, c. 17923 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. 17989 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. 17956 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. 18034 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. 17981800 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. 18012 see cat. no. 21/1 . Page 52

598

List of Iustrations

14.
Act Four Yodamme, from the series A Treasury of Loyal Retainers Chshingura , published by Nishimuraya Yohachi, c. 18012 see cat. no. 21/4 . Page 53

15.


Act Te Jdamme, from the series A Treasury of Loyal Retainers Chshingura , published by Nishimuraya Yohachi, c. 18012 see cat. no. 21/10 . Page 54

16.
Young woman tuning a shamise, from the series Flowers of Edo: Jruri Baads by Young Wome Edo no hana musume jruri , 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. 17934 see cat. no. 34/3 . Page 65

18.
The Interesting Typ Omoshiroki s , from the series Ten Physiognomic Studies of Wome Fujin sgaku juttai , published by Tsutaya J zabur, c. 17923 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. 17923 see cat. no. 36/7a . Page 73

20.
Young woman reading a letter, from the series Ten Physiognomic Studies of Wome Fujin sgaku juttai , published by Tsuruya Kiemon, c. 18023 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 YamaSh , c. 17978 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 jnik , published by Wakasaya Yoichi, c. 17989 see cat. no. 39/2 . Page 78

23.
Young female dressmaker, from the series Twelve Forms of Women’s Handiwor Fuji tewaza jnik , published by Wakasaya Yoichi, c. 17989 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 jnik , published by Wakasaya Yoichi, c. 17989 see cat. no. 39/9 . Page 81

25.


Okiku and Ksuk , from the series Comparing the Charms of Fashionable Lovers Fry aiky kurab , published c. 1802 see cat. no. 40/5 . Page 82

26.
Matsukaze and Murasam , from the series Elegant Fiveneedled Pin Fry goy no matsu , published c. 17978 see cat. no. 43/5a . Page 86

27.


Young mother taking a nap, from the series A Collection of Elegant Little Treasures Fry 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 Coection of Elegant Littl Treasures Fry kodakara awas , published by Izumiya Ichibei, c. 1802 see cat. no. 45/7 . Page 90

599

Bibliography Goncourt, Edmond de, Outamaro: Le Peintre des Maisons Vertes. Paris, 1891. Bing, S., ‘Art of Utamaro’, The Studio, No.4. London, 1895. Fenollosa, Ernest, The Masters of Ukiyoy. New York, 1896. de Becker, J. E., The Sexual Life of Japan: Being an Exhaustive Study of the Nightless City. New York, 1899. Duret, Théodore, Livres et Albums Iustrés du Japo. Paris, 1900. Fenollosa, Ernest F., An Outline of the History of Ukiyo
y. Tokyo, 1901. Kurth, Julius, Utamaro. Leipzig, 1907. Vignier
Inada Catalogue, Vol IV: Utamaro, Estampes Japonaises... exposées au Musée des Arts Décoratifs en Janvier 1912. Catalogue dressé par M. Vignier avec la coaboration de M. Inada. Préface de R. Koechlin. Paris, 1912. 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, 1926 Noguchi, Yone, L’Art au Japon: Utamaro. Paris, 1928. Toda, Kenji, Descriptive Catalogue of Chinese and Japanese Iustrated 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 Coection: 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 Coection 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