Japanese Prints @ St. Kate's: Selections from the Archives & Special Collections at St. Catherine UniversityMain MenuJapanese Prints at St. Kate's: Selections from the Special Collections at St. Catherine UniversityIntroductionEssay: Nostalgia as RemedyEssay: Unfolding the TraditionArtists in Our CollectionTimeline of Our PrintsExhibitionsBiographiesAcknowledgementsMaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ffChristina M. Spiker531dc292d7b19053b0688f029529d5238300a4a4Nicole Wallin89e3fd6912789fabcbf87ad5c440365a0b12b00e
Print Collection
1media/IMG_0994.jpg2018-11-13T02:57:07-08:00MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ff3140269structured_gallery8165712019-05-24T02:48:07-07:00MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ffBelow is our complete Japanese print collection from the Archives and Special Collections at St. Catherine University. This page includes links to several curated pages, and a comprehensive image gallery. At the bottom of the page, you can continue on to see a timeline of these prints.
12019-02-15T17:06:54-08:00MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ffThe Great Battle at Yashima (1185), B11Part of a triptych (center). A print featuring the naval battle at Yashima (屋嶋) (22 March 1185) during the Genpei War (1180–1185), a national civil war between the Taira and Minamoto clans during the late-Heian period of Japan. Following a string of defeats, the Taira clan retreated to Yashima (in today's Takamatsu) off the coast of Shikoku. The ensuing naval battle resulted in a Minamoto victory. It was led by Minamoto no Yoshitsune (on the Minatoto side) and Taira no Munemori and Taira no Noritsune (on the Taira side). Additional notes: Signed Ichimōsai Yoshitora ga (一猛斎芳虎画) in the bottom left. Signature on each sheet. Censor's seals: Muramatsu and Yoshimura. No blockcutter's mark could be identified.media/3451b_web.jpgplain2019-03-08T15:37:04-08:00c.1847-52 [Kôka 4–Kaei 5]Title: The Great Battle at Yashima (1185), B, #3451bwarrior, battle, samurai, men, Yashima, Genpei War, Taira, Minamoto, Takamatsu, Utagawa Yoshitora, Sanoya KiheiPublisher: Sanoya Kihei (佐野屋喜兵衛) (Firm: Kikaudō 喜鶴堂) (c. 1717-1875)Polychrome woodblock print; ink and color on paperVertical oban triptychJapanese(active 1836-1887)St. Catherine University Archives & Special CollectionsUtagawa Yoshitora (歌川芳虎). [Also known as Ichimōsai Yoshitora (一猛斎芳虎), Ichimōsai (一猛斎) Kinchōrō Yoshitora (錦朝楼芳虎), Mōsai Yoshitora (孟斎芳虎).]38 cm25 cm20181019123413+0000Title: 讃州屋嶋源平大合戦之図 (Sanshū yashima genpei daigassen no zu)Christina M. Spiker531dc292d7b19053b0688f029529d5238300a4a4
12019-02-19T22:37:40-08:00MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ffCherry Blossom Viewing, A10Part of a triptych (left). A group of court women are enjoying the cherry blossoms (sakura, 桜) on a spring day. Mt. Fuji (富士山) can be seen in the background. The women hail from the court of the Tokugawa shogunate shown by the repeating Tokugawa clan seal (mon, 紋) on the umbrellas (three hollyhock leaves inside of a circle). 16 women are pictured in total, and women in the middle and left panels seem to be playing a game together which involves being blindfolded. Additional notes: Signed Yōshū Chikanobu (楊洲周延) on the right panel; Publisher's seal: Fukuda Kumajirō (福田熊次郎) in a fish-shaped seal on the left panel; Blockcutter's mark seems like it might be present on left panel, but unidentified. The Chiyoda Inner Palace (Chiyoda no Ōoku) series of 1895-1896, together with his 1897 series Chiyoda Outer Palace (Chiyoda no on-omote) provided detailed depictions of life in and around Edo Castle before the Meiji Restoration of 1868. In the Chiyoda Inner Palace set, Chikanobu documented various annual ceremonies in the women’s quarters, especially those at New Year’s, and seasonal activities, particularly those conducted in the palace gardens. While Chikanobu did not indicate specific events or name certain people that would link these images to a single date or time period, the scenes give an overall impression of what the shogun’s private quarters might have looked like in the mid-19th century.media/3461c_web.jpgplain2019-03-08T15:22:40-08:001894 [Meiji 27]Title: Cherry Blossom Viewing, , Series: Customs of the Inner Palace of Chiyoda Castle, #3461cwomen, spring, park, cherry blossoms, Mt. Fuji, Chiyoda Inner Palace, kimono, umbrellas, game, Yōshū Chikanobu, Fukuda Kumajirō, Fukuda HatsujirōPublisher: Fukuda Hatsujirō / Fukuda Kumajirō 福田熊次郎 (Firm: Gusokuya 具足屋) (active c. 1874-1898)Polychrome woodblock print; ink and color on paperVertical oban triptychJapanese1838-1912St. Catherine University Archives & Special CollectionsYōshū Chikanobu (楊洲周延) [Also known as Toyohara Chikanobu (豊原周延), , Yōshū (楊洲), Hashimoto Chikanobu (橋本周延), Hashimoto Naoyoshi (橋本直義), Yōshū Naoyoshi (楊洲直義)]38 cm25 cm20181019123725+0000Title: On-hanami (御花見), Series: Chiyoda no Ōoku (千代田大奥)Christina M. Spiker531dc292d7b19053b0688f029529d5238300a4a4
12019-02-19T22:20:06-08:00MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ffCherry Blossom Viewing, B10Part of a triptych (center). A group of court women are enjoying the cherry blossoms (sakura, 桜) on a spring day. Mt. Fuji (富士山) can be seen in the background. The women hail from the court of the Tokugawa shogunate shown by the repeating Tokugawa clan seal (mon, 紋) on the umbrellas (three hollyhock leaves inside of a circle). 16 women are pictured in total, and women in the middle and left panels seem to be playing a game together which involves being blindfolded. Additional notes: Signed Yōshū Chikanobu (楊洲周延) on the right panel; Publisher's seal: Fukuda Kumajirō (福田熊次郎) in a fish-shaped seal on the left panel; Blockcutter's mark seems like it might be present on left panel, but unidentified. The Chiyoda Inner Palace (Chiyoda no Ōoku) series of 1895-1896, together with his 1897 series Chiyoda Outer Palace (Chiyoda no on-omote) provided detailed depictions of life in and around Edo Castle before the Meiji Restoration of 1868. In the Chiyoda Inner Palace set, Chikanobu documented various annual ceremonies in the women’s quarters, especially those at New Year’s, and seasonal activities, particularly those conducted in the palace gardens. While Chikanobu did not indicate specific events or name certain people that would link these images to a single date or time period, the scenes give an overall impression of what the shogun’s private quarters might have looked like in the mid-19th century.media/3461b_web.jpgplain2019-03-08T15:22:58-08:001894 [Meiji 27]Title: Cherry Blossom Viewing, B, Series: Customs of the Inner Palace of Chiyoda Castle, #3461bwomen, spring, park, cherry blossoms, Mt. Fuji, Chiyoda Inner Palace, kimono, umbrellas, game, Yōshū Chikanobu, Fukuda Kumajirō, Fukuda HatsujirōPublisher: Fukuda Hatsujirō / Fukuda Kumajirō 福田熊次郎 (Firm: Gusokuya 具足屋) (active c. 1874-1898)Polychrome woodblock print; ink and color on paperVertical oban triptychJapanese1838-1912St. Catherine University Archives & Special CollectionsYōshū Chikanobu (楊洲周延) [Also known as Toyohara Chikanobu (豊原周延), , Yōshū (楊洲), Hashimoto Chikanobu (橋本周延), Hashimoto Naoyoshi (橋本直義), Yōshū Naoyoshi (楊洲直義)]38 cm25 cm20181019123547+0000Title: On-hanami (御花見), Series: Chiyoda no Ōoku (千代田大奥)Christina M. Spiker531dc292d7b19053b0688f029529d5238300a4a4
12018-11-24T18:37:05-08:00MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ffDepiction of an Official Hearing at Fukiage, B10Part of a triptych (center). Two women (shogunal concubines?) are presenting a case to an official at Fukiage, a manor in the private section of Edo Castle. Additional notes: Signed Yōshū Chikanobu (楊洲周延) with unidentified circular seal on right panel; Publisher's seal: Fukuda Kumajirō (福田熊次郎) in a fish-shaped seal; Blockcutter's seal present, but the last character is unidentified. Appears to read Umezawa (梅澤). This is from the 1897 companion series to Chiyoda Inner Palace (Chiyoda no Ōoku), titled Chiyoda Outer Palace (Chiyoda no on-omote). It consists of 32 scenes depicts life outside the Ōoku and even outside Edo, showing activities which Chikanobu may have participated in when he was part of the shogun's retinue. This set, too, while more authentic because of Chikanobu's personal experiences, is also an artistic representation, and focuses on the elite side of life in the late Edo period.media/3459b_web.jpgplain2019-03-08T15:34:51-08:001897 [Meiji 30]Title: Depiction of an Official Hearing at Fukiage, B, Series: Chiyoda Outer Palace (Chiyoda Central Office), #3458bwomen, men, concubine, samurai, court, Fukiage, Edo Castle, Chiyoda Castle, outer palace, palace, Yōshū Chikanobu, Fukuda KumajirōPublisher: Fukuda Kumajirō 福田熊次郎 (Firm: Gusokuya 具足屋) (active c. 1874-1898), Block cutter: [Umezawa? (梅澤)]Polychrome woodblock print; ink and color on paperVertical oban triptychJapanese1838-1912St. Catherine University Archives & Special CollectionsYōshū Chikanobu (楊洲周延) [Also known as Toyohara Chikanobu (豊原周延), , Yōshū (楊洲), Hashimoto Chikanobu (橋本周延), Hashimoto Naoyoshi (橋本直義), Yōshū Naoyoshi (楊洲直義)]38 cm25 cm20181019110607+0000Title: Fukiage ni koji jocho no zu (於吹上公事上聴ノ図), Series: Chiyoda no on-omote (千代田之御表)MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ff
12018-11-16T15:17:05-08:00MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ffSpring-Colored Garden in Snow, A10Part of a triptych (left). Thirteen women are playing or enjoying music in an interior scene. One woman is playing the koto (琴) (left), one is playing a transverse flute (middle), and one is playing an ichigenkin (一絃琴) or monochord (right). There is a gold-backed floral folding screen (byōbu; 屏風) in the back of the room featuring peony and a pheasant. The windows are open to show a winter garden landscape complete with plum blossoms (ume; 梅). This particular print makes a strong use of akaline red in the carpet and kimono of the women. Additional notes: Signed Chikanobu hitsu 周延筆 with toshidama seal; Blockcutter's mark: Horikô Ginjirô (彫工銀次郎)media/1445a_web.jpgplain2019-03-08T15:46:07-08:001879 [Meiji 12]Title: Spring-Colored Garden in Snow, A, #1445awomen, music, winter, garden, peony, pheasant, ume, plum blossoms, akaline red, ichigenkin, koto, flute, indoor, Yōshū Chikanobu, Fukuda Kumajirō, Asai GinjirōPublisher: Fukuda Kumajirō 福田熊次郎 (Firm: Gusokuya 具足屋) (active c. 1874-1898), Block Cutter: Asai Ginjirô (Hori Gin 彫銀) (1844–1894)Polychrome woodblock print; ink and color on paperVertical oban triptychJapanese1838-1912St. Catherine University Archives & Special CollectionsYōshū Chikanobu (楊洲周延) [Also known as Toyohara Chikanobu (豊原周延), Yōshū (楊洲), Hashimoto Chikanobu (橋本周延), Hashimoto Naoyoshi (橋本直義), Yōshū Naoyoshi (楊洲直義)]38 cm25 cm20180921132211+0000Title: Shunshokuen no yuki (春色園の雪)MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ff
