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The Complete Woodblock Prints of

A Descriptive Catalogue

Gina ColliaSuzuki

Published by Nezu Press
PO Box 587
BS23 9GN
United Kingdom

First published 2009

© Gina ColliaSuzuki 2009

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.

ISBN13: 9780955979637

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

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.


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
1. Woman reading a letter, from Ten Physiognomic easily and quickly. The present work is
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.

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 Utashi 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

Notes to the Catalogue

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

AMS Rijksmuseum, Amsterdam
BAUR Collections Baur, Genève
Berès Huguette Berès Collection
Bickford Lawrence Bickford Collection
BM British Museum, London
BMAG Birmingham Museums and Art Gallery
BN Bibliothèque Nationale, Paris
BOS Museum of Fine Arts, Boston
BRI Bristol City Museum and Art Gallery
BRU Musées Royaux d’Art et d’Histoire, Bruxelles
CHI The Art Institute of Chicago
CHIBA Chiba City Museum of Art
CLV The Cleveland Museum of Art
CMA Chazen Museum of Art, Madison
FAM The Fine Arts Museum of San Francisco
FITZ The Fitzwilliam Museum, Cambridge
GEN Museo d’Arte Orientale Edoardo Chiossone, Genova
Grabhorn The Grabhorn Collection
GUI Musée National des Arts Asiatiques Guimet, Paris
HNL Honolulu Academy of Arts
HU Harvard University Art Museums, Cambridge, Mass.
JUM Japan Ukiyoe Museum
KANS Spencer Museum of Art, University of Kansas
LEI National Museum of Ethnology, Leiden
MAK Österreichisches Museum für angewandte Kunst / Gegenwartskunst
MIN The Minneapolis Institute of Arts
MM The Metropolitan Museum of Art, New York
Monet Claude Monet Collection, Giverny
NY New York Public Library
OTA The ta Memorial Museum of Art, Tokyo
PHIL Philadelphia Museum of Art
Popper Hans Popper Collection
POR The Portland Art Museum
Riese Otto Riese Collection, Museum für Ostasiatische Kunst Köln
Schindler Werner Schindler Collection
SO Musée de l’hôtel Sandelin, SaintOmer

The Complete Woodblock Prints of Kitagawa Utamaro: A Descriptive Catalogu

Stoclet Adolphe Stoclet Collection
T&S Tobacco and Salt Museum, Tokyo
TIK Tikotin Museum of Japanese Art, Haifa
TNM  Tokyo National Museum
V&A Victoria and Albert Museum, London
Vever Henri Vever Collection
YALE The Yale University Art Gallery

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

AMS RappardBoon, C. van, The Age of Utamaro, Japanese Prints Date: c. 17801800.
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,
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 Ukiyoe 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 17531806 in th
Coection of the New York Public Library. New York, 1950.
Pins Pins, Jacob, The Japanese Piar Print: Format: hashira. London, 1982.

Notes to the Catalogu

Popper The Hans Popper Coection of Japanese Prints. Sotheby Parke Bernet Inc., New
York, 1972.
Riese Hempel, Rose, Meisterwerke des Japanischen Farbholzschnitts die Sammlung Otto
Ries . München, 1997.
S Shibui, Kiyoshi, Ukiyoe zute , vol. 13: Utamaro. Tokyo, Kazama Shob, 1964.
Schindler Fine and Important Japanese Prints om the Coection of the Late Werner Schindler.
Christie’s, New York, 1987.
Stoclet Important Japanese Prints, iustrated Books & Paintings om the Adolphe Stocle
Coectio . Sotheby’s, London, 8 June, 2008.
Surimono Polster, Edythe and Alfred H. Marks, Surimono: Prints by Elbow. Washington
DC, 1980.
T&S 100 Woodblock Prints of Edo Culture: From the Ukiyoe Coection of the Tobacco and
Salt Museu
. Ann Arbor, 2008.
TNM Tky kokuritsu Hakubutsukan zuhan mokuroku, ukiyoe hanga te Iustrated
Catalogues of Tokyo National Museum: Ukiyoe Prints, vol. 2. Tokyo National
Museum, Tokyo, 1974.
UA Ukiyoe Ar , no.6. The Japan Ukiyoe Society, Tokyo, 1964.
US Kitagawa Utamaro sakuhin mokuroku List of Utamaro’s Complete Works, Ukiyo
shka, vol. 3: Bosuton Bijutsukan III. Tokyo, 1978, pp. 235254.
UT5 Kikuchi, Sadao, Ukiyoe taikei. vol. 5, Tokyo, 1976.
UT6 Kikuchi, Sadao, Ukiyoe taikei. vol. 6, Tokyo, 1976.
Vever I Highly Important Japanese Prints, Iustrated Books and Drawings om the Henri
Vever Coection: Part I. Sotheby & Co., London, 1974.
Vever II Highly Important Japanese Prints, Iustrated Books, Drawings and Fan Paintings o

