32
CATALOGUE OF A MEMORIALEXHIBITION OF PAINTINGSBY TOM THOMSON, AND OFA COLLECTION OF JAPANESECOLOUR PRINTS, LOANEDBY SIR EDMUND WALKERFEBRUARY 13 TO 29 - - 1920
THF— -ART GALLERY OF TORONTO
THEART GALLERY OF TORONTO
INCORPORATED l%0
CATALOGUEOF A
MEMORIAL EXHIBITION OF PAINTINGSBY TOM THOMSON
AND A COLLECTION OF
JAPANESE COLOUR PRINTS
LOANED BY SIR EDMUND WALKER
FROM FEBRUARY I3th to FEBRUARY 29th
NINETEEN-TWENTY
THE ART GALLERY OF TORONTOTORONTO
1920
The Commitlee desire to express their thanl^s to
those who have most cordially loaned their
pictures and prints to the Gallery for
the purpose of this combined
Exhibition.
Tom Thomson, Painter of the North.
T()M IHOMSON, the most urii(jiie personality CanadianAn has yet produced, was born near Toronto, in
August, 1877—After boyhood spent on a farm nearOwen Sound, and several experiments in chosing a career,
he took up commerical art— His inherited tastes for fishing,
camping and exploring led him into the wilds. Its lure grewever stronger and determined him to devote his life topainting the beauties of that compelling, alluring, devouringNorth which took him to its bosom in July, 1917.
Untrained in the schools, ignorant of the theories andcanons of Art, he has left behind him in his short and meteoriccareer pictures of such quality as to cause many to see in
him the beginning of a Canadian School.
The object of many criticisms, too often arising fromlack of observation of nature as it really is—he avoidedcontroversy and discussion even with artists, content if
he might but live with Nature and share her many moods..Alone by his camp fire, the moon a silvery green pathwa\- onthe waters, the stars peeping through the solemn pineshe communed with the Spirit of the North, and straightwaywas freed from the shackles of the town, the petty mean-nesses which chafed him.
The North was not to him merely a place where he mightfind motifs, decorative or colourful. To him the North was aspirit which, entering into him possessed him and permeatedall his work. Modest, sensitive, shy and independent, hewas a creature of the Wild and has revealed to us its wonders—the passion of his life. His message was to express themoods and passions, the sombreness and the glorious colourof early Spring and Autumn in the North—not the Northof the Summer tourist, who sees but a waste of barren rock,bristly pine and ragged spruce.
In all his work there is a poetic emotion along with theforeboding, tragic feeling of the North, something of thateternal conflict which Nature wages against man, the \ulgarintruder. Even in his pictures richest in colour and riotousin the Joy of light and life it is ever present.
His palette embraces the whole gamut of colour, black andgray, or glorious and golden—His work is charactised notby its subject, not by the preponderance of any colour, nor bythe method of handling—to him a matter of no concern,—but by its purity of colour, and above all by its truthfulness,compelling sincerity and emotion.
That his work should be purchased by the NationalGallery and the Ontario Government or valued by anvonewas to him a matter of amused surprise and wonder. Hewrought better that he wot of. He lived his own life, didhis work in his own way and died in the land of his dearestvisions.
CATALOGUE OF PAINTINGS
By TOM THOMSON
I . N'ort horn River.
•2. riie Jack I'ine.
ti. Autumn's (iarland.
I. Sprinji Ice.
5 to IT. Sketches.
Loaned !)> The National (ialler\- of Canada.
IS. October, AljSonquin Park.
lU. Chill November.
20. Decoration, Autumn.
21. Lake, Alj^onquin Park.
22. Birch and Rocks. Autumn. fLnlinished).
2:5. After the Sleet Storm.
2 1. Split Rock. Georgian Bay.
25. The Pointers.
20. Moonlight.
27. The Waterfall.
2S. The Log Chute.
21>. Pine Island. Georgian Bay.
;jO. A Lake, Early Spring.
li I
.
Snow Pattern.
:52. Decorative Panel.
li'.i. Birch.
:5 I. Red and Gold.
li^. Pines, Georgian Bay.
5
liii. Birches, Springtime.
37. Yellow and Cold.
38. Decorative Panel.
3!l. Fisherman.
10. The Lake Shore.
11. The West Wind.
42. Hardwood Bush, September.
Loaned by Mrs. U. Ogden.
13. Winter, Canoe Lake.
Loaned by Miss Marion Long.
4 1 to IT. Decorative Panels.