12019-02-15T15:49:06-08:00MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ffThe Great Battle at Yashima (1185), A9Part of a triptych (left). A print featuring the naval battle at Yashima (屋嶋) (22 March 1185) during the Genpei War (1180–1185), a national civil war between the Taira and Minamoto clans during the late-Heian period of Japan. Following a string of defeats, the Taira clan retreated to Yashima (in today's Takamatsu) off the coast of Shikoku. The ensuing naval battle resulted in a Minamoto victory. It was led by Minamoto no Yoshitsune (on the Minatoto side) and Taira no Munemori and Taira no Noritsune (on the Taira side). Additional notes: Signed Ichimōsai Yoshitora ga (一猛斎芳虎画) in the bottom left. Signature on each sheet. Censor's seals: Muramatsu (村松) and Yoshimura (吉村); No blockcutter's mark could be identified.media/3451a_web.jpgplain2019-03-08T15:37:16-08:00c.1847-52 [Kôka 4–Kaei 5]Title: The Great Battle at Yashima (1185), A, #3451awarrior, battle, samurai, men, Yashima, Genpei War, Taira, Minamoto, Takamatsu, Utagawa Yoshitora, Sanoya KiheiPublisher: Sanoya Kihei (佐野屋喜兵衛) (Firm: Kikaudō 喜鶴堂) (c. 1717-1875)Polychrome woodblock print; ink and color on paperVertical oban triptychJapanese(active 1836-1887)St. Catherine University Archives & Special CollectionsUtagawa Yoshitora (歌川芳虎). [Also known as Ichimōsai Yoshitora (一猛斎芳虎), Ichimōsai (一猛斎) Kinchōrō Yoshitora (錦朝楼芳虎), Mōsai Yoshitora (孟斎芳虎).]38 cm25 cm20181019123138+0000Title: 讃州屋嶋源平大合戦之図 (Sanshū yashima genpei daigassen no zu)Christina M. Spiker531dc292d7b19053b0688f029529d5238300a4a4
12019-02-17T23:34:14-08:00MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ffCherry Blossom Viewing, C9Part of a triptych (right). A group of court women are enjoying the cherry blossoms (sakura, 桜) on a spring day. Mt. Fuji (富士山) can be seen in the background. The women hail from the court of the Tokugawa shogunate shown by the repeating Tokugawa clan seal (mon, 紋) on the umbrellas (three hollyhock leaves inside of a circle). 16 women are pictured in total, and women in the middle and left panels seem to be playing a game together which involves being blindfolded. Additional notes: Signed Yōshū Chikanobu (楊洲周延) on the right panel; Publisher's seal: Fukuda Kumajirō (福田熊次郎) in a fish-shaped seal on the left panel; Blockcutter's mark seems like it might be present on left panel, but unidentified. The Chiyoda Inner Palace (Chiyoda no Ōoku) series of 1895-1896, together with his 1897 series Chiyoda Outer Palace (Chiyoda no on-omote) provided detailed depictions of life in and around Edo Castle before the Meiji Restoration of 1868. In the Chiyoda Inner Palace set, Chikanobu documented various annual ceremonies in the women’s quarters, especially those at New Year’s, and seasonal activities, particularly those conducted in the palace gardens. While Chikanobu did not indicate specific events or name certain people that would link these images to a single date or time period, the scenes give an overall impression of what the shogun’s private quarters might have looked like in the mid-19th century.media/3461a_web.jpgplain2019-03-08T15:23:09-08:001894 [Meiji 27]Title: Cherry Blossom Viewing, C, Series: Customs of the Inner Palace of Chiyoda Castle, #3461awomen, spring, park, cherry blossoms, Mt. Fuji, Chiyoda Inner Palace, kimono, umbrellas, game, Yōshū Chikanobu, Fukuda Kumajirō, Fukuda HatsujirōPublisher: Fukuda Hatsujirō / Fukuda Kumajirō 福田熊次郎 (Firm: Gusokuya 具足屋) (active c. 1874-1898)Polychrome woodblock print; ink and color on paperVertical oban triptychJapanese1838-1912St. Catherine University Archives & Special CollectionsYōshū Chikanobu (楊洲周延) [Also known as Toyohara Chikanobu (豊原周延), , Yōshū (楊洲), Hashimoto Chikanobu (橋本周延), Hashimoto Naoyoshi (橋本直義), Yōshū Naoyoshi (楊洲直義)]38 cm25 cm20181019124338+0000Title: On-hanami (御花見), Series: Chiyoda no Ōoku (千代田大奥)Christina M. Spiker531dc292d7b19053b0688f029529d5238300a4a4
12019-02-22T23:53:19-08:00MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ffParading of the Mochi (Rice Cakes), B8Part of a triptych (center). Five ladies watching a festival procession pulling a float of giant rice cakes (kagami mochi, 鏡餅) for the New Year celebration. The three women on the right panel are older than the two women in the middle panel.This is indicated by their hairstyles. The two girls in the middle wear their hair in a chigo-mage (稚児髷) style, a style that was based on what boys wore in the Momoyama and Azuchi eras. This style was appropriate for girls aged 5-12 who lived and worked in the palace. Some of the dancers in the background wear symbols associated with the New Year, such as a tengu mask and a lobster. Additional notes: Signed Yōshū Chikanobu (楊洲周延) with seal on the right panel; Publisher's seal: Fukuda Kumajirō (福田熊次郎) in a fish-shaped seal on the left panel. The Chiyoda Inner Palace (Chiyoda no Ōoku) series of 1895-1896, together with his 1897 series Chiyoda Outer Palace (Chiyoda no on-omote) provided detailed depictions of life in and around Edo Castle before the Meiji Restoration of 1868. In the Chiyoda Inner Palace set, Chikanobu documented various annual ceremonies in the women’s quarters, especially those at New Year’s, and seasonal activities, particularly those conducted in the palace gardens. While Chikanobu did not indicate specific events or name certain people that would link these images to a single date or time period, the scenes give an overall impression of what the shogun’s private quarters might have looked like in the mid-19th century.media/3462b_web.jpgplain2019-03-08T15:28:44-08:001895 [Meiji 28]Title: Parading of the Mochi (Rice Cakes), B, Series: Customs of the Inner Palace of Chiyoda Castle, #3462bwomen, girls, New Years, January, celebration, festival, matsuri, parade, kagami mochi, rice cakes, spectators, kimono, Yōshū Chikanobu, Fukuda HatsujirôPublisher: Fukuda Hatsujirô / Fukuda Kumajirō 福田熊次郎 (Firm: Gusokuya 具足屋) (active c. 1874-1898)Polychrome woodblock print; ink and color on paperVertical oban triptychJapanese1838-1912St. Catherine University Archives & Special CollectionsYōshū Chikanobu (楊洲周延) [Also known as Toyohara Chikanobu (豊原周延), , Yōshū (楊洲), Hashimoto Chikanobu (橋本周延), Hashimoto Naoyoshi (橋本直義), Yōshū Naoyoshi (楊洲直義)]38 cm25 cm20181019131614+0000Title: Kagami mochi hiki (鏡餅ひき), Series: Chiyoda no Ôoku (千代田之大奥)Christina M. Spiker531dc292d7b19053b0688f029529d5238300a4a4
12018-12-14T22:42:04-08:00MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ffScattering Gold in the Flourishing Pleasure Quarter: Tamagiku and Kinokuniya Bunzaemon, A8Part of a triptych (left). Kinokuniya Bunzaemon stands in the center panel scattering gold on the floor of a room in the pleasure quarters on a snowy evening. Kinokuniya was a famous merchant of the Edo period famous for selling citrus, salmon, and lumber. Courtesan Tamagiku watches the scene from the right panel. Many of the women and male and female children tumble over eachother trying to grab the money from the floor, and other women can be seen peering in to the room to see the commotion. Images in the right panel hints at this being at New Years. There is a large kagami mochi (鏡餅) rice cake in the right panel decorated with a lobster, a symbol of longevity. On the left panel, the artist depicts a large fusuma screen featuring chrysanthemum flowers (kiku, 菊). Additional notes: Signed Yôshû Chikanobu hitsu (楊洲周延筆) on left panel; Blockcutter's mark: Tsuge Yoshinobu (柘植よし信) on right panel; Publisher's seal indicates Matsuno Sadashichi (松野定七) on right panel.media/3458c_web.jpgplain2019-03-08T15:40:23-08:001886 [Meiji 19]Title: Scattering Gold in the Flourishing Pleasure Quarter: Tamagiku and Kinokuniya Bunzaemon, A, #3458cwomen, New Years, January, snow, pleasure quarters, courtesan, Tamagiku, Kinokuniya Bunzaemon, money, chrysanthemum, Yoshiwara, playful, Yōshū Chikanobu, Matsuno Sadashichi, Tsuge YoshinobuPublisher: Matsuno Sadashichi (松野定七), Block cutter: Tsuge Yoshinobu (柘植よし信)Polychrome woodblock print; ink and color on paperVertical oban triptychJapanese1838-1912St. Catherine University Archives & Special CollectionsYōshū Chikanobu (楊洲周延) [Also known as Toyohara Chikanobu (豊原周延), Yōshū (楊洲), Hashimoto Chikanobu (橋本周延), Hashimoto Naoyoshi (橋本直義), Yōshū Naoyoshi (楊洲直義)]38 cm25 cm20181019113200+0000Series: Zensei kuruwa no ôgon maki Tamaguki Kinokuniya Bunzaemon (「全盛廓の黄金撒キ」「玉菊」「紀の国屋文左衛門」)MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ff
12018-11-24T18:29:23-08:00MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ffDepiction of an Official Hearing at Fukiage, C8Part of a triptych (right). Two women (shogunal concubines?) are presenting a case to an official at Fukiage, a manor in the private section of Edo Castle. Additional notes: Signed Yōshū Chikanobu (楊洲周延) with unidentified circular seal on right panel; Publisher's seal: Fukuda Kumajirō (福田熊次郎) in a fish-shaped seal; Blockcutter's seal present, but the last character is unidentified. Appears to read Umezawa (梅澤). This is from the 1897 companion series to Chiyoda Inner Palace (Chiyoda no Ōoku), titled Chiyoda Outer Palace (Chiyoda no on-omote). It consists of 32 scenes depicts life outside the Ōoku and even outside Edo, showing activities which Chikanobu may have participated in when he was part of the shogun's retinue. This set, too, while more authentic because of Chikanobu's personal experiences, is also an artistic representation, and focuses on the elite side of life in the late Edo period.media/3459a_web.jpgplain2019-03-08T15:36:17-08:001897 [Meiji 30]Title: Depiction of an Official Hearing at Fukiage, C, Series: Chiyoda Outer Palace (Chiyoda Central Office), #3459awomen, men, concubine, samurai, court, Fukiage, Edo Castle, Chiyoda Castle, outer palace, palace, Yōshū Chikanobu, Fukuda KumajirōPublisher: Fukuda Kumajirō (福田熊次郎) (Firm: Gusokuya 具足屋) (active c. 1874-1898), Block Cutter: [Umezawa? (梅澤)]Polychrome woodblock print; ink and color on paperVertical oban triptychJapanese1838-1912St. Catherine University Archives & Special CollectionsYōshū Chikanobu (楊洲周延) [Also known as Toyohara Chikanobu (豊原周延), , Yōshū (楊洲), Hashimoto Chikanobu (橋本周延), Hashimoto Naoyoshi (橋本直義), Yōshū Naoyoshi (楊洲直義)]38 cm25 cm20181019123957+0000Title: Fukiage ni koji jocho no zu (於吹上公事上聴ノ図), Series: Chiyoda no on-omote (千代田之御表)MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ff
12019-02-15T18:46:46-08:00MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ffThe Battle of Ichinotani (1184), A8Part of a triptych (left). A print depicting The Battle of Ichinotani (寿永三年一ノ谷合戦) in 1184. This was a Taira defensive position at Suma during the Genpei War (1180–1185), a national civil war between the Taira and Minamoto clans during the late-Heian period of Japan. The Taira suffered a crucial defeat to the forces of Yoshitsune and Noriyori. The death of Taira no Atsumori at the hand of Kumagai no Naozane is a particularly famous passage in Tales of the Heike (Heike Monogatari). Additional notes: Signed Ichimōsai Yoshitora ga (一猛斎芳虎画) in the bottom left. Signature on each sheet. Censors' seals: Mera (米良), Murata (村田) (Mera is upside down on right panel). No blockcutter's mark.media/3453a_web.jpgplain2019-03-08T15:36:25-08:001847–52 [Kôka 4–Kaei 5]Title: The Battle of Ichinotani (1184), A, #3453amen, warrior, battle, samurai, Ichinotani, Taira, Minamoto, Genpei War, Suma, Utagawa YoshitoraPublisher: N/APolychrome woodblock print; ink and color on paperVertical oban triptychJapanese(active 1836-1887)St. Catherine University Archives & Special CollectionsUtagawa Yoshitora (歌川芳虎). [Also known as Ichimōsai Yoshitora (一猛斎芳虎), Ichimōsai (一猛斎) Kinchōrō Yoshitora (錦朝楼芳虎), Mōsai Yoshitora (孟斎芳虎).]38 cm25 cm20181019111621+0000Title: Juei sannen Ichinotani kassen no zu (寿永三年一ノ谷合戦の図)Christina M. Spiker531dc292d7b19053b0688f029529d5238300a4a4
