Therefore, without serious doubt, the prudent collector will not suffer because of his present acquisitions. It should, however, always be borne in mind that the very finest prints—those which seem most expensive to-day—are the ones that will rise most rapidly in value as time passes. Poor impressions, soiled copies, and second-rate compositions will never be very rare; but the supremely fine sheets—scarce enough now—will grow scarcer with every year.
Nevertheless, collecting as an investment is not advocated. If the collector is not moved by the delight he gets from the æsthetic qualities of the prints, he had far better leave them entirely alone. Nothing but the passion of real enthusiasm and perception will enable him to select the best works; and without this selection his prints are not likely to be of much ultimate value. When, however, the collector makes his acquisitions out of pure love for their beauty, it is right and prudent that he should consider their value in later years. Such a collectorneed have no fear; what was to him a delight and a dissipation will probably in the end prove to his heirs an investment of profit.
The collector must be constantly on his guard against reprints, forgeries, and reproductions. These are not as common as some writers believe; but they exist.
Reprints are impressions made at a time so long after the original edition that they have not the original colouring. The register of such prints is generally faulty, and the lines are not sharp. So long as the blocks are in existence these reprints are possible. Early reprints are merely late editions of the originals, and are not objectionable if the blocks have not become worn; but late ones are undesirable. A print made to-day from the original blocks of Harunobu, did they exist, would have no value.
Forgeries are works produced in the style and over the signature of some famous artist. Since they have no prototype among the artist's real works, they present difficulties of their own; there is no genuine copy of the same print with which to compare them. They are very rare; their chief occurrence is in the cases of Harunobu and Utamaro.
Reproductions are prints made from new blocks cut in imitation of the original ones. For unknown reasons a second edition of certain prints sometimes was made very shortly after the first, from re-cut blocks. These prints have no necessary difference in beauty or value from those of the first edition.But such cases are few. Far commoner are the reproductions proper—most of them copies made within the last twenty-five years, sometimes with fraudulent intent, and sometimes merely as honest commercial copies. In either case, they may be used fraudulently by a present owner.
The ordinary modern reproduction is not difficult to detect. It is generally on a harder, brittler paper than a genuine print. The feeling of the paper between one's fingers is more like that of our wrapping-paper than like that of the old soft papers used by the Ukioye artists. Its surface is compact and glassy, not spongy and pliant. It has a starchy stiffness, and lacks the soft, luminous tone of the genuine. Generally the lines of the block are clumsily cut, lacking the grace and strength of the original; and a careful and minute comparison with an original impression of the same print will invariably show difference in small details of the lines. Even the Japanese are not skilful enough to cut a new block precisely like the old one.
The colours of a reproduction constitute perhaps the most definite danger signal. They are, as a rule, flat and dead, lacking the soft brilliancy of the old colours. Very seldom are they graded with care—a repellent harshness marks them. Particularly does the blue lack the life and depth of the genuine blue; and the red and yellow are likely to be staring.
Freshness and perfect preservation are never, in the absence of other signs, to be regarded as evidence of recent production. Conversely, it is only the merest bungler who regards worm-holes or faded,browned, and damaged condition as any evidence of age. The Japanese use tea-leaves and various other devices to give this time-worn appearance to the most flagrant reproductions. For all I know, they may have trained worms to eat holes. These damaged, tea-soaked prints would be almost worthless even if they were genuine. The stray tourist in Japan, however, customarily accumulates a large number of these soiled tatters, fearing to touch the fresh-looking copies. And the Japanese willingly calm his fears by soaking and soiling their reprints.
There are, however, a few reproductions of so fine a quality that detection is extremely difficult. These are the sheets over which experts shake their heads and go away muttering, to return for councils and deliberations and sometimes total disagreement. There exists in an American collection a certain Kiyonaga print which half a dozen experts believe to be a modern fraud, though another half-dozen are prepared to defend its authenticity until Judgment Day. Work of this quality is expensive to produce, and the price asked for it is therefore always high.