The small sketches are exhibited from the collections of
Mr. Alec. Cumming, Dr. S. Cummings, Dr. James MacCul-luni, Mr. Vincent Massey, Sir Edmund Walker and Dr. A.
F. Webster.
TO THE MEMOBy OFTOMgHOMSONAPJISTid^OODSMAN
QUOTAS DRCWNED IN CANOE lAKE
HE LIVED HUMBLY BIT RASSDNATELYMIH THE miDtlT MADE HIM BROTHER
TO ALL UNTAMED THINGSOF NATUREIT DREW HIM APART AND REVEALED)iITSELF WONDERFULLY JO HM^IjfIT SENT HIM OUT FRQM THEWOOE^ONLY TO SHOW THESE REVEIAFlONSi^C
THROUGH HIS APTl^AND IT TOOKHIM TO ITSELF AT LASTi^^^^lHIS • FELLOW-AKnSTS-AND-CfTHEK'FRIENDS-AND-ADMIRERS
JOIN-GIADIY-IN THIS -TRIBUTE • JOHIS • CHARACTER-AND-GENIUS
HlSftBODYrt IS n BURIED OATOWEN ASOUND.dONTARlO.ONEARWHEREWHEVWASW^BOKN
V/? AUGUST. ^C
18;^I'TITT'T^*^^'*^* '
TW^n^w^i''^
/l5kA>.-- Tahlet ox Caikn
Erected September 27th, 1916, near Mowat Lodge, onshore of Canoe Lake, Algoncjiiin Piirk, f)iii .
JAPANESE COLOUR PRINTS
11
INTRODUCTION
T^^E rise of the Ukiyoe or Popular School of Japanese
art was in the nature of a response to a widespread
need. It was a direct outcome of the improved
condition of the common people under the peaceful regime
of the Tokugawa Shoguns. As the artizans and tradesmen
prospered, life became freer and places of amusement multi-
plied. To satisfy the aesthetic craving of the people leading
this gay life something other than the dignified and refined
works of the classic painters was required."
"The inception of the Ukiyo'- school dates back to the
early years of the seventeenth century, when a painter
named Iwasa Matahei, departing from the traditional
subjects of the painters of the classic schools, made pictures
of dancing girls and scenes of everyday life. The first
prints were made about 1660 by Hishikawa Moronobu,
and were in simple black outline. They were sometimes
coloured by hand with a few touches of colour roughly laid
on, probably by the publisher's assistants.
'Tn the early years of the seventeenth century a style
of colouring known as tan-ye (from the predominant use of
a red-lead pigment known as tan) came into vogue. A little
later, prints were sold with more elaborate hand colouring.
Lacquer was mixed with the pigments to give them brilliancy,
and the prints were known as urushi-ye, or lacquer prints.
In or about the year 1742 Okumura Masanobu began to
make the first true colour-prints. For these he used only
two colours, green and a soft red called beni, and the prints
were known as beni-ye. For some years difficulties connected
with the printing prevented the use of more than two colour-
blocks, and not until 1764 was a method discovered which
made it possible to use as many blocks as might be required.
Suzuki Harunobu was the first artist to take advantage of
the discovery. The prints designed by him during the next
six years are among the finest works of the school. Under
his guidance and that of Katsukawa Shunsho, the art of
colour printing was brought to perfection. Then followed a
12
period when many prints of precious quality were produced.
The culmination was reached during the seventeen hundred
and eighties, when Torii Kiyonaga turned out his marvellous
single sheets, diptychs, and triptychs.
"Many splendid prints were designed in the next decade.
It was then that Eishi made his delightful triptychs, that
Sharaku stirred the people of Yedo with his wonderful
caricature portraits of popular actors, and that Utamarogained wide fame by the products of his facile brush. It
was, however, a period of decadence, and by the end of the
century a considerable distance had been travelled uponthe downward path.
"The prints made in the nineteenth century were, for
the most part, coarse and gaudy, the chief e.xccptions being
those designed by Hokusai and Hiroshige. These men,though classed as of the Ukiyol^ school, in reality represent
what may more properly be termed another 'movement'growing out of, but distinct from, the Ukiyoe art that reached
its apogee under Kiyonaga."
—From Japanese Colour Prints and Their Designers
and Catalogue of the Buckingham Collection, by Frederick
William Gookin.
13
CATALOGUE OF JAPANESE COLOUR PRINTS
MASANOBU, OKUMURA (1685-1768)
He exercised the greatest influence on the developmentof the Ukiyoe school during the first half of the eighteenthcentury, and was the first to colour prints with beni (pinkor red pigment). He invented two-colour printing and wasthe founder of the Okumura School.