12018-11-16T15:28:10-08:00MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ffSpring-Colored Garden in Snow, B8Part of a triptych (middle). Thirteen women are playing or enjoying music in an interior scene. One woman is playing the koto (琴) (left), one is playing a transverse flute (middle), and one is playing an ichigenkin (一絃琴) or monochord (right). There is a gold-backed floral folding screen (byōbu; 屏風) in the back of the room featuring peony and a pheasant. The windows are open to show a winter garden landscape complete with plum blossoms (ume; 梅). This particular print makes a strong use of akaline red in the carpet and kimono of the women. Additional notes: Signed Chikanobu hitsu 周延筆 with toshidama seal; Blockcutter's mark: Horikô Ginjirô (彫工銀次郎)media/1445b_web.jpgplain2019-03-08T15:46:43-08:001879 [Meiji 12]Title: Spring-Colored Garden in Snow, B, #1445bwomen, music, winter, garden, peony, pheasant, ume, plum blossoms, akaline red, ichigenkin, koto, flute, indoor, Yōshū Chikanobu, Fukuda Kumajirō, Asai GinjirōPublisher: Fukuda Kumajirō 福田熊次郎 (Firm: Gusokuya 具足屋) (active c. 1874-1898), Block Cutter: Asai Ginjirô (Hori Gin 彫銀) (1844–1894)Polychrome woodblock print; ink and color on paperVertical oban triptychJapanese1838-1912St. Catherine University Archives & Special CollectionsYōshū Chikanobu (楊洲周延) [Also known as Toyohara Chikanobu (豊原周延), Yōshū (楊洲), Hashimoto Chikanobu (橋本周延), Hashimoto Naoyoshi (橋本直義), Yōshū Naoyoshi (楊洲直義)]38 cm25 cm20180921132432+0000Title: Shunshokuen no yuki (春色園の雪)MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ff
12019-02-22T23:47:09-08:00MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ffParading of the Mochi (Rice Cakes), A7Part of a triptych (left). Five ladies watching a festival procession pulling a float of giant rice cakes (kagami mochi, 鏡餅) for the New Year celebration. The three women on the right panel are older than the two women in the middle panel.This is indicated by their hairstyles. The two girls in the middle wear their hair in a chigo-mage (稚児髷) style, a style that was based on what boys wore in the Momoyama and Azuchi eras. This style was appropriate for girls aged 5-12 who lived and worked in the palace. Some of the dancers in the background wear symbols associated with the New Year, such as a tengu mask and a lobster. Additional notes: Signed Yōshū Chikanobu (楊洲周延) with seal on the right panel; Publisher's seal: Fukuda Kumajirō (福田熊次郎) in a fish-shaped seal on the left panel. The Chiyoda Inner Palace (Chiyoda no Ōoku) series of 1895-1896, together with his 1897 series Chiyoda Outer Palace (Chiyoda no on-omote) provided detailed depictions of life in and around Edo Castle before the Meiji Restoration of 1868. In the Chiyoda Inner Palace set, Chikanobu documented various annual ceremonies in the women’s quarters, especially those at New Year’s, and seasonal activities, particularly those conducted in the palace gardens. While Chikanobu did not indicate specific events or name certain people that would link these images to a single date or time period, the scenes give an overall impression of what the shogun’s private quarters might have looked like in the mid-19th century.media/3462a_web.jpgplain2019-03-08T15:28:29-08:001895 [Meiji 28]Title: Parading of the Mochi (Rice Cakes), A, Series: Customs of the Inner Palace of Chiyoda Castle, #3462awomen, girls, New Years, January, celebration, festival, matsuri, parade, kagami mochi, rice cakes, spectators, kimono, Yōshū Chikanobu, Fukuda HatsujirôPublisher: Fukuda Hatsujirô / Fukuda Kumajirō 福田熊次郎 (Firm: Gusokuya 具足屋) (active c. 1874-1898)Polychrome woodblock print; ink and color on paperVertical oban triptychJapanese1838-1912St. Catherine University Archives & Special CollectionsYōshū Chikanobu (楊洲周延) [Also known as Toyohara Chikanobu (豊原周延), , Yōshū (楊洲), Hashimoto Chikanobu (橋本周延), Hashimoto Naoyoshi (橋本直義), Yōshū Naoyoshi (楊洲直義)]38 cm25 cm20181019131516+0000Title: Kagami mochi hiki (鏡餅ひき), Series: Chiyoda no Ôoku (千代田之大奥)Christina M. Spiker531dc292d7b19053b0688f029529d5238300a4a4
12018-11-18T01:05:54-08:00MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ffSnow in the Park, B7Part of a triptych (center). Missing left panel. Features women walking in a park in the snow, against the backdrop of a red Buddhist pagoda and temple complex. One of the women in the center panel is knocking the snow out of her geta (shoes). This triptych showcases women's winter fashion. Additional notes: Signed Yōshū Chikanobu (楊洲周延) with toshidama seal. Missing left panel which would likely contain publisher/carver information.media/3458b_web.jpgplain2019-03-08T15:33:35-08:001892 [Meiji 25]Title: Snow in the Park, B, Series: Customs and Manners of Old Japan (Yamato), #3458bwomen, park, winter, snow, geta, fashion, temple, Buddhist, pagoda, Yōshū Chikanobu[Unknown Publisher and Block Cutter]Polychrome woodblock print; ink and color on paperVertical oban triptychJapanese1838-1912St. Catherine University Archives & Special CollectionsYōshū Chikanobu (楊洲周延) [Also known as Toyohara Chikanobu (豊原周延), Yōshū (楊洲), Hashimoto Chikanobu (橋本周延), Hashimoto Naoyoshi (橋本直義), Yōshū Naoyoshi (楊洲直義)]38 cm25 cm20181019113056+0000Title: Kouen no yuki (公園之雪), Series: Yamato fuuzoku (やまと風俗)Christina M. Spiker531dc292d7b19053b0688f029529d5238300a4a4
12018-11-18T01:01:56-08:00MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ffSnow in the Park, C7Part of a triptych (right). Missing left panel. Features women walking in a park in the snow, against the backdrop of a red Buddhist pagoda and temple complex. One of the women in the center panel is knocking the snow out of her geta (shoes). This triptych showcases women's winter fashion. Additional notes: Signed Yōshū Chikanobu (楊洲周延) with toshidama seal. Missing left panel which would likely contain publisher/carver information.media/3458a_web.jpgplain2019-03-08T15:33:50-08:001892 [Meiji 25]Title: Snow in the Park, B, Series: Customs and Manners of Old Japan (Yamato), #3458awomen, park, winter, snow, geta, fashion, temple, Buddhist, pagoda, Yōshū Chikanobu[Unknown Publisher and Block Cutter]Polychrome woodblock print; ink and color on paperVertical oban triptychJapanese1838-1912St. Catherine University Archives & Special CollectionsYōshū Chikanobu (楊洲周延) [Also known as Toyohara Chikanobu (豊原周延), Yōshū (楊洲), Hashimoto Chikanobu (橋本周延), Hashimoto Naoyoshi (橋本直義), Yōshū Naoyoshi (楊洲直義)]38 cm25 cm20181019112850+0000Title: Kouen no yuki (公園之雪), Series: Yamato fuuzoku (やまと風俗)Christina M. Spiker531dc292d7b19053b0688f029529d5238300a4a4
12019-02-23T00:01:23-08:00MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ffParading of the Mochi (Rice Cakes), C7Part of a triptych (right). Five ladies watching a festival procession pulling a float of giant rice cakes (kagami mochi, 鏡餅) for the New Year celebration. The three women on the right panel are older than the two women in the middle panel.This is indicated by their hairstyles. The two girls in the middle wear their hair in a chigo-mage (稚児髷) style, a style that was based on what boys wore in the Momoyama and Azuchi eras. This style was appropriate for girls aged 5-12 who lived and worked in the palace. Some of the dancers in the background wear symbols associated with the New Year, such as a tengu mask and a lobster. Additional notes: Signed Yōshū Chikanobu (楊洲周延) with seal on the right panel; Publisher's seal: Fukuda Kumajirō (福田熊次郎) in a fish-shaped seal on the left panel. The Chiyoda Inner Palace (Chiyoda no Ōoku) series of 1895-1896, together with his 1897 series Chiyoda Outer Palace (Chiyoda no on-omote) provided detailed depictions of life in and around Edo Castle before the Meiji Restoration of 1868. In the Chiyoda Inner Palace set, Chikanobu documented various annual ceremonies in the women’s quarters, especially those at New Year’s, and seasonal activities, particularly those conducted in the palace gardens. While Chikanobu did not indicate specific events or name certain people that would link these images to a single date or time period, the scenes give an overall impression of what the shogun’s private quarters might have looked like in the mid-19th century.media/3462c_web.jpgplain2019-03-08T15:28:57-08:001895 [Meiji 28]Title: Parading of the Mochi (Rice Cakes), C, Series: Customs of the Inner Palace of Chiyoda Castle, #3462cwomen, girls, New Years, January, celebration, festival, matsuri, parade, kagami mochi, rice cakes, spectators, kimono, Yōshū Chikanobu, Fukuda HatsujirôPublisher: Fukuda Hatsujirô / Fukuda Kumajirō 福田熊次郎 (Firm: Gusokuya 具足屋) (active c. 1874-1898)Polychrome woodblock print; ink and color on paperVertical oban triptychJapanese1838-1912St. Catherine University Archives & Special CollectionsYōshū Chikanobu (楊洲周延) [Also known as Toyohara Chikanobu (豊原周延), , Yōshū (楊洲), Hashimoto Chikanobu (橋本周延), Hashimoto Naoyoshi (橋本直義), Yōshū Naoyoshi (楊洲直義)]38 cm25 cm20181019131744+0000Title: Kagami mochi hiki (鏡餅ひき), Series: Chiyoda no Ôoku (千代田之大奥)Christina M. Spiker531dc292d7b19053b0688f029529d5238300a4a4
12019-02-15T17:37:07-08:00MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ffThe Great Battle at Yashima (1185), C7Part of a triptych (right). A print featuring the naval battle at Yashima (屋嶋) (22 March 1185) during the Genpei War (1180–1185), a national civil war between the Taira and Minamoto clans during the late-Heian period of Japan. Following a string of defeats, the Taira clan retreated to Yashima (in today's Takamatsu) off the coast of Shikoku. The ensuing naval battle resulted in a Minamoto victory. It was led by Minamoto no Yoshitsune (on the Minatoto side) and Taira no Munemori and Taira no Noritsune (on the Taira side). Additional notes: Signed Ichimōsai Yoshitora ga (一猛斎芳虎画) in the bottom left. Signature on each sheet. Censor's seals: Muramatsu and Yoshimura. No blockcutter's mark could be identified.media/3451c_web.jpgplain2019-03-08T15:37:26-08:00c.1847-52 [Kôka 4–Kaei 5]Title: The Great Battle at Yashima (1185), C, #3451cwarrior, battle, samurai, men, Yashima, Genpei War, Taira, Minamoto, Takamatsu, Utagawa Yoshitora, Sanoya KiheiPublisher: Sanoya Kihei (佐野屋喜兵衛) (Firm: Kikaudō 喜鶴堂) (c. 1717-1875)Polychrome woodblock print; ink and color on paperVertical oban triptychJapanese(active 1836-1887)St. Catherine University Archives & Special CollectionsUtagawa Yoshitora (歌川芳虎). [Also known as Ichimōsai Yoshitora (一猛斎芳虎), Ichimōsai (一猛斎) Kinchōrō Yoshitora (錦朝楼芳虎), Mōsai Yoshitora (孟斎芳虎).]38 cm25 cm20181019123305+0000Title: 讃州屋嶋源平大合戦之図 (Sanshū yashima genpei daigassen no zu)Christina M. Spiker531dc292d7b19053b0688f029529d5238300a4a4
12019-02-15T20:37:44-08:00MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ffView of Komaba, B6Part of a triptych (center). A view of a military parade at Komaba (駒場). Today, this is a residential neighborhood in Meguro, Tokyo. Mt. Fuji can be seen in the background. Additional notes: Signed Mōsai Yoshitora ga (孟斎芳虎画) in the bottom right of the right print; Publisher's seal: Dobashi Matsudaya han (土橋政田屋板); Blockcutter's seal: Hori Chō (彫長); Censor's seal: Aratame 1870 Horse 4th Mo (改午四).media/3456b_web.jpgplain2019-03-08T15:39:21-08:001870 [Meiji 3]Title: View of Komaba, B, #3456bmen, military, parade, military display, guns, cannons, Mt. Fuji, Utagawa Yoshitora, Dobashi Masadaya, Masadaya Heikichi, Hori ChōPublisher: Masadaya Heikichi (政田屋平吉 ) of Dobashi Masadaya (土橋政田屋), Block Cutter: Hori Chō (彫長)Polychrome woodblock print; ink and color on paperVertical oban triptychJapanese(active 1836-1887)St. Catherine University Archives & Special CollectionsUtagawa Yoshitora (歌川芳虎). [Also known as Ichimōsai Yoshitora (一猛斎芳虎), Ichimōsai (一猛斎) Kinchōrō Yoshitora (錦朝楼芳虎), Mōsai Yoshitora (孟斎芳虎).]38 cm25 cm20181019132142+0000Title: Komaba no fūkei (駒場野之風景)Christina M. Spiker531dc292d7b19053b0688f029529d5238300a4a4
