- Doubled w. thin Japanese w. bits of vegetal matter embedded, closing a few sm. wormholes at the bottom of the print.
= Part of a diptych or triptych.
- Vertical central fold, resulting in some sm. dam. spots; one sm. wormhole in lower margin; col. faded; sl. soiled/ rubbed.
= Later restrike.
- Sl. dampstained in left margin; sl. faded.
AND 1 other: KIYONAGA (1752-1815) (Four Beauties around a stone gate) (part of a col. woodcut ôban, left half of a diptych or triptych. Early 20th cent. ed.; cut short).
- Sl. dampstained in left margin; sl. faded.
- Rebacked w. thin Japanese paper; lower margin professionally restored, lower borderline redrawn.
AND 7 other omacha-e (prints for children), all collections of multiple figures (monozukushi), i.a. warriors, costumes, animals, all rebacked/ strengthened w. thin Japanese paper.
- With a closed tear in centre of upper margin (and 5 mm. in the portrayed's hair) and three tiny tears in blank margins; w. some very light creases in the woman's face. A good impression.
= One of four prints from the series Fujô yondai (Women in Four Settings). On Shûhô: The New Wave, p. 179: "Born in Kyoto, Yamakawa Yoshio studied the techniques of Nihonga with Ikegami Shûhô (1874-1944) (from whom he received his name) and subsequently with Kaburagi Kiyokata. Together with Itô Shinsui, Kobayakawa Kiyoshi and Torii Kotondo, he is counted among Kiyokata's outstanding students in the bijinga genre, [...]." SEE ILLUSTRATION PLATE LXVIII.
- Dampstained, largely affecting face of the maiko.
= Yamamura Kôka, also known as Toyonari, studied under Ogata Gekkô and graduated from the Tokyo Art School in 1907. He is celebrated for his actor portraits. He was an adherent of the shin hanga movement and he was strongly opposed to the emerging sôsaku hanga movement, where artists committed themselves to being involved in all processes of print production, including the carving and printing, rather than just the design process. The New Wave, p.16-17, 153.
- Trifle browned, otherwise fine.
= A volume of charicatures of old haikai poets, each in a fan shape and accompanied by a calligraphed poem.
- Sl. yellowed.
= SEE ILLUSTRATION PLATE LXVIII.
- Slightly worn in lower left corner; trifle soiled.
AND 2 other col. woodcuts ôban, i.a.: Hiroshige (1797-1858). Matsuchiyama Saruwaka-machi Kinryûzan (Saruwaka-machi District and Kinryûzan Temple seen from Matsuchiyama). Signed Hiroshige-ga, w. censor seals and date seal, 1853 (from Edo meisho (Famous Places in Edo); margins cut off).
= One of a series of supplement plates to the periodical Tozai Shimbun, showing of ghosts and monsters.
- Binding holes near left or right edge. = Rare.
- Rebacked w. Japanese (w. annots. in brush and ink on it); occas. sl. creased and lacking flecks of colour, particularly along right margin; sm. remants of glue in lower corners. Nevertheless an attractive print.
= Upper panel of an asymmetrical triptych, showing actors Nakamura Jakuemon I as Dokuro and Arashi Rikan III as Nozarashi Gosuke, in Act 3 of the play Keisei Kuruwa no Kadomatsu (The New Year Pine Tree of the Pleasure Quarters).
- Two panels glued together; edges w. remnants of brown paper; verso of right panel w. red (ink?) lines not visible on recto.
= From the series Seichû gishi meimeiden (Biographies of the Faithful Samurai).
- Right panel lacks large portion of print along right side, incl. title-cartouche, replaced w. part of another woodcut; all lvs. w. fold 3 cm. from right side; all tipped onto mount in upper corners.
- Trifle wormholed and sl. yellowed; folded twice; a few false creases.