Certain specific reproductions are to be guarded against. Many fraudulent copies of Hiroshige's "Monkey Bridge" and "Kiso Snow Gorge" are on the market; all those I have ever seen are so poor in colour and so different in line-details that it seems incredible that anyone should be deceived. Several of the Tokaido Set have been imitated, rather poorly; and also some of the Birds and Flowers. Quite recently, there has appeared a remarkable Lake Biwa set, produced with such beauty and skill thatseveral of the greatest authorities in the world were at first deceived by it. Hokusai's "Imagery of the Poets," "Waterfalls," "Thirty-six Views of Fuji," and "Loocho Islands," have been reprinted; the colours and the lines are a little imperfect; and no one who uses care need be misled by them. They are, however, good enough to be dangerous to the beginner. Utamaro's most famous works, particularly the "Awabi Shell-Divers" triptych, have been reprinted fairly well. Perilous imitations of several of the Primitives are extant; the stiff paper is almost the only means of detection. Sharaku has been reprinted dangerously well; one lately discovered fraudulent print of his sold for a high price at Sotheby's some years ago, and subsequently passed unquestioned through the hands of a dozen English and American experts, until finally an accidental comparison of it with a genuine sheet revealed points of difference. Another copy of this same reproduction remains to this day as the treasured possession of a well-known English collection.
Possibly the most dangerous of all forgeries and reprints are those of Harunobu's small square prints, for they have sometimes been produced with notable skill. Even the greatest experts have been deceived by them. Fenollosa, at No. 131 of the Ketcham Catalogue, describes in the most glowing terms, as "the central point of all Ukioye," a print which its present owner has found to be a reproduction, not thirty years old, and has discarded from his collection.
The reputable dealers, often men of much experience, never offer reproductions for sale, thoughthey, like any one else, may occasionally be deceived by the finest of the fraudulent ones. They use their best skill to protect their customers, and the protection is generally efficient. If, however, a dealer is unwilling to give assurance in writing that the print is genuine, or if his stock contains more than the two or three reproductions accountable for on the ground of bad judgment, he should be avoided as untrustworthy.
The experienced collector, who has seen and handled tens of thousands of prints, becomes accustomed to the texture of the various papers, the tones of the various colours, and the contours of line-cutting. His familiarity produces in him a sixth sense which is his instinctive guide in the detection of frauds. Later investigation may define his original impression and prove it to have been correct; but in the first instance he relies on intuition. The less experienced collector has no such guide; and he should realize that he has not, and not try to evolve one from his inner consciousness. Nothing is more ludicrous than to see such a person in a print-shop in Japan. He turns over pile after pile of prints, selecting those which his judgment tells him are "really old." What he generally means is, "really dirty." Advice from bystanders is not often welcomed by him, and the only peaceable thing one can do is to leave him to his own curious devices. There is a certain malicious pleasure to be obtained in going through the piles such a collector has discarded, and selecting from them, as one sometimes can, a flawlessly preserved copy of some fine print which hepassed by as too fresh-looking to be anything but fraudulent. But when he returns to his hotel at night and exhibits triumphantly the treasures he has garnered during the day, it would be a hard heart that could do anything but keep silent and weep inwardly. The sixth sense can be relied on only if one has had much experience. If one is inexperienced, the safe way is to ask expert advice.
For the experienced collector I venture to suggest only one maxim. If vaguely suspicious of a print, but unable to tell exactly why, discard the print. Your whole accumulated experience is indefinably expressing itself in your suspicion; and nine times out of ten it is right.
When a print is once properly prepared and mounted, it needs no further care except protection from injury. Prolonged exposure to sunlight is not desirable, since fading may result; dampness is to be guarded against because of the danger of mildew, a terrible foe; care in handling must be exercised, so that the print be not rubbed, creased, or torn. But if these elementary precautions are employed, the print will take care of itself.