12018-11-16T20:51:41-08:00MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ffThree Kinds of Drunks in the Modern World, A6Part of a triptych (left). The work refers to three types of drunks: the angry drunk [center] (怒り上戸), the sad drunk [right] (泣き上戸), and the merry drunk [left] (笑い上戸). Set against a background of plum blossoms (ume). Additional notes: Signed Toyokuni ga (豊国画) in toshidama cartouche (on each sheet); Blockcutter's mark: Hori Mino (彫巳の); Censors' seals: Hama, Magome, Ox 1 (浜、馬込、丑正)media/1498b_web.jpgplain2019-03-08T15:48:34-08:001853 [Kaei 6]Title: Three Kinds of Drunks in the Modern World, A, #1498bwomen, alcohol, sake, drunk, three types of drunk, angry, sad, merry, Utagawa Kunisada I, Ebisuya Shōshichi, Koizumi MinokichiPublisher: Ebisuya Shōshichi 恵比寿屋庄七 (Firm: Kinshōdō 錦昇堂) (active c. 1846-1883), Block Cutter: Koizumi Minokichi (Hori Mino 彫巳の) (1833-1906)Polychrome woodblock print; ink and color on paperVertical oban triptychJapanese1786-1864St. Catherine University Archives & Special CollectionsUtagawa Kunisada I (歌川国定) [Also known as Toyokuni III (豊国 三代)]38 cm25 cm20180921130348+0000Title: Tōsei sannin jōdo (当世三人上戸)MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ff
12018-11-16T20:44:33-08:00MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ffThree Kinds of Drunks in the Modern World, B6Part of a triptych (center). The work refers to three types of drunks: the angry drunk [center] (怒り上戸), the sad drunk [right] (泣き上戸), and the merry drunk [left] (笑い上戸). Set against a background of plum blossoms (ume). Additional notes: Signed Toyokuni ga (豊国画) in toshidama cartouche (on each sheet); Blockcutter's mark: Hori Mino (彫巳の); Censors' seals: Hama, Magome, Ox 1 (浜、馬込、丑正)media/1498a_web.jpgplain2019-03-08T15:49:06-08:001853 [Kaei 6]Title: Three Kinds of Drunks in the Modern World, B, #1498awomen, alcohol, sake, drunk, three types of drunk, angry, sad, merry, Utagawa Kunisada I, Ebisuya Shōshichi, Koizumi MinokichiPublisher: Ebisuya Shōshichi 恵比寿屋庄七 (Firm: Kinshōdō 錦昇堂) (active c. 1846-1883), Block Cutter: Koizumi Minokichi (Hori Mino 彫巳の) (1833-1906)Polychrome woodblock print; ink and color on paperVertical oban triptychJapanese1786-1864St. Catherine University Archives & Special CollectionsUtagawa Kunisada I (歌川国定) [Also known as Toyokuni III (豊国 三代)]38 cm25 cm20180921130609+0000Title: Tōsei sannin jōdo (当世三人上戸)MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ff
12018-11-13T02:24:21-08:00MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ffFirst Warbler: Woman of the Manji Era [1658-1661]6Two girls, one with a shamisen, looking outside a circular window at a green bird (a warbler) perched on a plum blossom tree. Next to them is an octagonal lacquer box with gold feet containing what looks like rice and food for the New Year (osechi ryōri). From the print series 36 Beauties Compared that visually explores a famous anthology of waka poetry titled "Thirty-six Master Poets" compiled by Fujiwara-no-Kintō. The series addresses 36 beauties from ancient times to the Era era and showcases the customs, manners, and fashions of each period. Additional notes: Signed: Toshikata (年方); Title also frequently transcribed as Thirty-six Elegant Selections (Sanjūroku kasen). This is No. 22 in the series.media/1259_web.jpgplain2019-03-08T15:31:03-08:001893 [Meiji 26]Title: First Warbler: Woman of the Manji Era [1658-1661], Series: 36 Beauties Compared, #1259women, shamisen, ume, plum blossom, warbler, winter, New Year, lacquer, poetry, Manji, bijin-ga, Mizuno Toshikata, Akiyama BuemonPublisher: Akiyama Buemon (秋山武右衛門) (Firm: Kokkeido 滑稽堂) (1868-1900)Polychrome woodblock print; ink and color on paperVertical obanJapanese1866-1908St. Catherine University Archives & Special CollectionsMizuno Toshikata (水野年方) [Also known as Ōsai (応斉), Shōsetsu (蔗雪), Mizuno Kumejirō (粂次郎)]38 cm25 cm20180928122823+0000Title: Hatsune -- Manji ji koro fujin (初音 万治頃婦人) Series: Sanjūroku kurabe (三十六佳撰)MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ff
12018-11-24T18:41:51-08:00MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ffDepiction of an Official Hearing at Fukiage, A6Part of a triptych (left). Two women (shogunal concubines?) are presenting a case to an official at Fukiage, a manor in the private section of Edo Castle. Additional notes: Signed Yōshū Chikanobu (楊洲周延) with unidentified circular seal on right panel; Publisher's seal: Fukuda Kumajirō (福田熊次郎) in a fish-shaped seal; Blockcutter's seal present, but the last character is unidentified. Appears to read Umezawa (梅澤). This is from the 1897 companion series to Chiyoda Inner Palace (Chiyoda no Ōoku), titled Chiyoda Outer Palace (Chiyoda no on-omote). It consists of 32 scenes depicts life outside the Ōoku and even outside Edo, showing activities which Chikanobu may have participated in when he was part of the shogun's retinue. This set, too, while more authentic because of Chikanobu's personal experiences, is also an artistic representation, and focuses on the elite side of life in the late Edo period.media/3459c_web.jpgplain2019-03-08T15:34:14-08:001897 [Meiji 30]Title: Depiction of an Official Hearing at Fukiage, A, Series: Chiyoda Outer Palace (Chiyoda Central Office), #3459cwomen, men, concubine, samurai, court, Fukiage, Edo Castle, Chiyoda Castle, outer palace, palace, Yōshū Chikanobu, Fukuda KumajirōPublisher: Fukuda Kumajirō (福田熊次郎) (Firm: Gusokuya 具足屋) (active c. 1874-1898), Block Cutter: [Umezawa? (梅澤)]Polychrome woodblock print; ink and color on paperVertical oban triptychJapanese1838-1912St. Catherine University Archives & Special CollectionsYōshū Chikanobu (楊洲周延) [Also known as Toyohara Chikanobu (豊原周延), , Yōshū (楊洲), Hashimoto Chikanobu (橋本周延), Hashimoto Naoyoshi (橋本直義), Yōshū Naoyoshi (楊洲直義)]38 cm25 cm20181019110848+0000Title: Fukiage ni koji jocho no zu (於吹上公事上聴ノ図), Series: Chiyoda no on-omote (千代田之御表)MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ff
12018-12-14T23:10:39-08:00MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ffScattering Gold in the Flourishing Pleasure Quarter: Tamagiku and Kinokuniya Bunzaemon, B6Part of a triptych (middle). Kinokuniya Bunzaemon stands in the center panel scattering gold on the floor of a room in the pleasure quarters on a snowy evening. Kinokuniya was a famous merchant of the Edo period famous for selling citrus, salmon, and lumber. Courtesan Tamagiku watches the scene from the right panel. Many of the women and male and female children tumble over eachother trying to grab the money from the floor, and other women can be seen peering in to the room to see the commotion. Images in the right panel hints at this being at New Years. There is a large kagami mochi (鏡餅) rice cake in the right panel decorated with a lobster, a symbol of longevity. On the left panel, the artist depicts a large fusuma screen featuring chrysanthemum flowers (kiku, 菊). Additional notes: Signed Yôshû Chikanobu hitsu (楊洲周延筆) on left panel; Blockcutter's mark: Tsuge Yoshinobu (柘植よし信) on right panel; Publisher's seal indicates Matsuno Sadashichi (松野定七) on right panel.media/3460b_web.jpgplain2019-03-08T15:41:47-08:001886 [Meiji 19]Title: Scattering Gold in the Flourishing Pleasure Quarter: Tamagiku and Kinokuniya Bunzaemon, B, #3460bwomen, New Years, January, snow, pleasure quarters, courtesan, Tamagiku, Kinokuniya Bunzaemon, money, chrysanthemum, Yoshiwara, playful, Yōshū Chikanobu, Matsuno Sadashichi, Tsuge YoshinobuPublisher: Matsuno Sadashichi (松野定七), Block cutter: Tsuge Yoshinobu (柘植よし信)Polychrome woodblock print; ink and color on paperVertical oban triptychJapanese1838-1912St. Catherine University Archives & Special CollectionsYōshū Chikanobu (楊洲周延) [Also known as Toyohara Chikanobu (豊原周延), Yōshū (楊洲), Hashimoto Chikanobu (橋本周延), Hashimoto Naoyoshi (橋本直義), Yōshū Naoyoshi (楊洲直義)]38 cm25 cm20181019113548+0000Title: Zensei kuruwa no ôgon maki Tamaguki Kinokuniya Bunzaemon (「全盛廓の黄金撒キ」「玉菊」「紀の国屋文左衛門」)MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ff
12018-12-14T22:53:13-08:00MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ffScattering Gold in the Flourishing Pleasure Quarter: Tamagiku and Kinokuniya Bunzaemon, C6Part of a triptych (right). Kinokuniya Bunzaemon stands in the center panel scattering gold on the floor of a room in the pleasure quarters on a snowy evening. Kinokuniya was a famous merchant of the Edo period famous for selling citrus, salmon, and lumber. Courtesan Tamagiku watches the scene from the right panel. Many of the women and male and female children tumble over eachother trying to grab the money from the floor, and other women can be seen peering in to the room to see the commotion. Images in the right panel hints at this being at New Years. There is a large kagami mochi (鏡餅) rice cake in the right panel decorated with a lobster, a symbol of longevity. On the left panel, the artist depicts a large fusuma screen featuring chrysanthemum flowers (kiku, 菊). Additional notes: Signed Yôshû Chikanobu hitsu (楊洲周延筆) on left panel; Blockcutter's mark: Tsuge Yoshinobu (柘植よし信) on right panel; Publisher's seal indicates Matsuno Sadashichi (松野定七) on right panel.media/3460a_web.jpgplain2019-03-08T15:42:22-08:001886 [Meiji 19]Title: Scattering Gold in the Flourishing Pleasure Quarter: Tamagiku and Kinokuniya Bunzaemon, C, #3460awomen, New Years, January, snow, pleasure quarters, courtesan, Tamagiku, Kinokuniya Bunzaemon, money, chrysanthemum, Yoshiwara, playful, Yōshū Chikanobu, Matsuno Sadashichi, Tsuge YoshinobuPublisher: Matsuno Sadashichi (松野定七), Block cutter: Tsuge Yoshinobu (柘植よし信)Polychrome woodblock print; ink and color on paperVertical oban triptychJapanese1838-1912St. Catherine University Archives & Special CollectionsYōshū Chikanobu (楊洲周延) [Also known as Toyohara Chikanobu (豊原周延), Yōshū (楊洲), Hashimoto Chikanobu (橋本周延), Hashimoto Naoyoshi (橋本直義), Yōshū Naoyoshi (楊洲直義)]38 cm25 cm20181019113754+0000Title: Zensei kuruwa no ôgon maki Tamaguki Kinokuniya Bunzaemon (「全盛廓の黄金撒キ」「玉菊」「紀の国屋文左衛門」)MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ff
12018-11-16T22:10:00-08:00MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ffFirst Month: Oibane (Battledore & Shuttlecock), B6Part of a triptych (center). In the left and center panels, we see two women playing a New Years game called Hanetsuki (羽根突き), which is similar to badminton. It is played with a wooden paddle (hagoita, 羽子板) and a brightly colored shuttlecock. It is often played by women during the New Year and involves one person attempting to keep the shuttlecock aloft as long as possible. Players who fail to hit the shuttlecock get marked on the face with ink. The woman in the center chases her friend with a brush dipped in ink. On the right, a woman and a girl giggle as bystanders. In the background, we see a kite (takoage) in the shape of a boy with kabuki make-up being flown. Like the wooden paddle, this is also a symbol of good luck. Additional notes: Signed Miyagawa Shuntei (宮川春汀) with seal on the right panel; Publisher's seal: Daihei (大平) on left panel.media/1499b_web.jpgplain2019-03-08T15:51:22-08:001898 [Meiji 31]Title: First Month: Oibane (Battledore & Shuttlecock), B, Series: 12 Months of Beauties, #1499bwomen, girls, New Year, January, hanetsuki, hagoita, takoage, kite, battledore, shuttlecock, game, Miyagawa Shuntei, Matsuki HeikichiPublisher: Daikokuya Heikichi (大黒屋平吉) also known as Matsuki Heikichi (松木平吉) (Firm: Shōjudō 松寿堂) (active c. 1890)Polychrome woodblock print; ink and color on paperVertical oban triptychJapanese1873-1914St. Catherine University Archives & Special CollectionsMiyagawa Shuntei (宮川春汀) [Also known as Itsujin]38 cm25 cm20180928122353+0000Title: Sono ichi oibane (其一 追羽子), Series: Bijin jū-ni kagetsu (美人十二ヶ月)MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ff
