Annotated bibliography for Ukiyo-e painting Studies

This is a digital version of the bibliography, adapted from Timothy Clark, Ukiyo-e Paintings in the British Museum, London, British Museum Press, 1992, pp. 241-250.

This, like any bibliography, cannot hope to be an exhaustive collection of sources relating to the study of Ukiyo-e painting. It will be found particularly deficient in auction and dealers' catalogues and magazine articles. Wherever possible, it has been noted whether or not collectors' names appear in catalogues, to encourage the study of the provenance of Ukiyo-e paintings. It would have been impossible to make detailed remarks about the authenticity of paintings published in these sources; this is a matter best debated elsewhere. In the case of items which were hard to come by some library shelf-marks are included where known. The abbreviations used are as follows:

BK: Bunkazai Kenkyujo. Tokyo National Research Institute for the Study of Cultural Properties. 束京国立文化財研究所. (  

FR: Freer Gallery. Library of the Freer Gallery of Art, Smithsonian Institution, Washington, DC (

HYC: Harvard Yenching Library, Harvard University, Cambridge, Mass, (

KT: Kokkai Toshokan. National Diet Library, Tokyo. 東京国立国会図書館 (

LC: Library of Congress, Washington, DC (

IRL: Rübel Library, Sackler Museum, Harvard University, Cambridge, Mass. ( and

SP: Spinks. The Manrakudo Library of Dr Charles Nelson Spinks, The American University Library, Washington, DC (

TNM: Tokyo National Museum, 東京国立博物館 (

UBM: Ukiyo-e bunken mokuroku, Harigaya Shokichi et al. (eds), Ukiyo-e bunken mokuroku.浮世絵文献目録. Tokyo, Mitô shôku, 1972 (



  • Anderson, William. Descriptive and Historical Catalogue of a Collection of Japanese and Chinese Paintings in the British Museum. London, Trustees of the British Museum, 1886 (

Anderson was a surgeon working for the Meiji ernment in Japan from 1873 to 1880. Upon his return to London in 1881 he sold his collection of 3,299 Japanese and Chinese paintings and studies to the British Museum and was commissioned by the Trustees to write this catalogue. The chapter ‘Popular School, or, Ukiyo-ye Riu’ (pp. 328-403) lists 330 items, some of which will be found in the present catalogue, though many have since been classified into other schools.

This pioneering work is divided into sections: ‘General History', 'Applications of Pictorial Art', ‘Technique', 'Characteristics', 'Chinese and Korean Pictorial Art’. A few Ukiyo-e paintings from Anderson's own collection are used to illustrate the text,



Sales exhibition of 488 paintings from the H. Ahrens collection held at Dowdeswell's, 160 New Bond Street, in May 1888. Lists sixty-seven Ukiyo-e paintings described as being by Moronobu, Hokusai, Itchô, et al.



  • Kobayashi Bunshichi. Ukiyo-e tenrankai hinmoku, 小林文七  浮世絵展覧会品目. Tokyo, Kobayashi Bunshichi, 1892

Catalogue of what must have been one of the earliest public exhibitions of Ukiyo-e, organised by Kobayashi Bunshichi at Shôgenrô Restaurant in Ueno on 12 and 13 November 1892. 119 Ukiyo-e paintings; thirty-four prints. Many collectors' names given. Preface by Hayashi Tadamasa.



  • Fenollosa, Ernest Francisco. Special Exhibitions of the Pictorial Art of Japan and China, No.1: Hokusai, and His School. Boston, Museum of Fine Arts, 1893 (

No illustrations. Catalogue of 172 Boston Museum prints and paintings by Hokusai and pupils, ‘5 screens, some 65 other signed paintings, about 100 unsigned studies…’. Fenollosa wrote in the introduction, ‘In fact, the true history of the course of changes in Hokusai's style must be founded primarily upon a study of his paintings rather than of his prints’, and ‘Even of the paintings and drawings available not more than half could be here shown’.



  • Fenollosa, Ernest Francisco. The Masters of ukiyo-e. A Complete Historical Description of Japanese Prints and Color Prints of the Genre School as Shown in Exhibition at the Fine Arts Building. New York, 1896 (

No illustrations. The first major general exhibition of Ukiyo-e paintings and prints in the USA, in which Fenollosa sets forth his canonical views: concerning Kiyonaga, ‘We must now consider the work of a man [Kiyonaga] who, all things considered, is to be regarded as the central figure of Ukiyoe. All up to his central date is a rising curve; all afterward the gradual descent of decay'. It is logical to assume that the source of these works was the dealer Kobayashi Bunshichi; certainly he was the source of a second consignment brought over by Fenollosa in November 1896. The ownership of the second shipment (and perhaps the first too) was disputed in a legal case, Kobayashi v, Ketcham (Feb. - March 1898). Charles Freer purchased about thirty paintings from the 1896 catalogue when they were in the custody of the New York lawyer E. S. Hull in 1898. They are now in the Freer Gallery of Art, Washington, DC.

On pp. 268–325 Goncourt lists (but does not illustrate) all the Hokusai paintings and drawings known to him in Europe, the USA and Japan, Collectors' names given.



  • Kobayashi Bunshichi. Ukiyo-e tenrankai mokuroku, 小林文七  浮世絵展覧会目録. Tokyo, 4/1898 (Japanese trans. of above, BK 20604/366/C3)

No illustrations. 241 paintings and prints. Fenollosa writes in the introduction, ‘Last year Mr. Kobayashi Bunshichi held a public exhibition of Ukiyoe paintings, only, at the rooms of the Bijitsu Kiokwai at Uyeno’ (no catalogue known); also, ‘The difference between the New York exhibition (1896) and this one consists chiefly in the present far larger proportion of paintings’.