the Henri Vever Coection: Part II. Sotheby & Co., London, 1975.
Vever III Highly Important Japanese Prints, Iustrated Books, Drawings and Paintings om th
Henri Vever Coection: Part. III. Sotheby Parke Bernet & Co., London, 1977.
Vever FP Highly Important Japanese Prints om the Henri Vever Coection: Final Par .
Sotheby’s, London, 1997.
Vever S Hillier, Jack, Japanese Prints and Drawings om the Vever Coectio , Vol. II.
London, 1976.
V&I Vignier  Inada Catalogue, Vol IV: Utamaro, Estampes Japonaises... exposées au
Musée des Arts Décoratifs en Janvier 1912. Catalogue dressé par M. Vignier avec la
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

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.

Section On
Titled Series

1. Ai bore iro no gosekku 
The Colour of Love During the Five Festivals
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

Titled Series

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

Untitled Multisheet Prints

360. Mimeguri embankment 
Mimeguri dot
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
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

Section Seve
Yamauba and Kintar

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
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
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

The Niwaka Festival

681. Seir niwaka onna geisha 
Female Geisha in the Niwaka Festival of the Green Houses
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 125. Kairaishi, Dandy of the Six Jewel Rivers, and Full
Moon ‘Golden Lace’ Blosso Kairaishi, otokodat
Date: c. 1797 roku no tamagawa, ominae sakari no mochizuki,
Artist’s signature: Utamaro hitsu from the series Female Geisha in the Niwaka
Publisher: unknown Festival of the Green Houses Seir niwaka onna
Censorship seal: kiwame geisha, published by Tsuruya Kiemon, c. 1797
Format: ban, colour woodblock see cat. no. 681/2.

Index I
Publishers’ Marks

Mark 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
Works with a title included on the design