12018-11-16T01:25:07-08:00MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ff12 Months in the Present Day, November6Woman demonstrating tea ceremony (sadō; 茶道) to two younger women in a tea house. The background features a garden with a water feature in autumn. Top left of the print features a vignette view of the garden from the outside and gaslamps lighting the way. Additional notes: Signed Yōsai Nobukazu (楊斎延一) with toshidama seal.media/1449_web.jpgplain2019-03-08T15:33:05-08:001891 [Meiji 24]Title: 12 Months in the Present Day, November, Series: 12 Months in the Present Day, #1449women, tea ceremony, teaching, autumn, gas lamps, momiji, maple leaves, November, Yōsai Nobukazu, Nagamatsu SakugoroPublisher: Nagamatsu Sakugoro (永松作五郎)Polychrome woodblock print; ink and color on paperVertical obanJapanese1874-1944St. Catherine University Archives & Special CollectionsYōsai Nobukazu (楊斎延一) [Also known as Watanabe Nobukazu (渡辺延一), Yōsai (楊斎)]38 cm25 cm20180921131934+0000Title: Jū-ichi gatsu (十一月), Series: Gensei jū-ni ka getsu no uchi (現世十二ヶ月之内)MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ff
12018-11-18T00:16:28-08:00MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ffPicture of the Japanese Imperial Line, A6Part of a triptych (left). Emperor Meiji (昭憲皇后) (1852-1912) and Empress Shōken (昭憲皇后)(1849-1914) are surrounded by the emperors and empresses of the past. Meiji stands out for his western military-style outfit. Additional notes: Signed Yōshū Chikanobu (楊洲周延) in cartouche with toshidama seal; Blockcutter's seal: Hori Sada (彫定). There is also an inscription that gives the artist's name and address as Hashimoto Naoyoshi 橋下直義 living in Ueno.media/3457a_web.jpgplain2019-03-08T15:30:15-08:001879 [Meiji 12]Title: Picture of the Japanese Imperial Line, A, #3457awomen, men, emperor, empress, Meiji, Emperor Meiji, Empress Shōken, ancestors, generations, genealogy, relatives, Yōshū Chikanobu, Fukuda Kumajirō, Hori SadaPublisher: Fukuda Kumajirō 福田熊次郎 (Firm: Gusokuya 具足屋) (active c. 1874-1898), Block Cutter: Hori Sada (彫定)Polychrome woodblock print; ink and color on paperVertical oban triptychJapanese1838-1912St. Catherine University Archives & Special CollectionsYōshū Chikanobu (楊洲周延) [Also known as Toyohara Chikanobu (豊原周延), , Yōshū (楊洲), Hashimoto Chikanobu (橋本周延), Hashimoto Naoyoshi (橋本直義), Yōshū Naoyoshi (楊洲直義)]38 cm25 cm20181019120053+0000Title: Dai nihon kōtō zu (大日本皇統図畧)Christina M. Spiker531dc292d7b19053b0688f029529d5238300a4a4
12019-02-15T19:27:02-08:00MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ffThe Battle of Ichinotani (1184), B6Part of a triptych (center). A print depicting The Battle of Ichinotani (寿永三年一ノ谷合戦) in 1184. This was a Taira defensive position at Suma during the Genpei War (1180–1185), a national civil war between the Taira and Minamoto clans during the late-Heian period of Japan. The Taira suffered a crucial defeat to the forces of Yoshitsune and Noriyori. The death of Taira no Atsumori at the hand of Kumagai no Naozane is a particularly famous passage in Tales of the Heike (Heike Monogatari). Additional notes: Signed Ichimōsai Yoshitora ga (一猛斎芳虎画) in the bottom left. Signature on each sheet. Censors' seals: Mera (米良), Murata (村田) (Mera is upside down on right panel). No blockcutter's mark.media/3453b_web.jpgplain2019-03-08T15:36:36-08:001847–52 [Kôka 4–Kaei 5]Title: The Battle of Ichinotani (1184), B, #3453bmen, warrior, battle, samurai, Ichinotani, Taira, Minamoto, Genpei War, Suma, Utagawa YoshitoraPublisher: N/APolychrome woodblock print; ink and color on paperVertical oban triptychJapanese(active 1836-1887)St. Catherine University Archives & Special CollectionsUtagawa Yoshitora (歌川芳虎). [Also known as Ichimōsai Yoshitora (一猛斎芳虎), Ichimōsai (一猛斎) Kinchōrō Yoshitora (錦朝楼芳虎), Mōsai Yoshitora (孟斎芳虎).]38 cm25 cm20181019111414+0000Title: Juei sannen Ichinotani kassen no zu (寿永三年一ノ谷合戦の図)Christina M. Spiker531dc292d7b19053b0688f029529d5238300a4a4
12018-11-16T15:43:03-08:00MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ffSpring-Colored Garden in Snow, C6Part of a triptych (right). Thirteen women are playing or enjoying music in an interior scene. One woman is playing the koto (琴) (left), one is playing a transverse flute (middle), and one is playing an ichigenkin (一絃琴) or monochord (right). There is a gold-backed floral folding screen (byōbu; 屏風) in the back of the room featuring peony and a pheasant. The windows are open to show a winter garden landscape complete with plum blossoms (ume; 梅). This particular print makes a strong use of akaline red in the carpet and kimono of the women. Additional notes: Signed Chikanobu hitsu 周延筆 with toshidama seal; Blockcutter's mark: Horikô Ginjirô (彫工銀次郎)media/1445c_web.jpgplain2019-03-08T15:47:23-08:001879 [Meiji 12]Title: Spring-Colored Garden in Snow, C, #1445cwomen, music, winter, garden, peony, pheasant, ume, plum blossoms, akaline red, ichigenkin, koto, flute, indoor, Yōshū Chikanobu, Fukuda Kumajirō, Asai GinjirōPublisher: Fukuda Kumajirō 福田熊次郎 (Firm: Gusokuya 具足屋) (active c. 1874-1898), Block Cutter: Asai Ginjirô (Hori Gin 彫銀) (1844–1894)Polychrome woodblock print; ink and color on paperVertical oban triptychJapanese1838-1912St. Catherine University Archives & Special CollectionsYōshū Chikanobu (楊洲周延) [Also known as Toyohara Chikanobu (豊原周延), Yōshū (楊洲), Hashimoto Chikanobu (橋本周延), Hashimoto Naoyoshi (橋本直義), Yōshū Naoyoshi (楊洲直義)]38 cm25 cm20180921132523+0000Title: Shunshokuen no yuki (春色園の雪)MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ff
12018-12-11T03:14:14-08:00MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ff[Chrysanthemum]6Single print featuring kiku (菊) or chrysanthemum in both pink/red and yellow. Additional notes: Signed Tangyu hitsu (丹牛筆) in upper left; Publsiher's seal: Uchida hanmoto (うちだ版元).media/3114b_web.jpgplain2019-03-08T15:22:20-08:001949 [Showa 24]Title: [Chrysanthemum], #3114bflower, chrysanthemum, kiku, floral, shin-hanga, Asada Benji, Tangyu, UchidaPublisher: Uchida (内田)Polychrome woodblock print; ink and color on paperVertical obanJapanese1899-1984St. Catherine University Archives & Special CollectionsAsada Benji (麻田辨自) [Also known as Tangyu (丹牛), Nakanishi Benji (中西辨自)]38 cm25 cm20180928131959+0000Title: [Kiku (菊)]Christina M. Spiker531dc292d7b19053b0688f029529d5238300a4a4
12018-11-18T00:27:02-08:00MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ffPicture of the Japanese Imperial Line, B6Part of a triptych (center). Emperor Meiji (昭憲皇后) (1852-1912) and Empress Shōken (昭憲皇后)(1849-1914) are surrounded by the emperors and empresses of the past. Meiji stands out for his western military-style outfit. Additional notes: Signed Yōshū Chikanobu (楊洲周延) in cartouche with toshidama seal; Blockcutter's seal: Hori Sada (彫定). There is also an inscription that gives the artist's name and address as Hashimoto Naoyoshi 橋下直義 living in Ueno.media/3457b_web.jpgplain2019-03-08T15:30:34-08:001879 [Meiji 12]Title: Picture of the Japanese Imperial Line, B, #3457bwomen, men, emperor, empress, Meiji, Emperor Meiji, Empress Shōken, ancestors, generations, genealogy, relatives, Yōshū Chikanobu, Fukuda Kumajirō, Hori SadaPublisher: Fukuda Kumajirō 福田熊次郎 (Firm: Gusokuya 具足屋) (active c. 1874-1898), Block Cutter: Hori Sada (彫定)Polychrome woodblock print; ink and color on paperVertical oban triptychJapanese1838-1912St. Catherine University Archives & Special CollectionsYōshū Chikanobu (楊洲周延) [Also known as Toyohara Chikanobu (豊原周延), Yōshū (楊洲), Hashimoto Chikanobu (橋本周延), Hashimoto Naoyoshi (橋本直義), Yōshū Naoyoshi (楊洲直義)]38 cm25 cm20181019122904+0000Title: Dai nihon kōtō zu (大日本皇統図畧)Christina M. Spiker531dc292d7b19053b0688f029529d5238300a4a4
12019-02-15T20:26:32-08:00MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ffView of Komaba, A6Part of a triptych (left). A view of a military parade at Komaba (駒場). Today, this is a residential neighborhood in Meguro, Tokyo. Mt. Fuji can be seen in the background. Additional notes: Signed Mōsai Yoshitora ga (孟斎芳虎画) in the bottom right of the right print; Publisher's seal: Dobashi Matsudaya han (土橋政田屋板); Blockcutter's seal: Hori Chō (彫長); Censor's seal: Aratame 1870 Horse 4th Mo (改午四).media/3456a_web.jpgplain2019-03-08T15:39:10-08:001870 [Meiji 3]Title: View of Komaba, A, #3456amen, military, parade, military display, guns, cannons, Mt. Fuji, Utagawa Yoshitora, Dobashi Masadaya, Masadaya Heikichi, Hori ChōPublisher: Masadaya Heikichi (政田屋平吉 ) of Dobashi Masadaya (土橋政田屋), Block Cutter: Hori Chō (彫長)Polychrome woodblock print; ink and color on paperVertical oban triptychJapanese(active 1836-1887)St. Catherine University Archives & Special CollectionsUtagawa Yoshitora (歌川芳虎). [Also known as Ichimōsai Yoshitora (一猛斎芳虎), Ichimōsai (一猛斎) Kinchōrō Yoshitora (錦朝楼芳虎), Mōsai Yoshitora (孟斎芳虎).]38 cm25 cm20181019132344+0000Title: Komaba no fūkei (駒場野之風景)Christina M. Spiker531dc292d7b19053b0688f029529d5238300a4a4
12019-02-15T20:43:29-08:00MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ffView of Komaba, C5Part of a triptych (right). A view of a military parade at Komaba (駒場). Today, this is a residential neighborhood in Meguro, Tokyo. Mt. Fuji can be seen in the background. Additional notes: Signed Mōsai Yoshitora ga (孟斎芳虎画) in the bottom right of the right print; Publisher's seal: Dobashi Matsudaya han (土橋政田屋板); Blockcutter's seal: Hori Chō (彫長); Censor's seal: Aratame 1870 Horse 4th Mo (改午四).media/3456c_web.jpgplain2019-03-08T15:39:31-08:001870 [Meiji 3]Title: View of Komaba, C, #3456cmen, military, parade, military display, guns, cannons, Mt. Fuji, Utagawa Yoshitora, Dobashi Masadaya, Masadaya Heikichi, Hori ChōPublisher: Masadaya Heikichi (政田屋平吉 ) of Dobashi Masadaya (土橋政田屋), Block Cutter: Hori Chō (彫長)Polychrome woodblock print; ink and color on paperVertical oban triptychJapanese(active 1836-1887)St. Catherine University Archives & Special CollectionsUtagawa Yoshitora (歌川芳虎). [Also known as Ichimōsai Yoshitora (一猛斎芳虎), Ichimōsai (一猛斎) Kinchōrō Yoshitora (錦朝楼芳虎), Mōsai Yoshitora (孟斎芳虎).]38 cm25 cm20181019131938+0000Title: Komaba no fūkei (駒場野之風景)Christina M. Spiker531dc292d7b19053b0688f029529d5238300a4a4