  • Fenollosa, Ernest Francisco. Catalogue of the Exhibition of Paintings of Hokusai held at the Japan Fine Art Association, Ueno Park from 13th to 30th January, 1900. Tokyo, Kobayashi Bunshichi,1901 (

Fifty illustrations. About 300 paintings and drawings by Hokusai and pupils (including some forgeries and works which should be reassigned to pupils). The nucleus of the exhibition was the Kobayashi and Homma Collections, the latter family being descendants of Hokusai's pupil Hokuyô, 北曜. At least twenty of these works were purchased by Freer.



  • New York, American Art Association. Rare old Japanese screens, Ukiyo-paintings, water colors, illustrated books ... Bunshichi Kobayashi, Tokyo. Auction cat., 7–8 Jan. 1902.

No illustrations. Includes ‘50 different sketches and drawings ... from a private collection of one of the pupils of the late Hokusai' and about 100 lots of Ukiyo-e paintings (including screens) with artists' names and brief title of each work.



Several illustrations. 207 lots of Ukiyo-e paintings, including eighty-one by Hokusai and pupils. This is the sale at which Freer purchased the huge Utamaro painting of the brothel at Shinagawa.



Several illustrations. About fifty lots of Ukiyo-e paintings.



Sixty illustrations, many of Ukiyo-e paintings. Catalogue of 210 paintings, perhaps half Ukiyo-e,

Many colour woodcuts and collotypes, including Ukiyo-e paintings. Collectors' names given. At least one Japanese edition was issued: Shimbi shoin (eds), Ukiyoe-ha gashû, 審美書院編 浮世絵派画集. 5 vols, Tokyo, 2/1929-9/1930.



No illustrations. Sales exhibition to celebrate the opening of the new Yamanaka galleries in New York. 156 Ukiyo-e paintings and prints described by Fenollosa.

Colour woodblock or collotype illustrations. Ch. 5 of sect. 7 of vol. 6, ‘Ukiyo-e’ (1909), includes sixteen important Ukiyo-e paintings.



Fifty-six illustrations of genre and Ukiyo-e paintings, 174 brief descriptions of genre and Ukiyo-e paintings. Collectors' names given: Fukuba Tôru, Homma Shichisô et al. Very major loan exhibition sponsored by the Japanese government. See Kuwabara Yōjirō (1911) below.



Illustrations of Ukiyo-e paintings now in the British Museum.

Highly important not only for its many collotype illustrations but also for its eyewitness descriptions of Kyôsai's working methods.

One hundred small illustrations, with descriptions and dates. Kuwabara's collection was originally sent as part of the Japan-British Exhibition held at Shepherd's Bush in 1910. It then toured Stockholm (Royal Academy of Fine Arts, 15 Jan.-15 Feb. 1911) and Paris (Louvre, 24 Feb.—19 March 1911), and Swedish and French editions of the catalogue are known. Some copies include prices, suggesting it was a sales exhibition. However, most of the paintings seem to have returned to Japan and were photographed, together with others from this major early collection, at the Tokyo National Institute for Research into Cultural Properties (Kokuritsu Bunkazai Kenkyûjo) in Sept. 1933. In the short preface Kuwabara champions Ukiyo-e paintings and warns, ‘Very few of these old paintings are exported, and frequently those sent abroad are counterfeits’.

  • Tanaka Masuzô (ed.), Ukiyo-e gashû, 田中増蔵 浮世絵画集. 3 vols, Tokyo, Shûseidô, 1911-13; ( repr., (2 vols) Tokyo, Yabuki Kôshôdô, 矢吹高尚堂, 11/1919

About 280 illustrations of genre and Ukiyo-e paintings (collectors' names given) based on an exhibition of women's fashions of the Edo period, Tokugawa jidai fujin fûzoku, 徳川時代婦人風俗, held at the Tokyo Imperial Museum in 1911.

  • Kyoto, Yamato-e Kyôkai (eds). Dai-ikkai nikuhitsu hanga tenran mokuroku, 京都大和絵協会 第一回肉筆版画展覧目録. Kyoto, Geisôdô, 7/1911 (

Fifty Ukiyo-e paintings (illustrated, collectors' names given) and 112 prints (some illustrated). First exhibition of works belonging to Kansai collectors organised by the Kyoto Yamato-e Kyôkai, 15–17 Apr. 1911, in the Kyoto Municipal Library. The preface promises that a second exhibition will be held.



  • Kyoto, Yamato-e Kyôkai (eds). Dai-nikai nikuhitsu hanga tenrankai mokuroku, 京都大和絵 協会第二回肉筆版画展覽目録. 1912

Listed in UBM.



Includes illustrations of some important Ukiyo-e paintings. No collectors' names given.



Vol. 3 (of 5) includes illustrations of fifteen Ukiyo-e paintings and lists a total of forty-two. Collectors' names given, mainly Kansai. Apparently the catalogue of a major exposition held at the Kyoto Imperial Museum, some editions having the title Kyoto hakurankai chinretsuhin sômoku.



Illustrations of ninety-two Ukiyo-e paintings. Collectors' names given: Takeoka Toyota et al. Exhibition held at Osaka, Mitsukoshi Department Store, in Jan. 1917. Includes the nine drawings of sumô wrestlers by Sharaku, owned by Kobayashi Bunshichi, which were subsequently lost in the great Tokyo earthquake.