1. Passers By Talking with Two Beauties.
Black and White.
ti. Two Girls Boating in an P-normous Sake Cup.Coloured by hand.
3. The Puppet Players.
Coloured by hand with lacquer.
1. Two Boys.
Two-colour print.
UNKNOWN ARTIST
An Actor.
Black and white, with one colour applied b\' hand.Middle of the Eighteenth century.
UNKNOWN ARTIST
ft. A Daughter of Kikuya on Her Garden Bench.Hand coloured. Period of Masanobu.
TOSHINOBU, OKUMURA Born about 1709, active
until about 1743j.
Son of Okumura Masanobu, and considered the best of
his pupils. His period of production covered the years of
the lacquer prints, and his output was of high quality.
7. The .\ctor Anagawa C^hiyosaburo, in F'emale Part.
I land coloured.
U
KIYOMASU, TORII (Born about 1679, died 1764).
The second head of the Torii school. He was greatlyinfluenced by the work of his father, Kiyonobu, the founderof the school. His subjects were chiefly women and actors,drawn with a vij^orous line, and evidencing qualities ofdistinction.
S. The Actor Ichikawa .Masufioro.
Hand coloured.
!>. .\ Beauty.I.ar(|uer i)rinl. Hand coloured.
SHIGENOBU, HIROSEA pupil of Shigenaga. The date of his birth is obscure.
rShigenaga 1697-1756j.
1 0. A Beauty of Vedo.Hand coloured.
KIYOMITSU, TORII 1735-1785).
An artist of distinction who succeeded his father, Kiyo-niasu, as head of the Torii line of artists. He producedbut few prints, and is accredited with being the first to adda third colour-block to the original two.
11. A Theatrical Bill-Board.
Black and white, with touches of red. Printedin 1761.
12. An .\ctor.
UNKNOWN ARTIST13. (]overs of Books Explaining a Play.
Tw'O small black and white prints.
SHIGENAGA, NISHIMURA (1697-1756)
"Son of Shigenobu. An artist of ability who exercisedmarked influence upon the development of the School.His prints are very uneven in quality".— F.W'.Ci.
14. Utsutsu No Asobi: Day-Dream Play.Three parts, two-colour print.
KIYONOBU, TORII (ca. 1740-1756).
The second representative of the Torii. Worked in themiddle of the two-colour print period.
15. Princess and Samurai, the Latter Playing theKoto.
Two-col(jur jjrint .
15
YOSHINOBU, YAMAiMOTO ca. 1750).
Probably a pupil of Shigenaga, and worked in two-colourprints about 17.50. Perhaps the same as Komai Yoshinobu.
I <>. Two Dancing Girls.
Two-colour print.
TOYONOBU, ISHIKAWA (1711-1785).
One of the most important of the Ukiyoe masters, pupilof Shigenaga, and probabU- of Masanobu, whose style heclosely assimilated.
IT. Nakamura Kiyosaturo Playing the Part ofHisamatsu.
Three-colour j)rint.
KIYOMITSU, TORII 1735-1785).
Second son of Kiyomasu, whom he succeeded as the headof the Torii line. An artist of distinction. Was the first
to add a third colour-block to the original two. After 17<io
he designed onl\- a few prints, anrl appears to have designednone later than about 17()S.
1 H. Two Actors.
Three-colour print.
1 !>. Two Actors as Minstrels Wearing Basket Hats.
Two-colour print.
KIYOHIRO, TORII (ca. 1750-1758).
"Kiyohiro was a pupil of Kiyomasu, and was, perhapshis son. He was a talented artist who probably died young.No details about his life are known. His extant works canall be placed within the years from about 1750 to 1758."—F.w.r,.
20. Komaciii, a Famous Beauty Holding a PaperBook.
rhree-cc;Iour jirint.
21. The Actor Suketakaya Takasuke in Male Part,with Arishi Wasuno in Female Part.
Two-colour i)rint.
22. Young Lady Holding an Umbrella.Three-colour print.
KOMAI YOSHINOBU, (ca. 1750).
Komai and Yamamoto Yoshinobu (Catalogue Xo. 16)may be the same artist.
23. Woman Under Willow by the River.
TTve-colour print.