12018-11-16T22:01:31-08:00MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ffFirst Month: Oibane (Battledore & Shuttlecock), A5Part of a triptych (left). In the left and center panels, we see two women playing a New Years game called Hanetsuki (羽根突き), which is similar to badminton. It is played with a wooden paddle (hagoita, 羽子板) and a brightly colored shuttlecock. It is often played by women during the New Year and involves one person attempting to keep the shuttlecock aloft as long as possible. Players who fail to hit the shuttlecock get marked on the face with ink. The woman in the center chases her friend with a brush dipped in ink. On the right, a woman and a girl giggle as bystanders. In the background, we see a kite (takoage) in the shape of a boy with kabuki make-up being flown. Like the wooden paddle, this is also a symbol of good luck. Additional notes: Signed Miyagawa Shuntei (宮川春汀) with seal on the right panel; Publisher's seal: Daihei (大平) on left panel.media/1499c_web.jpgplain2019-03-08T15:50:52-08:001898 [Meiji 31]Title, First Month: Oibane (Battledore & Shuttlecock), A, Series: 12 Months of Beauties, #1499cwomen, girls, New Year, January, hanetsuki, hagoita, takoage, kite, battledore, shuttlecock, game, Miyagawa Shuntei, Matsuki HeikichiPublisher: "Daikokuya Heikichi (大黒屋平吉) also known as Matsuki Heikichi (松木平吉) (Firm: Shōjudō 松寿堂) (active c. 1890)Polychrome woodblock print; ink and color on paperVertical oban triptychJapanese1873-1914St. Catherine University Archives & Special CollectionsMiyagawa Shuntei (宮川春汀) [Also known as Itsujin]38 cm25 cm20180928122518+0000Title: Sono ichi oibane (其一 追羽子), Series: Bijin jū-ni kagetsu (美人十二ヶ月)MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ff
12018-11-16T01:51:35-08:00MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ffMoon of Gojo Bridge5The young Minamoto no Yoshitsune (源義経) leaping above the Gojo Bridge, throwing down his fan. According to Scholten Japanese Art, "This composition is a novel take on a classic subject: the fateful meeting of the monk-warrior Musashibo Benkei and Minomoto no Yoshitsune on Gojo Bridge in Kyoto, where the young but nimble Yoshitsune manages to evade the previously undefeated warrior Benkei. Most depictions of this scene contrast the massive brute Benkei with the elegant Yoshitsune (who moments before had been delicately playing a flute) against the dramatic setting of the arching bridge. Here Yoshitoshi focuses only on Yoshitsune who leaps through the air and distracts his opponent by tossing his folding fan which falls in the foreground." Additional notes: Signed Yoshitoshi (芳年) with seal; Blockcutter's mark: Yamamoto (山本); Publisher's seal: Akiyama Buemon (秋山武右衛門).media/1493_web.jpgplain2019-03-08T15:29:09-08:001888 [Meiji 21]Title: Moon of Gojo Bridge, Series: One Hundred Aspects of the Moon, #1493Minamoto no Yoshitsune, Benkei, fan, warrior, Tsukioka Yoshitoshi, Yamamoto, Akiyama BuemonPublisher: Akiyama Buemon (秋山武右衛門) (firm: Kokkeido 滑稽堂) (1868-1900), Block Cutter: Yamamoto (山本)Polychrome woodblock print; ink and color on paperVertical obanJapanese1839-1892St. Catherine University Archives & Special CollectionsTsukioka Yoshitoshi (月岡芳年) [Also known as Gyokuo (玉桜); Gyokuoro (玉桜楼); Kaisai (魁斎); Ikkaisai (一魁斎); Taiso (大蘇); Sokatei (咀華亭); Tsukioka (月岡); Yonejiro (米次郎)]38 cm25 cm20180928131354+0000Title: Gojobashi no tsuki (五条橋の月), Series: Tsuki hyaku sugata (月百姿)Christina M. Spiker531dc292d7b19053b0688f029529d5238300a4a4
12018-11-16T01:43:31-08:00MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ffCourtesan of Okamoto-ya, no. 75A woman is playing marginal songs (hauta 端うた) on the shamisen against indoors against a winter landscape seen through a circular window. These songs, performed by blind and amateur musicians, were popular in Osaka in the mid-18th century. It appears as if she is tuning the shamisen with a book on her lap, while warming sake. Her hair is slightly dissheveled and kimono is worn loose, indicating we are looking at a courtesan. The title tells us that she is of House Okamoto (brothel). Additional notes: Signed Kunichika-ga (国周画); Publisher's seal: Etsuka (越嘉); Blockcutter's mark: Hori Tashichi (彫多七)media/1492_web.jpgplain2019-03-08T15:32:02-08:001862 [Bunkyū 2]Title: Courtesan of Okamoto-ya, no. 7, Series: How to Master "Hauta" [Marginal] Songs, #1492women, music, shamisen, winter, tea house, snow, prostitute, courtesan, Okamoto, brothel, hauta, Toyohara Kunichika, Echizenya Kaju, Etsuka, Hori Tashichi, Ōta KomakichiPublisher: Echizenya Kaju (越前屋嘉十) also known as Etsuka (越嘉) (active c. 1860-1868), Block Cutter: Ōta Komakichi 太田駒吉 (Hori Koma 彫駒, Hori Tashichi 彫多七)Polychrome woodblock print; ink and color on paperVertical obanJapanese1835-1900St. Catherine University Archives & Special CollectionsToyohara Kunichika (豊原国周) [Also known as Arakawa Yasohachi (荒川八十八), Beio (米翁), Hoshunro (豊春楼), Ichiosai (一鶯斎), Kachoro (花(華)蝶楼), Shima Sanjin (志満山人), Sogenshi (曹玄子), Kazunobu (升信)]38 cm25 cm20180921125926+0000Title: Okamoto -- hauta tora no maki -- jū (岡本 葉うた虎之巻 十), Series: Hauta tora no maki (端うた虎之巻)MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ff
12018-11-16T03:27:01-08:00MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ffShinobugaoka Moon, Gyokuensai5Print shows a young samurai warrior, Gyokuensai, startled by the wind blowing blossom petals and a robe or kimono hanging on a rope tied to a tree. Additional notes: Signed Toshikata (年方); Blockcutter's mark: Enkatsusa (圓活刀), Publisher's seal: Akiyama Buemon (秋山武右衛門)media/1496_web.jpgplain2019-03-08T15:32:58-08:001889 [Meiji 22]Title: Shinobugaoka Moon, Gyokuensai, Series: One Hundred Aspects of the Moon, #1496cherry blossom, petals, wind, Gyokuensai, samurai, crescent moon, moon, night, Tsukioka Yoshitoshi, Akiyama Buemon, Noguchi EnkatsuPublisher: Akiyama Buemon (秋山武右衛門) (Firm: Kokkeido 滑稽堂) (1868-1900), Block Cutter: Noguchi Enkatsu (野口圓活) (Enkatsusa (圓活刀))Polychrome woodblock print; ink and color on paperVertical obanJapanese1839-1892St. Catherine University Archives & Special CollectionsTsukioka Yoshitoshi (月岡芳年) [Also known as Gyokuo (玉桜); Gyokuoro (玉桜楼); Kaisai (魁斎); Ikkaisai (一魁斎); Taiso (大蘇); Sokatei (咀華亭); Tsukioka (月岡); Yonejiro (米次郎)]38 cm25 cm20180928124557+0000Title: Shinobugaoka Moon -- Gyokuensai (忍岡月 玉淵斎), Series: Tsuki hyaku sugata (月百姿)Christina M. Spiker531dc292d7b19053b0688f029529d5238300a4a4
12018-12-11T02:22:02-08:00MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ffThe Story of Momotaro (The Peach Boy), A5Part of a triptych (left). Depicting moment when Momotaro returns with treasures after slaying demons on the island of Onigashima. Additional notes: Signed Hishikawa Harunobu e(菱川春宣繪) with seal on right panel; Publisher's seal on left panel.media/1500c_web.jpgplain2019-03-08T15:37:54-08:001890 [Meiji 23]Title: The Story of Momotaro (The Peach Boy), A, #1500cMomotaro, otogibanashi, fairy tale, Onigashima, treasure, pheasant, monkey, treasure, men, hybrid, animal, Hishikawa Harunobu, Yamazaki GyōzaburōPublisher: Yamazaki Gyōzaburō (山崎暁三郎) (active late 19th–early 20th century)Polychrome woodblock print; ink and color on paperVertical oban triptychJapanese(active 1875-1891)St. Catherine University Archives & Special CollectionsHishikawa Harunobu (菱川春宣) [Also known as Hishikawa Shunsen (菱川春宣)]38 cm25 cm20180921131723+0000Title: Togibanashi Momotarō (伽噺桃太郎)Christina M. Spiker531dc292d7b19053b0688f029529d5238300a4a4
12018-12-11T02:57:57-08:00MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ff[Hollyhock]5Single print featuring aoi (葵) or hollyhock (Alcea rosea) in both white/pink and red. Additional notes: Signed with seal in lower left.media/3114a_web.jpgplain2019-03-08T15:27:48-08:00c. 1950 [c. Showa 25]Title: [Hollyhock], #3114aflower, hollyhock, aoi, alcea rosea, floral, shin-hanga, Aoyama Masaharu[Unknown Publisher]Polychrome woodblock print; ink and color on paperVertical obanJapanese1893-1969St. Catherine University Archives & Special CollectionsAoyama Masaharu (青山正治) [Also known as Aoyama Seiji (青山正治)]38 cm25 cm20180928132223+0000Title: [Tachiaoi (立葵)]Christina M. Spiker531dc292d7b19053b0688f029529d5238300a4a4
12018-12-11T01:49:42-08:00MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ffThe Story of Momotaro (The Peach Boy), B5Part of a triptych (center). Depicting moment when Momotaro returns with treasures after slaying demons on the island of Onigashima. Additional notes: Signed Hishikawa Harunobu e(菱川春宣繪) with seal on right panel; Publisher's seal on left panel.media/1500a_web.jpgplain2019-03-08T15:38:04-08:001890 [Meiji 23]Title: The Story of Momotaro (The Peach Boy), B, #1500aMomotaro, otogibanashi, fairy tale, Onigashima, treasure, pheasant, monkey, treasure, men, hybrid, animal, Hishikawa Harunobu, Yamazaki GyōzaburōPublisher: Yamazaki Gyōzaburō (山崎暁三郎) (active late 19th–early 20th century)Polychrome woodblock print; ink and color on paperVertical oban triptychJapanese(active 1875-1891)St. Catherine University Archives & Special CollectionsHishikawa Harunobu (菱川春宣) [Also known as Hishikawa Shunsen (菱川春宣)]38 cm25 cm20180921131611+0000Title: Togibanashi Momotarō (伽噺桃太郎)Christina M. Spiker531dc292d7b19053b0688f029529d5238300a4a4
12018-12-12T02:46:39-08:00MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ffEvening at Shiogama5Shiogama (塩竈市) is a city on the ocean in Miyagi Prefecture Japan. In this print, we see a spring evening marked by cherry blossoms (sakura, 桜). A building is reflected in the water below and people are milling about in the road. Additional notes: Signed Shiro (紫浪) in the bottom left along with a seal. In the left margin (not pictured here) are the title and Unsodo's "Gei" watermark.media/3102_web.jpgplain2019-03-08T17:12:15-08:001954 [Showa 29]Title: Evening at Shiogama, #3102Shiogama, night, evening, sakura, cherry blossoms, reflection, water, life, Kasamatsu Shiro, UnsodoPublisher: Unsodo (芸艸堂)Polychrome woodblock print; ink and color on paperVertical obanJapanese1898-1991St. Catherine University Archives & Special CollectionsKasamatsu Shiro (笠松紫浪)38 cm25 cm20181005135455+0000Title: Shiogama no yūgure (塩竈の夕暮)MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ff
12018-12-14T22:06:44-08:00MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ff[Kabuki Theater Performance], A5Part of a triptych (left). Missing middle panel. Depicting a kabuki performance at the Chiyoda Inner Palace. The scene is set in late winter/early spring due to the plum blossoms (ume, 梅). Several male figures in kabuki makeup carry a bronze bell on the right panel while on the left panel the spectators appear in the distance. Additional notes: Signed Yōshū Chikanobu (楊洲周延) on right panel; Publisher's seal: Fukuda Kumajirō (福田熊次郎) in a fish-shaped seal; Blockcutter's seal present, but unidentified.media/3455_web.jpgplain2019-03-08T15:28:01-08:001895 [Meiji 28]Title: [Kabuki Theater Performance], A, Series: The Customs of the Inner Palace of the Chiyoda Castle, #3455kabuki, performance, architecture, ume, plum blossoms, bronze bell, men, Yōshū Chikanobu, Fukuda KumajirōPublisher: Fukuda Kumajirō 福田熊次郎 (Firm: Gusokuya 具足屋) (active c. 1874-1898)Polychrome woodblock print; ink and color on paperVertical oban triptychJapanese1838-1912St. Catherine University Archives & Special CollectionsYōshū Chikanobu (楊洲周延) [Also known as Toyohara Chikanobu (豊原周延), , Yōshū (楊洲), Hashimoto Chikanobu (橋本周延), Hashimoto Naoyoshi (橋本直義), Yōshū Naoyoshi (楊洲直義)]38 cm25 cm20181019124048+0000Series: Chiyoda no Ôoku (千代田之大奥)Christina M. Spiker531dc292d7b19053b0688f029529d5238300a4a4