About 120 illustrations of Ukiyo-e paintings. No collectors' names given; some now TNM. Some of dubious quality/authenticity.

  • Tokyo, Bijutsu Kurabu. Itô Daihachi, 東京美術倶楽部 伊藤大八. Auction cat., 29 Nov. 1917

Lot nos 57-64, 211-45 are Ukiyo-e paintings.



  • Takeoka Toyota ihin ten, 武岡豊太遺品展. Kobe, 1918, sales exh.

Listed in UBM.



About 120 Ukiyo-e paintings (seventy-eight illustrated). Collectors' names given. Exhibited at Ôta Shinjirô's shop in Kobe, Motomachi, on 8-9 March 1919, as the twelfth meeting of the Kobe Yamato-e Kyôkai, of which Takeoka Toyota was chairman.


  • Yoshikawa Kambô (ed.) Nikuhitsu ukiyo-e kankôkai gashû, 吉川観方 肉筆浮世絵刊行会画集.1919

Listed in UBM.


Listed in UBM.


Issue no. 10 of this magazine includes photographs of ten Ukiyo-e paintings. Collectors' names given.



Includes illustrations of the Ukiyo-e paintings in Baron Iwasaki's collection, now in the Seikado Foundation, Tokyo.


  • Kyoto, Yamato-e Kyôkai. Dai-sankai nikuhitsu hanga tenrankai mokuroku, 京都大和絵協会 第三回肉筆版画展覧会目録. 1921

Listed in UBM.



Pioneering study of preparatory drawings for Ukiyo-e woodblock prints. Thirty illustrations. Collectors' names given.



Illustrations of seventy Ukiyo-e paintings, selected from the 100 from the collection of Takeoka Toyota, 武岡豊太, exhibited at the Kyoto Imperial Museum in Apr. 1923. Very fine paintings from one of the largest Kansai collections of the time.



  • Yoshida Kitarô (ed.). Nikuhitsu ukiyo-e (Kishida Ryûsei-shi hizô hin), 吉田喜太郎 肉筆浮世絵 岸田劉生氏秘蔵品. 2 vols, Kyoto, Higashiyama shobô, 8/1924 (KT 333/90) (

Albums pasted with photographs of about twenty early genre paintings which belonged to Kishida Ryûsei.





  • Hoshino Shaku (ed.). Sesshoku ukiyo-e hyaku-sugata, zempen (or Sesshoku ukiyo-e hyaku-shi)星野錫 設色浮世絵百姿·前編. Tokyo, Gahôsha, 4/1927 (

Includes illustrations of about fifty Ukiyo-e paintings in colour. Collectors' names given. Preface by Fujikake Shizuya, 藤懸静也.



A series of thirty guides to auction prices fetched by various categories of works of art at the Tokyo Bijutsu Kurabu during Taishô. The volume for Ukiyo-e painting includes facsimile seal impressions; details about the major paintings by each artist sold at the Tokyo Bijutsu Kurabu during Taishô (including vendors' names); photographs of about fifty selected paintings.

Short article about two bijin paintings by Eishi and Shunsho in the Buckingham Collection.

Large folio with collotypes of twenty-one genre screens (with details), Limited edition of 100 copies.


  • Hôchi Shinbunsha (eds). Tokugawa jidai kakuha meisaku: ukiyo-e gashû, 報知新聞社 德川時代各派名作・浮世絵画集. n.p., Kôgeisha, 6/1928 (BK 1213/C3; KT 333/116; TC) (

Includes photographs of about sixty-five Ukiyo-e paintings. Collectors' names given. This exhibition, held at the Tokyo-fu Bijutsukan, 6-25 June 1928, was reviewed in English in the Yearbook of Japanese Art (1928), pp. 58-64.



  • Maeda Seison (ed.). Nihon fûzokuga taisei 4: Toyotomi jidai, 前田青邨 日本風俗画大成4豐臣時代. Tokyo, Chûô Bijutsusha, 3/1929 (

Sixty-four examples of Momoyama genre painting. Collectors' names given.

  • Kikuchi Keigetsu (ed.). Nihon fūzokuga taisei 5: Tokugawa jidai shoki, 菊地契月 日本風俗画大成5 德川時代初期. Tokyo, Chûô Bijutsusha, 4/1929 (

Sixty-five genre and Ukiyo-e paintings to c. Kambun (1660s). Collectors' names given.

  • Kaburagi Kiyokata (ed.). Nihon fûzokuga taisei 6: Tokugawa jidai chûki, 鏑木清方 日本風俗画大成6 德川時代中期. Tokyo, Chûô Bijutsusha, 8/1929 (

Sixty-four Ukiyo-e paintings of the period Itchô-Toyohiro. Collectors' names given,

  • Hirafuku Hyakusui. Nihon fûzokuga taisei 7:Tokugawa jidai kôki, 平福百穗 日本風俗画大成7 德川時代後期. Tokyo, Chûô Bijutsusha, 7/1929 (

Sixty-two Ukiyo-e paintings of the period Utamaro-Eizan. Collectors' names given.



Each volume includes a few illustrations of Ukiyo-e paintings, but mainly prints. No collectors' names given,

  • Tokyo, Teishitsu Hakubutsukan (eds). Ukiyo-e tenrankai zuroku, 帝室博物館 浮世絵展覽会図録. Tokyo, Ôtsuka Kôgeisha, 9/1930 (BK 1475/3021/4301/C3; кт. 424/59) (

Illustrations of seventy-five Ukiyo-e paintings, Collectors' names given. Text by Fujikake Shizuya. Strong on early eighteenth century, particularly Kaigetsudô.