16
HARUNOBU, SUZUKI
"The central ti.u;urc in IJkiyoe, and the eminent masterunder whose hand the art of colour ijrintinjj was hroiijjilu
to perfection in the sixties of the eiiihteenth century. lie
was a draughtsman of extra elegance and [)ower, and his
works ha\e a charm that is i)eculiarl\- their own." I'.W'.f'i.
All subsequent numbers are of multi-coloured prints.
t2 I . Two Lovers.
.\ piliai- print.
'!•>. The Meditation of Two Young Lovers,
Interior: -Showing an open balcony and a iiranch
with lilossoms in left background.
tJ<». A Young Girl of High Caste Shaving the BaldHead of Hokurokujin, the God of Happiness.
;27. Ifrashimataro, .Seated on a Turtle, Leaving HisHome for the Palace of the .Sea Goddess Benten.
tiS. Young Woman Spinning Cot ton : In (he Fore-ground an Attendant Preparing a Meal.
ti!>. .\ Young Woman, Attended by her .Servant, is
Reading a Love-Letter.
liO. A Young Nobleman, with the Assistance of a.Servant, is About to Mount his Horse and ReturnHome After Having Admired the (Cherry Blos-soms.
;{l. A Confidential Talk.Girl Returning Young Man's Ball which wentOver the Fence.
IJtJ. The Beauty Choyama of Choshiya Receiving aMessage from a Young Girl.
tin. The Pensive Maid.A Young Woman Seated on the Verandah of
Kiyomizu Temple in Kyoto.
J{ I . A Japanese Daphne.
;j.>. A Nobleman Reading a Love-Letter Lender a
Lantern.
im. .Sayonara .\u Revoir.
Woman Kneeling Under a Mosquito Net Canopy,Bidding Her Lover Good-Bye.
17
KORIUSAI, ISODA fca. 1760-1780).
"One of the most important followers of Harunobu, andpupil of Nishimura Shigenaga. He was a samurai andassociated with samurai of the upper class. About 1781 hegave up print designing and devoted himself to painting,receiving an honourary title."—F.W.C.
;JT. Girls Wearing Gowns Which Indicate January..A pillar j^rint.
:iH. Cat and Goldfish.
Hit. Cardinals and Pomegranates.
lO. The Promenade.A Fashion Model and Two (iirl Attendants Prom-enading; Three Observant Females in the Back-ground.
41. A Beauty: From the "Eight Beauty Series."
A VoLiiig Man Holds an I'nibrella 0\-er TwoWomen, One of Whom is Matsushita from Matsu-l)a\a.
Iti. Two Women Enjoying the Weather.
115. A Seated Beauty.She is Plaving with a Small B(n- Whom She Holds:\loft. A Youthful Attendant is to the Right.
SHUNSHO, KATSUKAWA (1726-1792).
One of the greatest of the Ukiyoe artists, highly, renownedin his day, and having many pupils who became famous.Most of his prints were portraits in character. Born in
1726, he died January 22, 1792.
II. Actors in the Parts of a Samurai and His Wife:Visiting the Plum Blossoms.
15. An Actor Impersonating Prince Shotoku.
40. ,.\n Actor.
IT. An Actor Reading Announcements froin a .Scroll
Before a Performance.
4S. Two Actors in a Boat.
4tt. An Actor as a Samurai.
50. The Actor Onoye Matsusuke.
18
SHUNYEI, KATSUKAWA 1767-1819)
Pupil of Sluinsho ami tonimoiiK regardcci as the mostimportant of his followers. lie ijroduced many actor prints
and large bust portraits in which the character oi the indi-
vidual was portra\ed with a keen sense of ol)ser\-at ion .ind
delineation.
51. A Wrestler: Kashiwado Sogoro.
.»2. An Actor in the Part of a Rogue.
.">J5. .\n Actor.
BUNCHO, IPPITSUSAI (ca. 1765, died 1796^
"An artist of sumarai rank, who for a few years designedactor prints in the manner of Shunsho, which have greatdistinction of style and colour. He was celebrated also
as a writer of comic odes. He died on May 18, 1796".—F.W.C.
.>4. Stage Scene from Nakamuraza.On the Japanese stage all female parts are takenby males.
•>.">. .\n .\ctor Impersonating the Spirit of a Lion.
KIYONAGA, TORII (1748-1815).
Studied under Torii Kiyomitsu, but from the first his
work displayed marked individualit >, and bears little resem-blance to that of his master. "The dominant characteristics
of his style are rugged strength and the marvellous qualit\-
of his brush strokes. Everything considered, the greatestartist of the Ukiyoe School and the culminating figure in
its forward movement."—F.W.(i.