Title: Cat. No. Title: Cat. No.
Ai bore iro no gosekku 1 Edo mutamagao 29
Asazuma funaji no marobine 703 Edo no hana musume j ruri 30
Atete mi na 2 Edo no sono hana awase 31
Ayatsuri moy take no hitofushi 3 Edo san bijin 437
Azuma bijin erami 4 Edo shiire tsu miyage 32
Baishoku shinajina nasake kurabe 5 Eky dai 33
Bigan j ni tate 6 Ench hassen 34
Bijin aki no nanakusa 7 Enoshima y ry awabi tori no zu 277
Bijin awase hana sum  8 Fujin shokunin bunrui 35
Bijin gomens  9 Fujin s gaku juttai 36
Bijin gosekku 10 Fujin s gaku juttai 37
Bijin gosetsu no asobi 11 Fujin tewaza ayatsuri kagami 38
Bijin goy no matsu 12 Fujin tewaza j nik  39
Bijin hana awase 60 Fujin tomari kyaku no zu 278
Bijin hana no sugata goban tsuzuki 13 Fujo nins juppon 36
Bijin ichidai goj san tsugi 14 Fukujin eh asobi 279
Bijin j y  15 Fukurokuju senkyakubanrai 280
Bijin kesh no zu 142 Fukutoku mutsumashizuki 281
Bijin kiry kurabe 16 F ry aiky kurabe 40
Bijin mens juttai no zu 17 F ry gosekku 41
Bijin shimada hakkei 18 F ry goshiki no hana 42
Chiwa kagami tsuki no murakumo 19 F ry goy no matsu 43
Ch jiya uchi Karagoto 431 F ry hana no ka asobi 282
Ch shingura 20 F ry hana no ka asobi 283
Ch shingura 21 F ry j ni tsuki 44
Ch shingura 22 F ry kodakara awase 45
Ch shingura misao kurabe 23 F ry kodakarabune 284
Ch shingura osana asobi 24 F ry mitate gosh  46
Daid zan Bungor  432 F ry mutamagawa 285
Daid zan Bungor  433 F ry mutamagawa 286
Daimonjiya uchi Hitomoto 434 F ry nana Komachi 47
Ebiya uchi Matsuyama, Tatebana 435 F ry nana Komachi 48
Edoch itch me Matsubaya uchi Segawa 436 F ry nanatsu me eawase 49
Edo fu bijin zoroe 25 F ry rokkasen 92
Edo hakkei 26 F ry san fukujin 438
Edo meibutsu nishikie k saku 276 F ry shiki no asobi 50
Edo meisho asobi 27 F ry shiki no asobi 439
Edo meisho jikkei 28 F ry shogei no nishiki 51

Index II: Titl

Title: Cat. No. Title: Cat. No.
Fry zashiki hakkei 52 Keisei geisha hana awase 83
Futabagusa nana Komachi 53 Keisei kych mitshi mitate jzu 84
Fzoku bijin tokei 54 Keisei sanninei, sanpuku no uchi 290
Fzoku jni toki 55 Keizetsur Urazuru 446
Fzoku sandan musume 56 Kindai shichi saijo shiika 85
Fzoku sanninei 440 Kinoene toshi Daikoku shichi henge 86
Fzoku ukiyo hakkei 57 Kinoene toshi Daikokuten ochokuhitsu
Fzoku ukiyo hakkei 58 kakizome 291
Gei jiman kodakara awase, shichifuku no Kinryzan Raijinmon no zu 292
uchi 59 Kintar sannin kydai 621
Gomeir zensei kinki shoga no zu 287 Kodakara tatoe no fushi 87
Gonin bijin aiky kurabe 60 Kodomo asobi niwaka 88
Gor Tokimune, Ichikawa Yaoz 441 Kodomo sanjrokkasen, sanjrokumai
Gosekku Azuma nishiki 61 tsuzuki 89
Gosekku medetai asobi 62 Kokei no sansh 90
Gosekku ukiyo kagami 63 Kk musume 447
Gosetsu no hana awase 288 Kmei bijin mitate Chshingura 91
Goshiki zome rokkasen 64 Kmei bijin rokkasen 92
Hakoiri ichidai kagami 65 Konrei iro naoshi no zu, sanmai tsuzuki293
Hakoiri sambukutsui 289 Konrei no zu, sanmai tsuzuki 294
Hana awase kesh kurabe 66 Kurokiuri 704
Hana awase shiki no bijin 67 Kyganoko musume Djji, Nakayama
Hokkaku zensei kurabe 68 Tomisabur 751
Hokkoku goshikizumi 69 Kykun kshin no waka 93
Hygoya uchi Tsukioka 442 Kykun oya no megane 94
Ichikawa Danjr, Arakawa Tar 443 Makuradokei jnigumi 95
Ichikawa Gory nagori soyakusha hokku Matsubaya Segawa, Ichikawa 448
shu 444 Matsubaya uchi Ichikawa 449
Ikebana hyakufei no zu 70 Matsubaya uchi Segawa, Ichikawa 450
Itokenai asobi jni tsuki 71 Matsubaya uchi Someginu, Hananoe 451
Jimono rokkasen 72 Matsubaya uchi Somenosuke 452
Jitsu kurabe iro no minakami 73 Matsubaya uchi Yaegiku 453
Joshoku kaiko tewaza kusa 74 Matsubaya uchi Yosooi 454
Jni k 75 Matsubaya uchi Yosooi 455
Jni tsuki shikishi waka 76 Matsubaya uchi Yosooi 456
Kaich hn kyka awase 749 Matsubaya uchi Yoyotose 457
Kaiun sanmen Daikoku 445 Matsubaya uchi Yoyotose, Yoyoginu 458
Karitaku hakkei ykun no zu 77 Matsubaya Yosooi, Matsumura 459
Karitaku kawabe no asagao 78 Medetai sambukutsui 295
Karitaku kykazuke 122 Meifu eika kach fgetsu 96
Kasen koi no bu 79 Meikun keich no Yosooi 460
Kasumi ori musume hinagata 80 Meikun no Yosooi 461
Kayoi kuruwa sakari hakkei 81 Meisho fkei bijin jni s 97
Keisei fumi sugata 82 Meisho koshikake hakkei 98