Ukiyo-e prints and paintings and genre paintings. No collectors' names given.



132 genre paintings. Some collectors' names given.

  • Uemura and Takamizawa Tadao (eds). Kinsei Nihonga taikan 4: shoki fûzokuga, 近世日本画大観4 初期風俗画. Tokyo, Takamizawa Mokuhan Sha, 8/1932 (
  • Kyoto, Hakubutsukan (eds). Nikuhitsu ukiyo-e shû, 京都博物館 肉筆浮世絵聚. Kyoto, Geisōdō, 1932 (KT 430/59)

Illustrations of forty-three Ukiyo-e and genre paintings. Collectors' names given.

167 illustrations of Ukiyo-e paintings. Collectors' names given. Many Kaigetsudô paintings.

  • Kyoto, Hakubutsukan (eds). Nikuhitsu ukiyo-e tenrankai mokuroku, 京都博物館 肉筆浮世絵展覧会目録.1932

Listed in UBM.

  • Shimizu Gensendô (ed.), Ukiyo-e nikuhitsu Ôtsu-e chinretsu tenrankai mokuroku, 清水源泉堂 浮世絵肉筆大津絵陳列展覧会.1932

Listed in UBM.

  • Tokyo, Ukiyo-e Kyôkai. Ukiyo-e sôgôten zuroku, 浮世絵協会 浮世絵総合展図録. Tokyo, Shichijô Shoin, 5/1932 (BK)

Illustrations of forty Ukiyo-e paintings, including several Yata-esque fakes, and thirty prints, Collectors' names given. Edited by Kaneko Fusui, 金子孚水 



  • Kyoto Hakubutsukan. Nikuhitsu ukiyo-e taikan, 京都博物館 肉筆浮世絵大観. Kyoto, Benridô, 1/1933 (BK 2786/C3; LC f7 NE1310/K9; BM 1935-6-5-01) (

Sixty-six illustrations of Ukiyo-e paintings exhibited at the Kyoto Museum, Collectors' names given,

167 Ukiyo-e paintings (Moronobu-Masanobu). Some collectors' names given.

  • Kyoto Hakubutsukan. Senmen gafu: Kônoike Danshaku-ke zô, 京都博物館 扇面画譜 鴻池男爵家蔵. Kyoto, Geisôdô, 8/1933 (BK 19752/C3) (

Includes illustrations of twenty Ukiyo-e fan paintings from the Konoike Collection (see also Tokyo, Ôta Kinen Bijutsukan 1981).

Exhibition of 100 lots of Ukiyo-e paintings (eighteen illustrated) and 144 lots of ex-Bigelow Ukiyo-e paintings (thirty-three illustrated) owned by Yamanaka & Co. at the Nihon Bijutsu Kyōkai, Tokyo, 1–5 Dec. 1933.

  • Tokyo, Bijutsu Kurabu. Ko-Bigerô-shi iaihin ukiyo-e oyobi Shijô-ha gafuku nyûsatsu, 東京美術俱楽部 故ビゲロー氏遺愛品浮世絵及四條派画幅入札. Auction cat., 11 Dec. 1933 (

192 lots of Ukiyo-e paintings (seventy illustrated) formerly in the Bigelow Collection, de-accessioned from the Museum of Fine Arts, Boston.



Illustrations of 161 Ukiyo-e paintings from the period of Kaigetsudo-Masayoshi, including Shunsho, Utamaro et al. Some collectors' names given.

  • Tokyo Bijutsu Kurabu. Shumpôan jûshû ukiyo-e kane bô-ke shizôhin tenkan nyûsatsu zuroku, 東京美術俱楽部 春峯庵什襲浮世絵并某家斯蔵品展観入札図録. Auction cat., 12-14 May 1934

Twenty-two lots of forged Ukiyo-e paintings produced by the Yata family and offered for sale in conspiracy with the scholar Kaneko Fusui and the dealer Shimizu Naoji. The family also produced many more forgeries which are not included in this catalogue. The scandal cast a long shadow over the study of Ukiyo-e painting for many decades.

A deluxe edition of the Shumpôan auction catalogue of forged Ukiyo-e paintings, with accompanying essays by the scholar Sasakawa Rimpû.



  • Osaka Bijutsu Kurabu. Jidai kinshû kodai ningyô maki-e mono nikuhitsu ukiyo-e tenrankai, 大阪美術俱楽部 時代綿繡古代人形蒔絵物肉筆浮世絵展覧会. Sales exh., Yamanaka & Co., 12-14 May 1936

114 lots of Ukiyo-e paintings (fourteen illustrated), including some dubious-looking examples.



Album of thirty plates of Ukiyo-e paintings from an exhibition held 12-27 March 1938. No collectors' names given.



A catalogue raisonné of Kiyonaga's works, including thirty-two paintings.



A classic, integrated study of Ukiyo-e, illustrating some paintings. Collectors' names given.



  • Kokusuisha (eds). Genshoku nikuhitsu ukiyo-e shû, 国粋社 原色肉筆浮世絵集. Tokyo, Kokusuisha, 1948 (SP ND/1052/C4)

About fifty illustrations of Ukiyo-e paintings. Collectors' names given.



Seventy-eight important early genre paintings (forty-four illustrated).

An account by one of the principal figures involved in the Shumpôan forged Ukiyo-e painting scandal of 1934.



Stern's approach is to discuss in chronological order selected paintings from the collection of the Freer Gallery of Art.