It may be worth while for the benefit of the beginner to trace the steps that are taken by a collector between the time when he becomes the owner of a new print and the time when he puts it away in his portfolios as an established part of his collection.
The first step is to examine the print with careand ascertain what, if any, processes are necessary to prepare it for mounting. If the condition of the sheet is flawless, nothing is required. If its condition is in one way or another defective, it is the task of the collector to determine whether any operation within his command can remedy the defect, and to decide how he will accomplish his end.
This is perhaps a proper place to caution the inexperienced, and in some cases even the experienced collector, against acts of vandalism. To cut down, colour, or otherwise mutilate a print, is one of those unforgivable offences which often demonstrate conclusively how easy it is for a fool to destroy in five minutes the achievement of a genius's lifetime. One well-known collector, now dead, boiled his Harunobus in paraffin to give them lustre; another painted branches into the pillar-prints of Koriusai; another cut down the size of his Hiroshiges, leaving only those portions that particularly pleased him. If the feelings of later collectors have any potency in heaven, these men are now in hell. Not only is any attempt to improve upon the artist's work a contemptible piece of presumption, but even the mere effort to repair damages inflicted by time may be an unwise venture. Frequently such injuries could be remedied by an expert were it not that some preceding bungler, with the best intentions in the world, has, out of sheer inexperience, made the injuries irreparable. For example, if a print comes into the expert's hands untouched he can literally slice off a microscopic layer of the paper and thus remove a bad surface-spot; but if the paper has beentampered with by ignorant attempts to erase, he is helpless. Tears, stains, abrasions, and chemical decomposition may yield to skilful treatment; but unless one knows with the utmost exactitude what he expects to accomplish and how he intends to proceed at every step, he had best leave the matter strictly alone, or entrust it to other hands.
If the collector will remember that, though he is the present owner of his prints, he is not the final owner, he will be impelled to move with caution in his handling of them. Long after he is dead and forgotten, generations of lovers of beauty will treasure the sheets he once owned, and he will deserve their reproaches or their thanks according to the respect he has shown for these works. He is custodian for posterity, and his trust is one worthy of careful thought. He cannot do better than bear constantly in mind what should be the golden rule for collectors in all fields: Make no repairs, institute no changes, that cannot be altered; never do anything to a work of art that cannot be undone by its next owner.
Trim no margins; it is easy to mat them. Do not try to make more decent the objectionable rendering of a nude; sell the print to some one who does not find this rendering objectionable. If the colour has faded out, do not try to paint it in; possibly some one else may find the mere black-and-white composition beautiful, and he may prefer to see even the faded work of Kiyonaga rather than Kiyonaga plus the improvizations of a doubtless less illustrious designer.
No one needs such cautions as little as do the fewexperts whose experience renders them competent to attempt what are almost capital operations. They are, of all collectors, the most reluctant to essay any manipulation whatsoever. To witness the repeated examinations and deliberations which the competent workman expends on so simple a question as whether or not a certain black spot shall be restored to its original orange hue is to learn a serious lesson.
The first of the steps to be taken in improving the condition of a print will generally be washing. If a print is badly wrinkled or creased, or if it appears to have dust and dirt on its surface, a bath is the best possible thing for it. A perfectly fresh print should never be washed; nothing is to be gained by it, and much may be lost. For in many cases a little of the colour will come out in the course of the process, and the brilliance of the print will suffer slightly. Certain prints should be washed only if it is absolutely necessary. Harunobu prints with transparent red in them, Shuncho's that have purple, and any print that contains a delicate pigment known to collectors as "surimono blue," should be kept out of water if possible. These colours are not fast, and they are likely to go down in tone, or even run over into the adjoining parts of the print. The yellows and greens are as a rule unchanging, but a large number of the other colours are subject to modification, particularly in the work of the Kiyonaga and Utamaro Periods. The prints of Hiroshige and Hokusai generally undergo no change.