Index III

The numbers following each subject listed see also Seven Gods of Good Fortune
within this index refer to the catalogue Bishamon 86/4, 145/3, 258/5, 259/2, 281,
entry numbers, not the page numbers that 284, 329, 404, 584, 585, 586
entries appears on. References to the see also Seven Gods of Good Fortune
individual sheets contained within print Boys’ Festival 1/3a, 10/1, 41/2, 62/1, 63/2,
series give the catalogue entry number 71/3, 75/2, 76/4, 230/5, 346
followed by the number of the design Bunshichi and Kiyokawa, see Kiyokawa
within that group, eg. 23/3 cat. no. 23, and Bunshichi
individual sheet no. 3 . Che Yin 177/1
emon and Ohan, see Ohan and
zan of the Ch
jiya 227/3
Chrysanthemum Boy 264/2
abalone divers 277, 309, 310 Chrysanthemum Festival 1/5a, 11/5, 41/3,
Agemaki and Sukeroku 19/7, 73/8, 256, 300 44/3, 50/10, 61/5, 76/8, 346
Akahime of the Akatsutaya 222/1 Ch bei and Umegawa, see Umegawa and
Akashi of the Tamaya 120/1, 127/5a, 180/4, Ch bei
211/6, 226/1, 255/3 Ch shingura 19/12, 20, 21, 22, 23, 24, 91,
Akechi J bei Mitsuhide 275/5a 170, 438
Ama no Kumabito 497 Daid
zan Bungor
432, 433
Amaterasu Omikami 497 Daikoku 32/2, 86, 145/2, 258/3, 259/1, 279,
Arishige of the Tsuruya 225/1 281, 284, 289, 291, 329, 404, 445, 522,
Ariwara of the Tsuruya 81/4, 132/11, 209/1, 523, 524, 548, 584, 585, 586, 646
216/3, 225/1, 288/3c see also Seven Gods of Good Fortune
Ariwara no Narihira 64/3, 92/4b, 149/2, Dankin of the giya 414
159/2, 260/5, 323, 373, 374, 564 Daruma 59/1, 72/3, 124/4, 238/1, 273/1
see also Six Immortal Poets Dembei and Oshun, see Oshun and
Asajiu of the Daimonjiya 106/2 Dembei
Asakusa 27/3, 190, 249/1, 292, 344, 429, D
ji 164/5, 526, 576, 751
478, 480, 489/B Doll Festival 1/2, 61/2, 71/2, 76/2, 230/3,
Asakusa Kannon Temple 190, 292, 344, 346, 372
429, 478 Ebisu 76/9, 86/5, 145/1, 258/4, 279, 281, 284,
awabi divers, see abalone divers 289, 329, 337, 338, 403, 404, 524, 529,
Azamino and Gontar
73/20 530, 548, 584, 585, 586
battledore 1/1, 9/5, 41/1, 63/1, 113/11, 152/2, see also Seven Gods of Good Fortune
158/7, 364, 454, 501 Eight Immortals 34
Benzaiten 28, 44/2, 50/4, 86/6, 145/5, 258/6, Eight Views of mi 26, 57, 58, 112, 161,
279, 280, 281, 284, 329, 387, 388, 403, 169, 750
404, 447, 494, 584, 585, 586 Eitai Bridge 26/8 577