Useful survey of the work of the Kaigetsudô atelier, including forty-one small plates, mainly of paintings. Collectors' names given.



Forged sketchbooks purporting to have been done by Hiroshige during trips along the Tokaido and Kisokaido Highways.




Account of early genre painting; 119 illustrations.



Exhibition of seventy-three fine Ukiyo-e paintings (all illustrated) from the former Kanda Raizô,神田雷蔵 collection which then passed into the possession of Ôtani Takayoshi,大谷孝吉 (see 3/1980).

Journal of the Japan Ukiyo-e Society, which has not traditionally included many articles on Ukiyo-e painting, though more since issue 84, when the editorship was taken over by Asano Shûgô.

  • Yoshida Teruji and Kaneko Fusui (eds). Kikan ukiyo-e (‘The Ukiyo-e Quarterly'), 吉田暎二 金子孚水 季刑浮世絵. 100 issues, Tokyo, Rokuen Shobô, then Gabundô, 1962–85 (

Frequent articles on Ukiyo-e painting, often of the erotic subjects particularly featured by this journal. From no.1 to no.5 Kaneko Fusui ran a series ‘Shinbutsu to nisemono' ('Genuine and Fake') in which he tried to show genuine and forged versions of paintings. His assumption seemed to be that there was only one version of each, and the ‘genuine' paintings he introduced sometimes appear dubious, From issue 38 to issue 88 Richard Lane ran a series of twenty-three articles, ‘A Gallery of Ukiyo-e Paintings [Abroad]'.

Selection of seventy-five paintings made by Kaneko Fusui, Collectors' names not given but includes works belonging to Yawata Yôtarô and Ujiie Takeo.

Major study, reproducing 119 genre and Ukiyo-e paintings (vol. 1) and 106 colour and 110 black and white Ukiyo-e paintings (vol. 2). Some collectors' names given.



Lists seventy-eight Ukiyo-e paintings, of which eighteen are illustrated.



Vol. 1 has not been examined; vol. 2 reproduces sixty-two Ukiyo-e paintings, with details of signatures and seals; vol. 3 ninety-six paintings, Some of the works, particularly those of the Hokusai school, appear of dubious authenticity.

139 Ukiyo-e paintings, mostly illustrated. Collectors' names given. Exhibition held to mark the Tokyo Olympics, 8–18 Oct. 1964.



Investigative account of the 1934 Shumpôan forged Ukiyo-e painting incident.



  • Kanazawa, Ishikawa Kenritsu Bijutsukan. Ukiyo-e bijinga ten, 石川県立美術館 浮世絵美人画展. Exh. cat., 5-27 March 1966

Fifty-five Ukiyo-e paintings mostly illustrated. Some collectors' names given, including examples from the ex-Sugawara and Tokyo National Museum collections. Introduced by Kikuchi Sadao.

Eighty-two important Ukiyo-e paintings (mostly illustrated) from USA museum and private collections (excluding Freer Gallery and Boston Museum of Fine Arts). Collectors' names given. Notes and commentary by Martie W. Young and Robert J. Smith. See review by Richard Lane (1968) below.

See review by Richard Lane (1968) below.

110 drawings and paintings by Hokusai and his school. Collectors' names given.

About half the small paintings and preparatory drawings are by Ukiyo-e artists. Collectors' names given.



  • ‘T’. ‘Shumpôan jiken zuroku: shôkai to bunseki', 春峯庵事件図録紹介と分析. Ukiyo-e, 浮世絵 30 (1967), 57-67

An introduction to the Shumpôan forged Ukiyo-e painting catalogue (see 12-14 May 1934 above) showing how the forgers copied or combined existing Ukiyo-e paintings and prints to devise many of their compositions. The identity of the author 'T' is not known to me.



  • Narazaki Muneshige, 'Kabu yûen zu’, 楢崎宗重 歌舞遊宴図. Kokka, 国華 912 (March 1968), 28.

Highly significant review article and essay in which the author discusses recent exhibitions and catalogues on Ukiyo-e painting, with particular emphasis on issues of attribution and forgery.

Fifty-nine important genre and early Ukiyo-e paintings reproduced in colour with commentaries and a short introduction by Narazaki Muneshige.



  • Nagoya Meitetsu Hyakkaten. Ukiyo-e nikuhitsu meisaku ten, 名古屋名鉄 浮世絵肉筆名作展. Exh. cat., 3-8 Oct. 1969

Exhibition organised by the Ukiyo-e Society of Japan.


Catalogue of the Kobayashi Wasaku, 小林和作. Collection of Ukiyo-e paintings.

Major study of Ukiyo-e paintings in Western collections, chiefly in USA, including some from the Boston Museum of Fine Arts and Freer Gallery collections.

  • Nagasaki Kenritsu Bijutsu Hakubutsukan. Nikuhitsu ukiyo-e bijinga ten, 長崎県立美術博物館 肉筆浮世絵美人画展. Exh. cat, 15–30 March 1969 (

124 paintings, drawings and books by Hokusai, including some material from Obuse whose authenticity is doubtful. Text by Kaneko Fusui.



Twenty-six examples of genre screens.

Forty-one examples (illustrated) of early genre screens in an exhibition organised by Nihon Fûzokushi Gakkai, 日本風俗史学会. Some collectors' names given.

  • Toyama Kenritsu Bijutsukan. Nikuhitsu ukiyo-e to kamen ten, 富山県立近代美術館 肉筆浮世絵と仮面展. Exh. cat., 10-27 Oct. 1970.