Prints with silver backgrounds should not be washed, and pillar-prints that consist of two joinedsheets of paper should be kept in water only long enough to become wet through; longer immersions will cause the sheets to separate, and necessitate troublesome work in rejoining them.
The process of washing is simple. A large vessel—a prosaic bath-tub is as good as anything—is filled with luke-warm water, and the print is put in and allowed to soak for a few minutes. If another sheet of paper has been pasted on the back of the print, this is carefully peeled off after the paste has become thoroughly wet. Adhering daubs of paste may be rubbed off with the fingers. Sometimes a very brown and dirty print can be cleaned a little by spreading it out while wet on a sheet of glass and applying a solution of some good washing-soap. Such a proceeding should be resorted to only in case of extreme dirtiness; and prolonged soaking in clear water should follow.
When the washing is finished, the print is lifted from the water and allowed to drain for a few seconds, and is then carefully spread face downwards on a fresh sheet of heavy unglazed cardboard of the kind known as "blank." By means of a large damp brush or a delicately handled cloth, the back of the print is smoothed out so that it lies perfectly flat and even. Another sheet of cardboard is then placed on top of it, and the two sheets, with the print between them, are put away under heavy weights, such as two or three portfolios, and allowed to remain untouched for twenty-four hours or more. A good deal of dirt, and unfortunately a little colour, will generally soak out of the print and into the cardboard.When dry, the print peels neatly away from the cardboard, with its surface freshened and smoothed, sometimes almost remade.
Thin, worn, or disintegrated prints are difficult to handle during these processes; when wet, they tear like damp cigarette-paper. Sometimes prints that have been damaged and skilfully mended will float away in two or three pieces upon immersion. These and other possible troubles make it advisable that the inexperienced collector venture not too boldly in trying experiments. At least let him begin on prints of no value.
After the print is dry, worm-holes or tears can be mended either by patching or inlaying. Generally it is best to dampen the paper before attempting this. The simplest form of repair is to paste back of the hole a small piece of paper of the same colour as the print. A collector will have on hand a number of worthless damaged prints of various shades, out of which he cuts pieces for this purpose. Inlaying is more difficult; it involves either inserting a piece of paper cut to match the hole exactly, or inserting loose paper-pulp which is moulded to fill the hole. Both processes require more skill than the average collector can master, and are best left to the expert.
Stains and spots present difficult problems. Some are superficial, and can be gradually sliced off with a very sharp thin knife—an operation that will invariably result in the ruin of the print if tried by a novice. Minute knowledge of the behaviour of the curious fibrous Japanese paper is necessary for success; the expert generally works under a glass,and prays continuously while he works. Stains that have soaked deeply into the paper are almost hopeless. Mildew discoloration is ineradicable. Grease-spots sometimes yield to ether, benzine, or other common solvents. The use of these is, however, a desperate remedy; they may spoil the print even if they remove the spot.
Certain chemical changes in the pigments can be reversed, and the original colour restored. The blackening oftan, that orange pigment used by Koriusai and many other artists, can be removed and the original brilliance brought back. The same is true of a certain white that blackens with time. The processes employed are, however, easily capable of misuse; and the few persons who know the methods prefer not to make them public.
If a portion of a print is missing, due to a tear or to the ravages of moths, it is legitimate and desirable to tint the paper that is used to fill in the hole so that it matches its surroundings. Water-colours and a fine brush are employed. But on no account should the surface of the print itself be painted; if the colour has worn off in spots, any attempt to restore it will merely increase the damage still further.
A very thin print, or one that has been torn in several places, is best treated by pasting on the back of it while damp a dampened sheet of thin, tough Japanese paper. The operation, simple as it sounds, is difficult and requires practice to produce a smooth result.