The Complete Woodblock Prints of Kitagawa Utamaro: A Descriptive Catalogu

Enoshima 44/2, 50/4, 277, 303, 309, 324, hagoita, see battledore
343, 381, 387, 388 Hambei and Ochiyo, see Ochiyo and
of the giya 288/1a, 414 Hambei
Eon H
shi, see Three Laughers of Tiger Hanabito of the giya 34/3 204/6, 288/3a
Ravine Hanagoto of the Ebiya 677/2
falconers 32/3, 341, 531, 532, 533 Hanamurasaki of the Tamaya
FengKan, see The Four Sleepers Kadotamaya 34/8, 103/5, 120/5, 127/6a,
five festivals 1, 10, 11, 41, 61, 62, 63, 155, 129/3a, 132/5, 147/3a, 182/4, 183/1, 235/2,
181, 182, 183, 288, 346 348, 676/3
Four Accomplishments 125, 241, 287, 354, Hananoe of the Matsubaya 451
355 Hana
gi of the giya 16/4, 35/5, 64/3, 91/4,
Fujie of the Nakamanjiya 120/7, 217/1, 92/3a, 103/4, 120/2, 124/9, 128/4, 132/1,
226/5 133/1, 147/6a, 185/6, 190/2a, 190/4, 192/1,
Fujimusum, see Wisteria Maiden 202/2a, 203/3a, 204/3, 213/2, 223/3, 226/4,
Fujiya Otayo 233/3, 478, 562 228/4a, 229/2, 257/4a, 287/1, 348, 379,
Fukurokuju 32/2, 86/1, 145/6, 279, 280, 281, 464, 465. 466, 572
284, 329, 403, 404, 438, 584, 585, 586 Hanazuma of the Hy
goya 34/6, 60/4a,
see also Seven Gods of Good Fortune 106/1, 126/1, 129/2, 130/1, 132/3, 147/5a
Fukushima Saemon 275/1 HanShan, see The Four Sleepers
Fukusuke 223, 438, 544, 584, 646 Hanshichi and Sankatsu, see Sankatsu and
Fumikoshi of the giya 288/2a Hanshichi
Fun’ya no Yasuhide 64/1, 92/5c, 159/1, Hashidate of the giya 122/2b
260/3, 379 Hasseji of the Ebiya 255/2, 676/2
see also Six Immortal Poets Hatsufune of the Matsubaya 412/1c
F shi of the Shizutamaya 83/1 Hinadori and Kuganosuke 3/9, 73/19, 732
Futamigaura 425 Hinagoto of the Hy
goya 16/2
Gama, see Liu Hai Hinamatsu of the Ch
jiya 132/9
Genji monogatari, see Tale of Genji Hinamatsuri, see Doll Festival
tei and Y
kihi, see Xuanzong Hinazuru of the Ch
jiya 2/3b, 16/1a, 34/2,
and Yang Guifei 103/3, 132/9, 147/8, 190/2a, 204/1, 210/3,
Genta and Umegae 73/6, 253/2, 496 211/2, 213/1, 228/3, 229/6, 235/1, 260/3,
Girls’ Festival, see Doll Festival 486/1b, 676/1
gi, see Hana
gi of the Hiranoya Oseyo 60/1, 91/2, 232/2, 314, 379,
giya 478, 493, 539
Takigawa, See Takigawa of the Hisamatsu and Osome, see Osome and
giya Hisamatsu
and Azamino, see Azamino and Hitomoto of the Daimonjiya 68/1, 81/1,
118/5, 128/1, 132/10, 146/2, 180/6, 185/3,
gosekku, see five festivals 187/1, 202/4, 207/1, 208/1, 209/6, 213/3,
Guan Yu 356, 488, 547, 565 214/1, 216/2, 223/4, 226/3, 260/5, 434,
Hanamurasaki, see 462, 676/6, 677/1
Hanamurasaki of the Tamaya Hoshima of the Tamaya 132/14
Kadotamaya Hotei 86/3, 145/4, 258/1, 279, 280, 281, 284,
Hachirobei and Otsuma, see Otsuma and 289, 329, 403, 404, 584, 585, 586
Hachirobei 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. Shibui No. Cat. No. Shibui No. Cat. No.