133 colour plates and 100+ figures of Ukiyo-e paintings, No collectors' names given.

  • Hillier, Jack. Catalogue of the Japanese Paintings and Prints in the Collection of Mr & Mrs Richard P. Gale. 2 vols, London, Routledge & Kegan Paul, 1970. (

Includes about sixty genre and Ukiyo-e paintings, now in the collection of the Minneapolis Institute of Arts. Provenance given where known.

Vol. 1 100 genre and Ukiyo-e paintings and drawings; vol. 2 184 paintings and drawings by Hokusai and pupils and Hiroshige; vol. 3 other schools. Provenance given where known,



An exhibition which admirably integrated early prints and thirty-four paintings, mainly from USA collections.

Thirty-one examples, all illustrated, of genre and Ukiyo-e paintings from the Tikotin Collection.



  • Tokyo, ldemitsu Bijutsukan. Shoki fûzokuga to nikuhitsu ukiyo-e ten zuroku, 出光美術館 初期風俗画と肉筆浮世絵展図録. Exh. cat., 7-30 Jan. 1972 (

Hagurodô sales exhibition held at Tokyo, Nihonbashi Mitsukoshi, in the year of its 300th anniversary. 237 items of varying quality.

Thirty-six genre screens and Ukiyo-e paintings selected by Narazaki Muneshige and exhibited to commemorate the sixtieth anniversary of the Ukiyo-e Society of Japan.

Thirty-seven paintings of beauties dating from around the Kanbun era (1661-73). Collectors' names given.



Seventy-two examples of paintings of beauties through the Ukiyo-e tradition to the twentieth century from the Fukutomi Tarô, 福富太郎 Collection.


117 important genre and Ukiyo-e paintings and drawings from the collection of the Freer Gallery of Art described in detail by Harold Stern. An international symposium on Ukiyo-e painting was held in conjunction with this exhibition.



Vol. 1 gives complete reproductions (with commentary) of handscrolls by Moronobu, Itchô (2); Chôshun, Eishun, Suiô, Eishi. Vol. 2 not examined. Vol. 3 contains handscrolls by Matabei (3); Moronobu; Chôshun (2); Itchô (3); Kyôden; Masayoshi.



Very important collection of seventy-three Ukiyo-e paintings. Another edition was published when the collection was exhibited at the Osaka Shiritsu Bijutsukan, 15 Apr.-8 May 1977.

Sales exhibition at Tokyo, Nihonbashi Mitsukoshi, 13-18 Aug. 1974. 363 items (145 illustrated).



  • Tokyo, Hagurodô. Ukiyo-e nikuhitsu ten, 羽黒堂 浮世絵肉筆展. Sales exh., 11 - 16 March 1975

Hagurodô sales exhibition held at Tokyo, Shinjuku Mitsukoshi. 173 Ukiyo-e paintings.

  • Narazaki Muneshige. ‘Hishikawa Moronobu hitsu hokurô oyobi engeki zukan ni tsuite’, 楢崎宗重 菱川師宣筆北楼及び演劇図巻について. Kokka, 国華 980 (June 1975), pp. 9-12 (
  • Nagoya, Meitetsu. Nikuhitsu ukiyo-e meihin shû, 名古屋名鉄 肉筆浮世絵名品集. Exh. cat., 29 Aug. - 3 Sept. 1975

Exhibition of 179 Ukiyo-e paintings from the Shibatsuji Yasukichi Collection organised by the Fuji Art Co., Tokyo.

Illustrations of fifty-seven paintings, mainly by Moronobu and Itchô.



  • Kikuchi Sadao. Idemitsu Bijutsukan sensho 9: Nikuhisu ukiyo-e, 菊地貞夫 出光美術館選書9 肉筆浮世絵. Tokyo, Idemitsu Bijutsukan 1976 (

Essay about the history of Ukiyo-e painting with ninety-five small black and white illustrations (collectors' names given – many of the paintings from the Idemitsu Gallery's collection); then sixty-two larger plates (some in colour) of the major paintings.

An exhibition divided into two parts: genre scenes set in landscapes; and scenes of everyday life and pleasures. Includes some important examples of genre and Ukiyo-e painting.

Fifty-five paintings and twenty prints by Moronobu and his school. No collectors' names given.



  • Osaka Shiritsu Bijutsukan. Ujie korekushon o chûshin to shita nikuhitsu ukiyo-e, 大阪市立美術館  氏家コレクションを中心とした肉筆浮世絵. Exh. cat., 15 Apr. - 8 May 1977 (

100 Ukiyo-e paintings; seventy-three from the Ujiie Collection (1974) and twenty-seven from miscellaneous other collections. No collectors' names given.

Catalogue of the Kaneko Fusui, 金子孚水, Collection by Kaneko Fusui and Aoki Shinsaburô, 青木進三郎.

Catalogue raisonné of Eishi and pupils' prints and some (perhaps half?) of their large oeuvre of paintings, Brandt was forced to rely on illustrations in old catalogues as the source for many paintings. Hence he was not able to be as critical in his categorising of forgeries as one would have hoped. See review by Roger Keyes in Andon, 3 (1981), 84-7, 4 (1981), 114-20.

Ukiyo-e paintings in Japanese collections. Vol. 1 includes 285 paintings illustrated in colour, vol. 2 has 208 paintings in black and white, ôtsu-e, and a special 'fakes' section of seven items (including some forgeries by the Yata family from the 1930s).



A pair of Kanô screens from c. 1650 showing the Gion Festival in Kyoto.