Some collectors paste down the four edges oftheir prints on thin sheets of cardboard to preserve their flatness. The practice is an undesirable one; it prevents any examination of the back of the print; and does not achieve its end, since the print and the mount expand and contract differently, and wrinkles are almost sure to appear eventually. The better practice is to apply a mere touch of paste to the two upper corners of the print, and affix these lightly to the mount. Over this is then placed a mat, with a hole cut to fit the print exactly, covering and holding down the print's edges, and protecting it from abrasions. The size of the mount and mat is determined by individual taste; 3 or 4 inches margin would seem to be the minimum desirable. After many experiments I have adopted 22½ × 15½ inches as the size for my own collection. Mr. Gookin prefers 25 × 16; but he also finds 23 × 15½ satisfactory if the economy of space is any object. As to thickness, tastes also differ; the mount should be at least thick enough not to bend much with ordinarily careful handling. Heavy Japanese Vellum makes the best mats; it is expensive, but it greatly enhances the appearance of the prints.
For triptychs and pillar-prints, a much larger and heavier mount is required than in the case of ordinary sheets. If the collector has only a few of the former, he may prefer to mount the three sheets separately, for convenience in storing, and place the three mounts side by side only when exhibiting them. If the two end sheets are mounted so that they come very close to the right andto the left-hand edges of their respective mounts, the effect of the three assembled is by no means bad; and the ease of handling them is an advantage. Only the most perfectly matched triptychs can in any case dispense with the necessity of narrow strips left in the mat to cover the junction-edges of the sheets.
Some collectors have card-catalogues in which they keep all information relating to each print. Others use the bottom of the mount under the mat for that purpose. For a large collection the former is preferable; for a small one, the latter.
The mounted prints are best kept in portfolios or Solander-boxes, laid flat on shelves and protected from dust as much as possible. Within the portfolio or box, the arrangement that is most useful is the chronological one.
There have been in the past several collections, such as the Hayashi and Wakai, whose owners felt it to be appropriate that they stamp their private seals upon the face of each print held by them. It is useless to comment upon the wisdom or unwisdom of their course; for the thing is done, and many a fine print is now indelibly branded with these insignia. But it may be pointed out that the present practice of reputable collectors does not sanction such acts. Should any collector who happens to read these lines contemplate thus immortalizing himself, I suggest that he seriously consider whether even one small seal is not a disturbing factor when injected into a design so subtly calculated as the finest prints.
Further, if one collector may so stamp his prints, all others surely have a similar privilege; and if the habit became universal, what would be the appearance of a print which, in the next two hundred years, should pass—as a print might easily pass—through the hands of twenty collectors? And lastly, is there not a certain betrayal of petty conceit when the mere temporary owner of a great work of art judges the fact of his brief ownership to be of such importance that future generations must be told of it; and so places his own emblem beside that of the creator of the print—beside the name of the immortal Kiyonaga or Sharaku?
The day is coming—perhaps it is already here—when the Japanese Print will become the spiritual possession of a wider circle than that limited group of collectors who have been devoted to it in the past. Alien though this art is, it has power to penetrate to regions of the mind which Western art too often leaves unvisited.
Much is said unwisely about the elevating and educative power of art. The man in the street has come to believe that the elevating force resides in the theme which a work of art presents—that a picture of Galahad riding for the Grail is a lofty thing, and that a picture of the wings of the theatre during a ballet is a base one. Hence has arisen that unspeakably childish modern school of middle-class painters whose "pictures with a story"—generally a sentimental or edifying story—are the terror of theart-lover. After them, no wonder that even the Cubists came as a relief.
As every artist knows, the elevating power that resides in the mere subject of a picture has at best no more force than a moral maxim; the mind may assent to it, but the heart is unmoved. The same may be said in the case of a poem. The glory of poetry is not that it furnishes elevated sentiments in rhyme for public speakers to quote, but that it embodies music and thought combined in so fitly proportioned and expressive a structure that the reader carries away with him a certain acquaintance with perfection and a lasting desire for ideal beauty in everything.