311 411 1431, 2, 3, 4 277 2631, 2, 3 389
321, 2 411 1521, 2 “ “ 2731, 2, 3 419
331, 2, 3 354 1511, 2, 3 303 2811, 2, 3 318
411, 2 413 1611, 2, 3 278 2821, 2, 3 426
421, 2 416 1621, 2, 3 386 2911, 2, 3, 4 346
431, 2, 3 339 1631, 2, 3 407 2921 ” ”
511 236/4 1711, 2 276 3011, 2, 3 370
521 236/1 1713, 4 ” ” 3021, 2, 3 381
531 236/2 1721, 2, 3 298 3111, 2, 3 385
611 410 1731, 2, 3 430 3121, 2, 3 394
621 410 1811, 2, 3 368 3131, 2, 3 371
711, 2 302 1821, 2 369 3211, 2, 3, 4 288
721, 2 283 1831, 2, 3 358 3311 ” ”
732 282 1911, 2, 3 311 3221, 2, 3, 4 ” ”
811, 2 367 1921, 2, 3 311 3231, 2, 3, 4 429
813, 4 379 2011, 2, 3 360 3331 ” ”
821, 2, 3 325 2021, 2, 3 306 3411, 2, 3 399
831, 2 356 2031, 2, 3 414 3421, 2, 3 425
833, 4 415 2111, 2 353 3511, 2, 3 279
911 422 2121, 2, 3 363 3521, 2, 3 412
921, 2, 3 421 2211, 2, 3 336 3531, 2, 3 ” ”
1011, 2, 3 362 2221, 2, 3 281 3611, 2, 3 361
1021, 2, 3 362 2232 374 3621, 2, 3 376
1031 292 2311, 2, 3 343 3631, 2, 3 323
1111, 2, 3 342 2321, 2, 3 400 3711, 2 313
1121, 2 327 2411, 2, 3 344 3721, 2, 3 377
1131, 2, 3 290 2511, 2, 3 392 3731, 2, 3 284
1211 383 2521, 2, 3 340 3811, 2, 3, 4 395
1221, 2 331 2531, 2, 3 391 39110 ” ”
1311, 2, 3 396 2611, 2, 3 702 3821, 2, 3, 4 293
1321, 2, 3 280 2711, 2, 3 ” ” 3824, 3921, 2 294
1411, 2, 3 309 2621, 2, 3, 4  349 3831, 2, 3 378
1421, 2, 3 310 2721 ” ” 4011, 2, 3 308

Artist’s Signatures

1 2 3 4 5 6

7 8 9 10 11


14 15 16 17 18


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 128. Shrine Visit in the Eleventh Month Shimotsuki
goods at speed along the river. no kami md, from the series Elegant Pastimes of
See Fig. 107 the Four Seasons Fry shiki no asobi, published
by Tsuruya Kiemon, c. 17989 see cat. no.
Daimy: Powerful feudal landholders. 50/11.
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.

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
T rich . 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
, published by Tsutaya J zabur in 1788. Page 12

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

6. The Fancy ee typ Uwaki no s
, from Ten Physiognomic Studies of Wome Fujin s gaku
, 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
, 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
, 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
, published
by Nishimuraya Yohachi, c. 18012 see cat. no. 21/1
. Page 52

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
, 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
, 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.
. Page 77

22. Young hairdresser combing out a client’s hair, from the series Twelve Forms of Women’s
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
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
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
, 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.
. Page 90


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