5C Two Youths in Gorgeous Robes..\ [Mllar print.
oT. A Group of Three Beauties.
5S. Two Geishas Walking in the Street.
.>W. Three Women in a Tea House.Two are conversing and the other Sweeping thefloor. From the series of Ten Tea Houses, Kinriu san.
<iO. Three Women on a Verandah Overlooking aRiver.
I'roni the series of len Tea Houses: Nakazu.
HI. Group of Three Women on the Banks of theSumida River.
02. Woman Standing in a Garden and Girl KneelingDown to Pick Iris Blossoms.
©3. Azunia Fashion, Head Dress.
19
SHUNCHO, KATSUKAWA ca. 1775-1795).
"I'upil of Shunsho. He followed I he style of Torii
Kiyonaga. His works closely resemble those of the Torii
master, but have less force. He worked from about 177')
to about 1795. In some of his later prints he imitatedYeishi's prints in the Utamaro manner. The dales of his
birth and death are not known.
<» I. Geisha and Attendants Making an Evening Call.
0.">. Ladies in a Pleasure Boat.
<»<». A Party of Women: Interior .Scene with \istaof Water and Landscape to Left.
<»7. Party Watching Fire-Flies.
.MASANOBU, KITAO 1761-1816).
Pupil of .Shij^emasa, who produced prints of distinijuishcd
(|ua]ity, but few in number. He eventually came underKi\onaya's influence, but there is alwa>'s e\'ident the impressf;f his first master.
HH. Three Women and a Boy on the Bank of a Pond.
<»!>. Two Beauties of Eastern Japan.
SHUNMAN, KUBO fl780-1820).
70. Enjoying the Spring Day hy a River.
YEISHI, HOSODA ca. 1782-1800).
"One of the foremost artists of the school. lie was a
samurai of high rank, and a pupil of Kano Eisen. For three
years before he took to Ukiyoe he held an official post in
the household of the Shogun lycheru. Yeishi was a masterof all the resources of the art of colour printing, and his
prints are characterized by great elegance and refinement.
He worked from about 17S2 to ISOO, when he gave up print
designing. He died in 1S29."—F.W.Cr.
Tl. A Fishing Party.
.•\ i)illar [)rint.
7'2. \ Woman Kneeling.
7.*{. . A Seated Beauty, Elaborately Robed, Holds aVase on Her Lap.
7 1. (iengi Hana No En.
Women and Girls at a Botan Show.
7.>. Geishas Entertaining a Young Nohleman.Triptych.
7<». (ieishas Entertaining a Young Nobleman.Triptych.
•20
SIlARAKr, TOSHIUSA! ca. 17«>0-17'>S .
T7. The Actor, Isliikawa nanjuro.
UTAMAKO, KITACiAWA 175.?-IS06 1.
"One of the most gifted and most widely i<no\vn of theUkivoe masters. Kxtraordinarilv facile and l^rilliant."—IWV.C.
7H. A Beauty Smoking a Pipe.
7U. Getting Ready For the Bath.
.HO. .\ Woman Dressing the Hair of Another Whois Seated.
SI. Two Women and a Child Hunting Fire-Flies.
HtJ. Mistress and Servant: Latter Spreading a Ch)thto Dry.
H:J. Boy Phiying While His Mother Spins.
SI. Two Lovers: Umegawa and Chiuhei.
85. Ohatsu's Revenge.
Hii. Woman and lioy Watching Butterflies Througha Window.
Behind them stands another woman holding achild. From the Silkworm Culture Series.
ST. Hanshichi and Sankatsu.
HH. Young Nobleman Hawking with Attendants.Triptych.
TOYOKUNI, UTAGAWA 1769-1825).
"A brilliant artist, of high repute in his day. Some of
his prints, especially the earlier ones, are of distinguished
ciMalit>-."— F.W.C,.
S!>. Lady and Attendant.
!>0. Garden Party in Cherry Blossom Time.Triptych.
1>l. Blind Beggars (]rossing a River. Triptych.
!>2. Large Portrait Head of an Actor.
•21
HOKUSAI, KATSUSHIKA il760-lh49 .
"World known as a great master: l)orn in Vedo in
September, 1760; lived in the district of Kntsnshilca durintj
!)oyhood, and at the age of IS studied the art of woodengraving and became the pupil of Katsukawa Shunsho.He used several different names during liis long artistic life,
as Shunro, Sori, Tai-to, litsu."— F.W.(i.