Thus it is only through its power to cultivate the spectator's sense of form that art may be called elevating. Close familiarity with the productions of great artists gradually develops in the spectator an understanding of proportion, harmony, and conscious design, evoking in him the ability to perceive and even create order and freedom.
Because of the fact that the best Japanese prints are so superb an expression of the sense of form, they may be rated high as cultural agents. In them the eye finds little or no distraction occasioned by mere subject. Here speak the pure elements of artistic creation, liberated from combination with elements of accidental and personal charm. They contain the quintessence of all those harmonious and significant qualities which men desire of life. He who really takes them into his consciousness will be repelled by disorder, dullness, and indeterminatenessall his days. And probably the world will be saved by its hatred of these things. Therefore the Japanese print cannot be regarded as primarily a pattern for future designers of wood-engraving; it appears to have a far wider and deeper office to perform.
INDEX
Actors,134,304,306
Anchi,seeKwaigetsudō
Ando,seeKwaigetsudō
Anshin,seeYasunobu
Ashikuni,356
Ashimaro,299
Ashiyuki,356
Banki,298
Banto,173
Bokusen,375
Buddhism,55
Buncho,185,209,426
Bunkaku,seeOkumura Masanobu
Bunro,299
Chikamaro,seeKiosai
Chikanobu,299
Chikashige,353
Chincho,91
Chiryu,173
Choki,319,427
Chōshō,seeNagamatsu
Condition,418
Courtesan,seeYoshiwara
Denroku,108
Dohan,seeKwaigetsudō
Doshin,seeKwaigetsudō
Doshu,seeKwaigetsudō
Forgeries,432
Fujinobu,108,173
Furuyama,75
Fusanobu,108
Fuyo,299
Gakutei,374
Gangakusai,375
Genpachi,seeOkumura Masanobu
Genroku Era,65,134
Genshichi,80
Ginsetsu,seeFusanobu
Gogaku,seeGakutei
Gokei,375
Gokyo,278
Goshichi,299
Gosotei,351,398
Gyokushi,157
Hanamaro,299
Hanzan,356
Haruhiro,seeKoriusai
Haruji,173
Harumachi,seeUtamaro II
Harumitsu,234
Harunobu,129,136,208,422,426
Harushige,171
Harutoshi,108
Harutsugu,173
Hasegawa Toun,75
Hidemaro,299
Hirosada,356
Hiroshige I,357,375,415,426
Hiroshige II,397
Hiroshige III,398
Hisanobu,299
Hōgetsudō,seeOkumura Masanobu
Hokkei,374
Hokuba,375
Hokuga,375
Hokuju,374
Hokumio,356
Hokusai,258,379,427
Hokushu,356
Hokusui,375
Hokutai,375
Hokutei,375
Hoku-un,375
Hokuyei,375
Hokuyo,375
Hōriu,173
Isai,375
Ise Monogatari,56,182
Isomaro,299
Iyeyasu,49
Juzan,375
Kagetoshi,356
Kako,seeHokusai
Kammyō,seeOkumura Masanobu
Kanamaro,299
Kano School,50,52,54
Katsukawa School,129
Katsumasa (Kichikawa),95
Katsumasa (Yoshimura),75
Katsunobu,95
Keiju,375
Keisai,seeMasayoshi
Keri,375
Kichi,75
Kikumaro I,298
Kikumaro II,298
Kiosai,353
Kisen,173
Kitamaro,299