12018-12-11T01:56:58-08:00MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ffThe Story of Momotaro (The Peach Boy), C5Part of a triptych (right). Depicting moment when Momotaro returns with treasures after slaying demons on the island of Onigashima. Additional notes: Signed Hishikawa Harunobu e(菱川春宣繪) with seal on right panel; Publisher's seal on left panel.media/1500b_web.jpgplain2019-03-08T15:38:37-08:001890 [Meiji 23]Title: The Story of Momotaro (The Peach Boy), C, #1500bMomotaro, otogibanashi, fairy tale, Onigashima, treasure, pheasant, monkey, treasure, men, hybrid, animal, Hishikawa Harunobu, Yamazaki GyōzaburōPublisher: Yamazaki Gyōzaburō (山崎暁三郎) (active late 19th–early 20th century)Polychrome woodblock print; ink and color on paperVertical oban triptychJapanese(active 1875-1891)St. Catherine University Archives & Special CollectionsHishikawa Harunobu (菱川春宣) [Also known as Hishikawa Shunsen (菱川春宣)]38 cm25 cm20180921131442+0000Title: Togibanashi Momotarō (伽噺桃太郎)Christina M. Spiker531dc292d7b19053b0688f029529d5238300a4a4
12019-02-15T19:42:00-08:00MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ffThe Battle of Ichinotani (1184), C5Part of a triptych (right). A print depicting The Battle of Ichinotani (寿永三年一ノ谷合戦) in 1184. This was a Taira defensive position at Suma during the Genpei War (1180–1185), a national civil war between the Taira and Minamoto clans during the late-Heian period of Japan. The Taira suffered a crucial defeat to the forces of Yoshitsune and Noriyori. The death of Taira no Atsumori at the hand of Kumagai no Naozane is a particularly famous passage in Tales of the Heike (Heike Monogatari). Additional notes: Signed Ichimōsai Yoshitora ga (一猛斎芳虎画) in the bottom left. Signature on each sheet. Censors' seals: Mera (米良), Murata (村田) (Mera is upside down on right panel). No block cutter's mark.media/3453c_web.jpgplain2019-03-08T15:36:48-08:001847–52 [Kôka 4–Kaei 5]Title: The Battle of Ichinotani (1184), C, #3453cmen, warrior, battle, samurai, Ichinotani, Taira, Minamoto, Genpei War, Suma, Utagawa YoshitoraPublisher: N/APolychrome woodblock print; ink and color on paperVertical oban triptychJapaneseSt. Catherine University Archives & Special CollectionsUtagawa Yoshitora (歌川芳虎). [Also known as Ichimōsai Yoshitora (一猛斎芳虎), Ichimōsai (一猛斎) Kinchōrō Yoshitora (錦朝楼芳虎), Mōsai Yoshitora (孟斎芳虎).]38 cm25 cm20181019111215+0000Title: Juei sannen Ichinotani kassen no zu (寿永三年一ノ谷合戦の図)Christina M. Spiker531dc292d7b19053b0688f029529d5238300a4a4
12018-11-18T00:31:50-08:00MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ffPicture of the Japanese Imperial Line, C4Part of a triptych (right). Emperor Meiji (昭憲皇后) (1852-1912) and Empress Shōken (昭憲皇后)(1849-1914) are surrounded by the emperors and empresses of the past. Meiji stands out for his western military-style outfit. Additional notes: Signed Yōshū Chikanobu (楊洲周延) in cartouche with toshidama seal; Blockcutter's seal: Hori Sada (彫定). There is also an inscription that gives the artist's name and address as Hashimoto Naoyoshi 橋下直義 living in Ueno.media/3457c_web.jpgplain2019-03-08T15:30:52-08:001879 [Meiji 12]Title: Picture of the Japanese Imperial Line, C, #3457cwomen, men, emperor, empress, Meiji, Emperor Meiji, Empress Shōken, ancestors, generations, genealogy, relatives, Yōshū Chikanobu, Fukuda Kumajirō, Hori SadaPublisher: Fukuda Kumajirō 福田熊次郎 (Firm: Gusokuya 具足屋) (active c. 1874-1898), Block Cutter: Hori Sada (彫定)Polychrome woodblock print; ink and color on paperVertical oban triptychJapanese1838-1912St. Catherine University Archives & Special CollectionsYōshū Chikanobu (楊洲周延) [Also known as Toyohara Chikanobu (豊原周延), Yōshū (楊洲), Hashimoto Chikanobu (橋本周延), Hashimoto Naoyoshi (橋本直義), Yōshū Naoyoshi (楊洲直義)]38 cm25 cm20181019123027+0000Title: Dai nihon kōtō zu (大日本皇統図畧)Christina M. Spiker531dc292d7b19053b0688f029529d5238300a4a4
12018-12-14T21:44:30-08:00MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ffPoem by Sasaki Bunzan. "No urinating here, being a beautiful mountain of cherry blossoms."4Print illustrates a poem by Sasaki Bunzan. The 18th century calligrapher and artist Sasaki Bunzan leans back as he writes his poem on a screen: "No urinating here, beeing a beautiful mountain of cherry blossoms." Two men peer out at the calligrapher from behind the screen, and you can see the fingers of a third grasping on to the top of the screen. The print is a good example of Ogata Gekko's unconventional approach to printmaking. Additional notes: Signed Gekkō (月耕) with square seal in bottom left. Title and series title in top right. Although publisher information is not indicated here, most prints in this series were by Sasaki Toyokichi (佐々木豊吉) (Firm: Sasaki-ya 佐々木屋) (c. 1885-1898).media/3454_web.jpgplain2019-03-08T15:31:03-08:00c.1897-1898 [c. Meiji 30-31]Title: Poem by Sasaki Bunzan. "No urinating here, being a beautiful mountain of cherry blossoms.", Series: Pictures of Flowers of Japan, #3454poem, Sasaki Bunzan, humor, comedy, cherry blossoms, sakura, calligraphy, urination, Ogata Gekkō, Sasaki ToyokichiPublisher: Sasaki Toyokichi (佐々木豊吉) (Firm: Sasaki-ya 佐々木屋) (c. 1885-1898)Polychrome woodblock print; ink and color on paperVertical obanJapanese1859-1920St. Catherine University Archives & Special CollectionsOgata Gekkō (尾形月耕) [Also known as Nakagami Masanosuke (名鏡正之助), Tai Masanosuke (田井正之助), Tanaka Masanosuke (田中正之助), Kagyōsai (華暁斎); Meikyōsai (名鏡斎); Nen'yū (年邑); Rōsai (斎楼)]38 cm25 cm20181019111053+0000Title: Doko shōben muyō hana no yama Sasaki Bunzan (此所小便無用花乃山 佐ゝ木文山), Series: Nihon no hana zue (日本の花図絵)Christina M. Spiker531dc292d7b19053b0688f029529d5238300a4a4
12018-11-16T21:22:16-08:00MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ffThree Kinds of Drunks in the Modern World, C4Part of a triptych (right). The work refers to three types of drunks: the angry drunk [center] (怒り上戸), the sad drunk [right] (泣き上戸), and the merry drunk [left] (笑い上戸). Set against a background of plum blossoms (ume). Additional notes: Signed Toyokuni ga (豊国画) in toshidama cartouche (on each sheet); Blockcutter's mark: Hori Mino (彫巳の); Censors' seals: Hama, Magome, Ox 1 (浜、馬込、丑正)media/1498c_web.jpgplain2019-03-08T15:49:36-08:001853 [Kaei 6]Title: Three Kinds of Drunks in the Modern World, C, #1498cwomen, alcohol, sake, drunk, three types of drunk, angry, sad, merry, Utagawa Kunisada I, Ebisuya Shōshichi, Koizumi MinokichiPublisher: Ebisuya Shōshichi 恵比寿屋庄七 (Firm: Kinshōdō 錦昇堂) (active c. 1846-1883), Block Cutter: Koizumi Minokichi (Hori Mino 彫巳の) (1833-1906)Polychrome woodblock print; ink and color on paperVertical oban triptychJapanese1786-1864St. Catherine University Archives & Special CollectionsUtagawa Kunisada I (歌川国定) [Also known as Toyokuni III (豊国 三代)]38 cm25 cm20180921130746+0000Title: Tōsei sannin jōdo (当世三人上戸)MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ff
12018-12-12T03:12:47-08:00MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ffA Picture of the Venue of the Second National Industrial Exhibition in Ueno Park, Tokyo4Part of a triptych (left). Fountain produced by the First Japanese Manufacturing and Trading Company. It stands at a height of 1 jō and 5 shaku according to the label on the print. It is on the grounds of the Second National Industrial Exhibition circa 1885. Additional notes: Signed Hiroshige (広重) in the bottom left alongside publisher's seal. Title is on missing center panel.media/3108_web.jpgplain2019-03-08T15:23:39-08:00c.1885 [Meiji 18]Title: A Picture of the Venue of the Second National Industrial Exhibition in Ueno Park, Tokyo, #3108industrial exhibition, exposition, world's fair, industry, manufacturing, fountain, crane, nationalist, Utagawa Hiroshige III[Unknown Publisher]Polychrome woodblock print; ink and color on paperVertical obanJapanese1842-1894St. Catherine University Archives & Special CollectionsUtagawa Hiroshige III (歌川広重 三代) [Also known as Gotō Torakichi (後藤 寅吉), Tokubei(徳兵衛), Torakichi (寅吉), Isshōsai (一笑斎), Shigemasa (重政), Shigetora (重寅), Ichiryūsai (一立斎), Ryūsai (立斎)]38 cm25 cm20181005132951+0000Title: Tōkyō Ueno kōen-chi dai ni naikoku kangyō hakurankai kaijō no zu (東京上野公園地第二内国勧業博覧会 会場の図)Christina M. Spiker531dc292d7b19053b0688f029529d5238300a4a4
12018-11-14T19:33:18-08:00MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ffThe Moon's Invention -- Hozo Temple4The head priest of the Hozoin Temple, Kakuzenbo Hoin In-ei (1521-1607), grasps a spear whilst looking at the reflection of a cresent moon in the water. The artist is "suggesting that this priest was inspired to invent the formidable crescent spear by the sight of the moon bisecting his reflected staff" (Lavenberg Collection of Japanese Prints). Additional notes: Signed Yoshitoshi (芳年); Artist's Seal: Kai (魁); Blockcutter's mark: Yoshihisa (義久刀). Publisher's information and seal has been trimmed from this print.media/1446_web.jpgplain2019-03-08T15:37:43-08:001891 [Meiji 24]Title: The Moon's Invention -- Hozo Temple, Series: One Hundred Aspects of the Moon, #1446Hozo Temple, Hozoin, Kakuzenbo Hoin In-ei, Buddhism, moon, crescent moon, night, crescent spear, Tsukioka Yoshitoshi, Akiyama Buemon, YoshihisaPublisher: Akiyama Buemon (秋山武右衛門) (Firm: Kokkeido 滑稽堂) (1868-1900), Block Cutter: Yoshihisa (義久刀)Polychrome woodblock print; ink and color on paperVertical obanJapanese1839-1892St. Catherine University Archives & Special CollectionsTsukioka Yoshitoshi (月岡芳年) [Also known as Gyokuo (玉桜); Gyokuoro (玉桜楼); Kaisai (魁斎); Ikkaisai (一魁斎); Taiso (大蘇); Sokatei (咀華亭); Tsukioka (月岡); Yonejiro (米次郎)]38 cm25 cm20180928125019+0000Title: Tsuki no hatsumei - Hozoin (つきの発明 宝蔵院), Series: Tsuki hyaku sugata (月百姿)Christina M. Spiker531dc292d7b19053b0688f029529d5238300a4a4
12018-11-14T19:46:43-08:00MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ffGenji at Sugatami Bridge, 12th month4Part of a triptych (right). A snow scene featuring Prince Genji and attendants on Sugatami Bridge from a set of twelve months. Right panel shows a woman crossing the bridge with a snow-covered umbrella. Our collection is missing the left and center panels of this triptych. Additional notes: Publisher’s seal: Yamajin (山甚); This version is missing the black gofun (paint splatter) on the surface of the print as seen in other editions. Our collection is missing the left and center panels of this triptych.media/1447_web.jpgplain2019-03-08T15:27:37-08:001867 [Keiō 3]Title: Genji at Sugatami Bridge, 12th month, Series: 12 Months of Genji, #1447Genji, Genji monogatari, Tale of Genji, Sugatami Bridge, snow, crossing, umbrella, kasa, women, Utagawa Kunisada II, Yamashiroya JinbeiPublisher: Yamashiroya Jinbei (山城屋甚兵衛) (Firm: Sansendō 山泉堂) (Active. c. 1842-1873)Polychrome woodblock print; ink and color on paperVertical oban triptychJapanese1823-1880St. Catherine University Archives & Special CollectionsUtagawa Kunisada II (歌川国定 二代) [Also known as Kunimasa III (国政 三代), Toyokuni IV (豊国 四代), Baidō (梅堂), Hōraisha (宝来舎), Ichijusai (一寿斎), Ichiyōsai (一陽斎), Baichōrō (梅蝶楼), Kōchōrō (香蝶楼)]38 cm25 cm20180921125446+0000Title: Jū-ni kagetsu Genji no Sugatami (十二ヶ月源氏の姿見), Series: Jū-ni kagetsu Genji (十二ヶ月源氏)Christina M. Spiker531dc292d7b19053b0688f029529d5238300a4a4