The following six j)rints are from Hokusai's thirty-six
\iews of Fuji\'ama.
!K5. View of Fuji from Isawa.
i> I . Fuji Seen Beneath a Wave of the Sea at Kan-azawa.
5>.'>. Fuji from Vamashita Shiro-ame.
With lightning Hashes illuminating the great ])cnk,
and white cloudbanks l>ing o\er the lower moun-tains.
«K». A Beautiful Day and South Wind on the Slopesof F'uji.
5>T. X'iew of Fuji from I'shibori.
US. Fuji from Tsukuda Shima at the Mouth of theSumida River.
HIROSHIGE, ANDO (Ichiriusai) (1797-1 5^i.
"The last great artist of the Ukiyoe School, and ;i con-
summate master of landscape art."— P'.W.Ci.
1M>. Kumagawa, Province of Musashi.
!'. in-shaped jirint.
I <M>. The Wistaria of Kameido.Fan-shaped print. I'amous scenes of \'e(lo rellect-
ed in the water.
lOI. The Iris of Horikiri.
Fan-shaped print. I'amous scenes of ^'edo reflect-
ed in the water.
I 02.Fan-shaped print. I'amous scenes of N'cdo rellect-
ed in the water.
103. Ujibashi Bridge.
Fan-sha])ed i)rint.
IIIROSIIU;!:. ANDO I Continiiedj
I O I . Sanjobashi.I"aii-slia|)e<l prin!. l-aiiunis scenes ot Kyoto'The l)ri<l_ije o\ct i lir Kainagawa.
I<>5. Wooden Bridge of ^ahaiii•
I'an-shaped iirint.
IO(». Flowers of Four Seasons.
I'"aii-sliapi'il prim .
I 07. Crane and Yellow Rose.
ms. I.otiuat and Bird.
1 0!>. Parrot and Pvrus Spectabilis.
I 10. Lily and Bird of Paradise.
111. Pheasant and Young Pine.
112. Quail and Poppy.
I Hi. Yunii Hari Tsuki.
Tho l):)\v-^h;ii)e 1 moon seen through a rocky i^orjj'e
III. Rain at Asakusa Yedo.
The followiiii; ei.iiht prints are froni The Tokaido Series.
I I •>. Ohazaki. Yahagi Bridge with the Processionof a Feudal Lord.
I I <». Kanaya. Ferryman Carrying People acrossthe River Oi.
I I T. Yejiri.
118. The Heavenly Dragon River.
I 1 5>. Kanagawa.
120. Shono in a Storm.
I t2 I . The Ferry Boat at Arai.
122. Kambara.K\enint; Snow.
I2.*{. Shichirigahama Beach.Famous sights of the Main Island.
12 1. Susaki.
Vedo Series. Winter sunrise.
J2»>. Ochanomidzu in Snow.Sights of \'edo, with figures.
_'3
HIROSHIGE, ANDO i Continued)
120. Shinagawa: Visitors at a Maple Grove.
127. Spring at Yase.
Views of K\oto Scries.
128. Night Scene on the Kamo River Bed.
X'ievvs of Kyoto Series.
The following eight prints are from the One lliiii(lre<l
Views of Yedo Series:
120. Storm on the Great Ohashi Bridge: SumidaRiver.
ISO. Night Scene, Young Monkey Street. ShowingTheatres.
Note the shadows, a feature rarely shown in a
Japanese design.
I :S I . View from the Summit of the Ascent to the"^ usbin a Tenjin Shrine Overlooking Inoka-shira Pond: Shinobazu.
i:{2. Festival of the Cock, Asakusa Rice Fields.
A white cat on the window-sill watches the pro-
cession.
I J{:{. Hachiman Shrine of Sunamura.
I IS I. kamito Tenjin.
Wistaria blooms hanj^ing in the foreground o\-er
the ])on(l, the Drum Bridge behind them.
i:{.>. Fireworks at Ryogoku Bridge.
iiHi. Scene from the Top of Asukayama.
1:57. Ilon-Mo Meadow and Honsaka Path at Yui.
Ipright Tokaido .Series.
lliH. Night Travel in the Heart of the IlakoneMountain.I'pright Tokaido .Series.
I ;$1>. Numazu.I'pright Tokaido Series.
ZESHIN, SHIBATA (First half of I'Hh century^.
One of the four masters following Hiroshige.
I 10. Travellers in a Storm.
.\n illustration of Japanese humour.
24
BRiaOBNSUIMITEO.TO RO NTO
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