Fifty-six votive plaques preserved at the Asakusa Kannon Temple, Tokyo, including important examples by Ukiyo-e artists.



Bilingual text of articles extracted from the journal ukiyo-e for the years 1963-78. Important shunga (erotic) handscrolls from the seventeenth and early eighteenth centuries.

  • Tokyo Hagurodô. Ukiyo-e nikuhitsu meihin ten, 羽黒堂 浮世絵肉筆名品展. Sales exh. 23 - 28 Oct. 1979

Hagurodô sales exhibition at Tokyo Ikebukuro Mitsukoshi; 206 Ukiyo-e paintings and drawings.

  • Gulik, Willem R. van. 'Scroll paintings in the Von Siebold collection', in A Sheaf of Japanese Papers. The Hague, Society for Japanese Arts and Crafts, 1979 (

Genre and Ukiyo-e paintings (fifteen illustrated) from the Siebold Collection, acquired before 1826.

  • Kuhne, Hellmut. ‘Some notes on an early theatrical byôbu’, in A Sheaf of Japanese Papers. The Hague, Society for Japanese Arts and Crafts,1979 (

About sixty illustrations of Ukiyo-e paintings and related portraits, some ex-Yoshikawa Kambô, 吉川観方, Collection.



  • Tokyo, Shinjuku Odakyû. Nikuhitsu ukiyo-e no hana: Utagawa-ha no zenbô ten, 東京新宿小田急肉筆浮世絵の華 歌川派の全貌展. Exh. cat., 4 - 16 January 1980 (

127 Utagawa and twentieth-century bijin paintings and Utagawa prints. No collectors' names given.

  • Florida, Loch Haven Art Center. Urban Beauties and Rural Charms: Japanese Art from the Mary and Jackson Burke Collection. Exh. cat., 8 Jan. - 10 Feb. 1980. (
  • Nishinomiya, Ôtani Kinen Bijutsukan (eds). Otani Takayoshi korekushon: Nikuthitsu ukiyo-e meihin kan, 西宮市大谷記念美術館 大谷孝吉コレクション肉筆浮世絵名品鑑. Tokyo, 3/1980

111 important Ukiyo-e paintings (in colour) formerly in the collection of Kanda Raizô (see Tokyo, Nihonbashi Mitsukoshi, 1962).

Seventeen examples of early genre painting (illustrated in colour). Collectors' names given.

Travelling exhibition of 142 items, including many Ukiyo-e preparatory drawings and small paintings.

Thirty-one genre and Ukiyo-e paintings from this major collection, with catalogue entries and historical introduction by Howard Link. The exhibition toured the Los Angeles County Museum and Honolulu Academy of Art.

  • Ukiyo-e shûka, 浮世絵聚花. 18 vols, Tokyo, Shôgakkan, 1980-5

This series is devoted mainly to eighteenth-century Ukiyo-e prints in collections worldwide. However, vol. 9 includes a number of Ukiyo-e paintings formerly in the Gale Collection, now in the Minneapolis Institute of Arts. Vol. 16, devoted to the Freer Gallery Ukiyo-e paintings, has as its basic text a Japanese translation of Stern's catalogue of 1973, supplemented by Narazaki in the case of paintings which were not in the 1973 exhibition.

By far the most significant publication concerning Ukiyo-e painting to date. The colour plates are well reproduced and the works selected are generally of unquestionable authenticity, Narazaki brings together a team of leading connoisseurs to write commentaries, and signatures and seals of each painting are reproduced. Biographical essays about groups or individual artists are separate from the catalogue entries, allowing the authors to concentrate their comments specifically on each painting. However, one regrets that no attempt was made to include a provenance for each painting, and – even more importantly - issues of authenticity remain almost completely unaddressed. The volumes are awkwardly divided up and there is no index, making it hard to find works by a given painter. A large number of outstanding paintings have been left out, and an additional ten supplementary volumes could easily be published without compromising the high standard of quality of the paintings contained. But the way forward for Ukiyo-e studies now is undoubtedly to put together catalogues raisonnes for each artist.

Another vade mecum for Ukiyo-e scholars, organising a vast amount of information in an imaginative way that allows access according to a variety of criteria. Although still dominated by Ukiyo-e prints, this encyclopaedia also contains much information pertinent to the study of paintings, A detailed index permits easy use.



The author reunites a pair of genre screens of the Kanei era now divided between the Brooklyn Museum and Yawata Yôtarô Collection, Tokyo.

  • Tokyo, Ôta Kinen Bijutsukan. Kônoike korekushon uchiwa-e zuroku 1: Ukiyo-e hen, 太田記念美術館 鴻池コレクション扇絵図録1-浮世絵編. Exh. cat., Aug. 1981 (

101 fans painted by Ukiyo-e artists, formerly in the collection of the Kônoike, an Edo-period Osaka merchant family.

Ukiyo-e paintings from the Yamaguchi Keisaburo, Nagano Hôji Collections, etc.

161 paintings and preparatory drawings of various schools, including Ukiyo-e.

Preparatory drawings by Utagawa Kunisada (1786-1864).



An excellent series, profusely illustrated, with text written by a wide range of leading scholars in art history and cultural history.

  • Kobayashi Tadashi. Kan'ei Kambun-ki no nikuhitsuga: Edo no bijinga, 小林忠 寬永・寬文期の肉筆画ー江戶の美人画. Tokyo, Gakushû Kenkyûsha, 1982 (

A comprehensive collection of Kambun and earlier bijin paintings, grouping them into stylistic lineages with detailed comments on the costumes worn.