Kiyoaki,92
Kiyofusa,84,123,354
Kiyoharu (Torii),124
Kiyoharu (Kondo Sukegoro),92
Kiyohide (Torii),124
Kiyohide II,234
Kiyohiro,123
Kiyohisa,234
Kiyokatsu,234
Kiyokuni,353
Kiyomasa,234
Kiyomasu,84,88
Kiyomine,84,123,354
Kiyomitsu,84,116
Kiyomitsu II,seeKiyomine
Kiyomitsu III,seeKiyofusa
Kiyomoto (Torii),124
Kiyomoto II,355
Kiyonaga,84,217,241,259,405,426
Kiyonobu I,83
Kiyonobu II,87,90
Kiyonobu (Kondo),95
Kiyorō,95
Kiyosada I,355
Kiyosada II,354
Kiyosato,124
Kiyoshige,91
Kiyosomo,92
Kiyotada I,91
Kiyotada II,355
Kiyotada III,355
Kiyotomo,92
Kiyotei,234
Kiyotoki,234
Kiyotoshi,124
Kiyotsugi,234
Kiyotsune (Torii),124
Kiyotsune II,234
Kiyoyasu,355
Kiyoyuki,234
Kogan,173
Kokan,seeShiba Kokan
Komatsuken,173
Koriusai,157,159
Kuniaki,353
Kuniao I,353
Kuniao II,353
Kunichika,353
Kunifusa,353
Kunihana,353
Kunihiko,353
Kunikane I,353
Kunikane II,353
Kunihiro,353
Kunihisa,353
Kunikatsu,353
Kunikiyo,353
Kunimaro,299
Kunimaru I,353
Kunimaru II,353
Kunimasa I,318,352
Kunimasa II,seeKunisada II
Kunimasa III,seeKunisada III
Kunimichi I,353
Kunimichi II,353
Kunimitsu,353
Kunimune,353
Kuninaga,353
Kuninobu I,173
Kuninobu II,353
Kunisada I,351
Kunisada II,352
Kunisada III,352
Kunitada,353
Kunitaka,353
Kunitohisa,353
Kunitaki,353
Kunitane,353
Kunitera,353
Kuniteru,353
Kunitoki,353
Kunitora,353
Kunitsugi I,353
Kunitsugi II,353
Kunitsuma,353
Kuniyasu I,353
Kuniyasu II,399
Kuniyoshi,375
Kuniyuki,353
Kuzayeimon,108
Kwaigetsudō,79
Kyōden,seeKitao Masanobu
Kyosen,157
Kyuyeimon,108
Landscape,356
Magosaburo,seeShigenaga
Mangetsudō,105
Masafusa,105
Masanobu (Hishikawa),75
Masanobu(Kitao),248,427
Masanobu(Okumura),95
Masanojo,75
Masataka,75
Masayoshi,250
Masks,304
Masunobu (Tanaka),92,173
Masunobu II,92,172
Matabei,58,73
Mazunobu,95
Michimaro,299
Minemaro,299
Minko,173
Mitemaro,299
Mitsunobu,95
Morikuni,75
Morobei,75
Morofusa,75
Moromasa,75
Moromori,75
Moronaga,75
Moronobu,69
Moroshige,75
Morotada,124
Morotane,75
Morotsugi,75
Motonobu,105
Muranobu,173
Nagahide I,108
Nagahide II,328
Nagamatsu,328
Nagayoshi,seeChoki
Nichiren,58
Niho,375
Nishimura School,105
Nō Drama,303
Norihide,seeKwaigetsudō
Norishige,seeKwaigetsudō
Noritatsu,seeKwaigetsudō
Nudes,115,123,222
Oiran,seeYoshiwara
Omume,92
Osaka School,355
Osawa,75
Otsu-ye,67
Pillar Prints,100,123,151,164,233
Primitives,63,127,207,426
Polychrome,140
Printing,40,414
Prices,425
Ranko,356
Renshi,375
Rihei,108
Riusen,75
Riushu,75
Rosen,157
Ryokin,58
Ryujo,75
Ryukoku,299
Ryusai,375
Ryushi,173
Sadafusa,356
Sadaharu,108
Sadahide,400
Sadahiro,356
Sadakage,356
Sadamasa,356
Sadamasu,356
Sadanobu (Hasegawa),356,399
Sadanobu (Tamura),92
Sadatora,356
Sadatoshi,95
Sadayoshi,356
Sanchō,234
Seiko,173
Sekicho,299
Sekiga,198
Sekiho,299
Sekijo,299