12018-11-16T22:18:32-08:00MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ffFirst Month: Oibane (Battledore & Shuttlecock), C4Part of a triptych (right). In the left and center panels, we see two women playing a New Years game called Hanetsuki (羽根突き), which is similar to badminton. It is played with a wooden paddle (hagoita, 羽子板) and a brightly colored shuttlecock. It is often played by women during the New Year and involves one person attempting to keep the shuttlecock aloft as long as possible. Players who fail to hit the shuttlecock get marked on the face with ink. The woman in the center chases her friend with a brush dipped in ink. On the right, a woman and a girl giggle as bystanders. In the background, we see a kite (takoage) in the shape of a boy with kabuki make-up being flown. Like the wooden paddle, this is also a symbol of good luck. Additional notes: Signed Miyagawa Shuntei (宮川春汀) with seal on the right panel; Publisher's seal: Daihei (大平) on left panel.media/1499a_web.jpgplain2019-03-08T15:51:56-08:001898 [Meiji 31]Title: First Month: Oibane (Battledore & Shuttlecock), C, Series: 12 Months of Beauties, #1499awomen, girls, New Year, January, hanetsuki, hagoita, takoage, kite, battledore, shuttlecock, game, Miyagawa Shuntei, Matsuki HeikichiPublisher: Daikokuya Heikichi (大黒屋平吉) also known as Matsuki Heikichi (松木平吉) (Firm: Shōjudō 松寿堂) (active c. 1890)Polychrome woodblock print; ink and color on paperVertical oban triptychJapanese1873-1914St. Catherine University Archives & Special CollectionsMiyagawa Shuntei (宮川春汀) [Also known as Itsujin]38 cm25 cm20180928122021+0000Title: Sono ichi oibane (其一 追羽子), Series: Bijin jū-ni kagetsu (美人十二ヶ月)MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ff
12018-12-12T03:26:21-08:00MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ff[Kabuki Theater Performance], C4Part of a triptych (right). Missing middle panel. Depicting a kabuki performance at the Chiyoda Inner Palace. The scene is set in late winter/early spring due to the plum blossoms (ume, 梅). Several male figures in kabuki makeup carry a bronze bell on the right panel while on the left panel the spectators appear in the distance. Additional notes: Signed Yōshū Chikanobu (楊洲周延) on right panel; Publisher's seal: Fukuda Kumajirō (福田熊次郎) in a fish-shaped seal; Blockcutter's seal present, but unidentified.media/3452_web.jpgplain2019-03-08T15:28:16-08:001895 [Meiji 28]Title: [Kabuki Theater Performance], C, Series: The Customs of the Inner Palace of the Chiyoda Castle, #3452kabuki, performance, architecture, ume, plum blossoms, bronze bell, men, Yōshū Chikanobu, Fukuda KumajirōPublisher: Fukuda Kumajirō 福田熊次郎 (Firm: Gusokuya 具足屋) (active c. 1874-1898)Polychrome woodblock print; ink and color on paperVertical oban triptychJapanese1838-1912St. Catherine University Archives & Special CollectionsYōshū Chikanobu (楊洲周延) [Also known as Toyohara Chikanobu (豊原周延), , Yōshū (楊洲), Hashimoto Chikanobu (橋本周延), Hashimoto Naoyoshi (橋本直義), Yōshū Naoyoshi (楊洲直義)]38 cm25 cm20181019111751+0000Series: Chiyoda no Ôoku (千代田之大奥)Christina M. Spiker531dc292d7b19053b0688f029529d5238300a4a4
12018-11-16T01:13:59-08:00MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ffMorning Glory, no. 203A women stands on the veranda (engawa; 縁側) of a building with a circular window facing a garden. Morning glory (asagao 朝顔), the flower found in the title of this work, can be seen in the bottom left. The purple and red and light blue of the flowers match the colors found in her robe. The print is likely set in midsummer as morning glories are particularly associated with the heat and humidity of that season. Additional notes: Signed Toyohara Kunichika hitsu (豊原国周筆); Blockcutter's mark: Hori Gin (彫銀)media/1448_web.jpgplain2019-03-08T15:29:21-08:001884 [Meiji 17]Title: Morning Glory, no. 20, Series: The Fifty-four Chapters [of the Tale of Genji] in Modern Times, #1448women, garden, asagao, morning glory, flower, stone lantern, morning, barefoot, midsummer, summer, bijin-ga, Toyohara Kunichika, Takekawa Seikichi, Asai GinjirōPublisher: Takekawa Seikichi (竹川清吉) also known as Sawamuraya Seikichi (沢村屋清吉) (active c. late 19th century), Block Cutter: Asai Ginjirō (Hori Gin; 彫銀) (1844–1894)Polychrome woodblock print; ink and color on paperVertical obanJapanese1835-1900St. Catherine University Archives & Special CollectionsToyohara Kunichika (豊原国周) [Also known as Arakawa Yasohachi (荒川八十八), Beio (米翁), Hoshunro (豊春楼), Ichiosai (一鶯斎), Kachoro (花(華)蝶楼), Shima Sanjin (志満山人), Sogenshi (曹玄子), Kazunobu (升信)]38 cm25 cm20180921131108+0000Title: Dai jū-ni gō asagao (第二十号 朝顔), Series: Genji gojūyo jō (現時五十四情)Christina M. Spiker531dc292d7b19053b0688f029529d5238300a4a4
12018-11-16T03:39:39-08:00MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ffMount Otowa Moon3This design is taken from a Noh-play called Tamura. According to the Lavenberg Print Collection, three itinerant monks visit the Kiyomizu Temple on a moonlit night in Spring. A youth appears and begins to sweep away fallen cherry blossoms with a broom. The monks ask him about the history of the temple, he answers, and then briefly disappears. A local commoner comes on the stage and tells them that the youth must have been the ghost of Sakanoe no Tamuramaro, who was a famous general of the later Nara period (710-794). Additional notes: Signed Yoshitoshi (芳年); Artist's Seal: Taiso (大蘇); Blockcutter's mark: Yamamoto (山本). Publisher information appears to be trimmed.media/1497_web.jpgplain2019-03-08T15:29:32-08:001886 [Meiji 19]Title: Mount Otowa Moon, Series: One Hundred Aspects of the Moon, #1497Noh, moon, Kiyomizudera, Kiyomizu Temple, Tamura, Buddhism, monk, broom, cherry blossom, Kyoto, Tsukioka Yoshitoshi, Akiyama Buemon, YamamotoPublisher: Akiyama Buemon (秋山武右衛門) (firm: Kokkeido 滑稽堂) (1868-1900), Block Cutter: Yamamoto (山本)Polychrome woodblock print; ink and color on paperVertical obanJapanese1839-1892St. Catherine University Archives & Special CollectionsTsukioka Yoshitoshi (月岡芳年) [Also known as Gyokuo (玉桜); Gyokuoro (玉桜楼); Kaisai (魁斎); Ikkaisai (一魁斎); Taiso (大蘇); Sokatei (咀華亭); Tsukioka (月岡); Yonejiro (米次郎)]38 cm25 cm20180928125402+0000Title: Otowayama tsuki -- Tamura myōjin (音羽山月 田村明神), Series: Tsuki hyaku sugata (月百姿)Christina M. Spiker531dc292d7b19053b0688f029529d5238300a4a4
12018-11-16T02:50:12-08:00MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ffBon Festival Moon3Three women and two men dance under the moon to celebrate the Bon (盆) festival, a summertime festival still celebrated today. During this festival season, the ancestors return to the living world. According to John Stevenson, this print is drawn in the Shijō style, a simplified style of painting developed by 18th century artist Matsumura Goshun. Additional notes: Signed Yoshitoshi (芳年); Artist's Seal: Taiso (大蘇); Blockcutter's mark: Enkatsu (雕エ圓活); Publisher's seal: Akiyama Buemon (秋山武右衛門).media/1494_web.jpgplain2019-03-08T15:20:38-08:001887 [Meiji 20]Title: Bon Festival Moon, Series: One Hundred Aspects of the Moon, #1494Bon, festival, night, women, men, dancing, matsuri, Obon, bon odori, laughter, Tsukioka Yoshitoshi, Akiyama Buemon, Noguchi EnkatsuPublisher: Akiyama Buemon (秋山武右衛門) (Firm: Kokkeido 滑稽堂) (1868-1900), Block Cutter: Noguchi Enkatsu (野口圓活) (Chōkō Enkatsu (雕エ圓活)Polychrome woodblock (nishiki-e)Vertical obanJapanese1839-1892St. Catherine University Archives & Special CollectionsAkiyama Buemon (秋山武右衛門) (Firm: Kokkeido 滑稽堂) (1868-1900), Block Cutter: Noguchi Enkatsu (野口圓活) (Chōkō Enkatsu (雕エ圓活)38 cm25 cm20180928125623+0000Title: Bon no tsuki (盆の月), Series: Tsuki hyaku sugata (月百姿)Christina M. Spiker531dc292d7b19053b0688f029529d5238300a4a4
12018-11-16T03:15:18-08:00MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ffShirabyōshi Dancer: Woman of the Kenkyū Era [1190-99]3Shirabyōshi were female entertainers of the Japanese Imperial Court who known for performing traditional dances. They dressed in men's attire and often performed these dances for the gods. Their attire would consist of a tate-eboshi hat (worn by samurai), a tachi (samurai's sword), red hakama, a white and red suikan (male Shinto outfit), and a kawahori hand fan. They also traditionally wore white facial make-up that completely covered the face and neck, with painted eyebrows. Hair was worn long or pulled back in a long ponytail secured with a robbon (takenaga). Here, you can see the entertainer seated on the floor. In this print, she wears the red hakama and the white suikan, which is pulled down to expose the garment underneath. She holds a drum in reference to her musical talent. Her hair is down and her painted eyebrows and face are clearly apparent. In the corner of the room are arrows, bows, and a set of armor. The top left of the print has a blue and white striped curtain and the scene looks to the outdoors, featuring a pine and water. Additional notes: Signed Toshikata (年方); Title also frequently transcribed as Thirty-six Elegant Selections (Sanjūroku kasen).media/1495_web.jpgplain2019-03-08T15:33:08-08:001893 [Meiji 26]Title: Shirabyōshi Dancer: Woman of the Kenkyū Era [1190-99], Series:36 Beauties Compared, #1495women, dancer, entertainer, performer, shirabyōshi, pine, Shinto, weapons, bijin-ga, pine, Kenkyū, Mizuno Toshikata, Akiyama BuemonPublisher: Akiyama Buemon (秋山武右衛門) (Firm: Kokkeido 滑稽堂) (1868-1900)Polychrome woodblock print; ink and color on paperVertical obanJapanese1866-1908St. Catherine University Archives & Special CollectionsMizuno Toshikata (水野年方) [Also known as Ōsai (応斉), Shōsetsu (蔗雪), Mizuno Kumejirō (粂次郎)]38 cm25 cm20180928124203+0000Title: Shirabyōshi -- Kenkyū koro fujin (白拍子 建久頃婦人), Series: Sanjūroku kurabe (三十六佳撰)Christina M. Spiker531dc292d7b19053b0688f029529d5238300a4a4
12018-12-12T03:04:07-08:00MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ffFlying fish2A composition of three flying fish (tobiuo, トビウオ) against swirling wave patterns. Additional notes: Signed Bakufu (麦風) in top right with seal.media/3104_web.jpgplain2019-03-02T02:02:53-08:00c. 1935–1938 [c. Showa 10-13]Title: Flying fish, Series: Familiar Fishes of Nippon, #3104fish, flying fish, tobiuo, water, ocean, nature, Ohno Bakufu, Nishinomiya Shoin, Kyoto Hanga-inPublisher: First edition Nishinomiya Shoin (西宮書院) or later editions Kyoto Hanga-in (京都版画院)Polychrome woodblock print (nishiki-e) with MicaVertical ObanJapanese1888-1976St. Catherine University Archives & Special CollectionsŌno Bakufu (大野麦風)38 cm25 cm20181005133200+0000Title: Tobiuo (トビウオ), Series: Dai Nihon gyorui gashu (大日本魚類画集)MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ff
12018-12-12T02:59:28-08:00MaryJane Eischen040a3a6e41fd9906ebf9ac0f3949654252ab83ffSnow at Nikko's Yomeimon (Sun Gate)2This scene shows the Sun Gate (Yomeimon, 陽明門) at Nikko (日光) in the snow. Toshogu Shrine (Tōshōgū, 東照宮) is the final resting place of Tokugawa Ieyasu, the founder of the Tokugawa Shogunate that ruled Japan for over 250 years until 1868. Ieyasu is enshrined at Toshogu as the deity Tosho Daigongen, "Great Deity of the East Shining Light". Additional notes: Signed Shiro (紫浪) in the bottom right along with a seal. In the left margin (not pictured) are title and Unsodo's "Gei" watermark.media/3103_web.jpgplain2019-03-08T15:33:17-08:001952 [Showa 27]Title: Snow at Nikko's Yomeimon (Sun Gate), #3103Nikko, Toshogu, Sun Gate, Yomeimon, Shinto, snow, winter, religious, Kasamatsu Shiro, UnsodoPublisher: Unsodo (芸艸堂)Polychrome woodblock print; ink and color on paperVertical obanJapanese1898-1991St. Catherine University Archives & Special CollectionsKasamatsu Shiro (笠松紫浪)38 cm20181005135811+0000Title: Nikko Yomeimon no yuki (日光陽明門の雪)Christina M. Spiker531dc292d7b19053b0688f029529d5238300a4a4