  • Amagasaki, Sogô Bunka Sentaa. Bijinga no kyôen: nikuhitsu ukiyo-e ten, 尼崎総合文化センター 美人画の競艶 ― 肉筆浮世絵展. Exh. cat., 2 June - 3 July 1982.

Fifty-four genre and Ukiyo-e paintings and forty one prints from this superb collection.



  • Nagata Seiji. ‘Nikuhitsu ukiyo-e: sono hensen to shuyô gaha’, 永田生慈 肉筆浮世絵 - その変遷と主要画派. Kobijutsu, 古美術 65 (Jan. 1983), 4-25. (
  • Okami Masao and Satake Akihiro. Hyôchû rakuchû rakugai byôbu: Uesugi-bon, 岡見正雄・佐竹昭広 標注洛中洛外屏風・上杉本. Tokyo, Iwanami Shoten, 1983 (

A monograph devoted to the famous pair of rakuchu rakugai screens formerly in the possession of the Uesugi family.

The bulk of the catalogue comprises the Hirano Seikichi Collection, some of which has now entered the Azabu Museum, Tokyo. Vol. 2 is devoted entirely to Hokusai and his school.

Includes choice items from what must be one of the largest collections of Ukiyo-e paintings in the world.

  • Nakamura Tanio. ‘Boston Bijutsukan zô Bigeroo-shi kizô no nikuhitsu ukiyo-e bijinga gun', 中村渓男 ボストン美術館蔵ビゲロー氏寄贈の肉筆浮世絵美人画群. Kobjutsu, 古美術 66 (Apr. 1983), 4-22 (

A review article of the bijin paintings in the Boston Museum exhibition listed above.

  • Fujinomiya, Fuji Bijutsukan. Nikuhitsu ukiyo-e bijinga ten, 富士宮市富士美術館 肉筆浮世絵美人画展. Exh. cat., 2 Oct. - 27 Nov. 1983

Seventy-eight Ukiyo-e paintings from the Hirano Seikichi Collection.

  • Clark, Timothy. 'Some thoughts on the connoisseurship of Ukiyo-e painting, including an account of the Shumpôan forgery incident', unpublished M.A. thesis, Harvard University, 1983. (



Sixty-one high-quality Ukiyo-e paintings. Some collectors' names given. Introduction by Narazaki Muneshige and excellent commentaries by Tanaka Tatsuya.

  • Tokyo, Azabu Bijutsukan. Kaikan kinen ten: nikuhitsu ukiyo-e Azabu Bijutsukan, 麻布美術館 開館記念展 - 肉筆浮世絵麻布美術館. Exh. cat., 1984 (

Inaugural exhibition of a specialist Ukiyo-e painting museum containing more than 2,000 works collected by Watanabe Kitarô.

  • Tokyo, Suntory Bijutsukan. Ishoku no Edo kaiga: Amerika Puraisu korekushon, サントリー美術館 異色の江戶絵画 - アメリカ・プライスコレクション. Exh. cat., Sept. - Nov. 1984 (

Exhibition of the Joe Price Collection, including 14 Ukiyo-e paintings.

Highly focused exhibition setting the famous Matsuura screens and other genre paintings in the context of women's fashions and accessories of the early seventeenth century.

Major showing of the Matsukata and other collections held at the Tokyo National Museum, including many important Ukiyo-e paintings.

A newsletter/exhibition list published regularly by the Azabu Museum of Ukiyo-e Painting which finally ran to twenty-one issues and included important articles by Tanaka Tatsuya on Hishikawa Ryûkoku (nos 6, 7); Katsukawa Shungyô (no. 9); Izumi Shuichi (nos 1o, 11); Katsukawa Shunkô (nos 15, 16, 17); Takao Shōroku (no. 18); Kitao Masayoshi (nos 19, 20, 21).

143 preparatory drawings and small paintings, many of the Ukiyo-e school, from the Gerhard Schack Collection.

Reproductions of two sketchbooks containing fifty small paintings by Hiroshige in the Crosby Stuart Noyes Collection in the Library of Congress, Washington, DC.



  • Obuse, Hokusai Kan. Nikuhitsu Katsushika Hokusai, 小布施北斎館 肉筆葛飾北斎. 1985

Catalogue of the Hokusai paintings owned by the Hokusai Museum established at Obuse in Nagano Prefecture in 1976. Some of the works undoubtedly date from Hokusai's several visits late in his career to his patron, Takai Kôzan, who lived in Obuse (including four splendid ceiling panels for festival carts), but many have been acquired subsequently from unrelated sources.

  • Tokyo, Ôta Kinen Bijutsukan. Ôta Kinen Bijutsukan shozô nikuhitsu ukiyo-e meihin ten, 太田記念美術館 太田記念美術館所蔵肉筆浮世絵名品展. Exh. cat., Apr. - May 1985 (

Catalogue by Nagata Seiji. Important showing of 167 paintings from the museum's rich and comprehensive holdings.

  • Tokyo, Ôta Kinen Bijutsukan. Nihon Ukiyo-e Hakubutsukan shozô nikuhitsu ukiyo-e meihin ten, 太田記念美術館 日本浮世絵博物館所蔵肉筆浮世絵名品展. Exh. cat., June 1985 (

Following on from the above exhibition a similarly impressive selection of 100 paintings from the Sakai Collection at the Japan Ukiyo-e Museum in Matsumoto was displayed at the Ota Museum in Tokyo.

  • Matsumoto, Nihon Ukiyo-e Hakubutsukan (JUM). Nikuhitsu ukiyo-e senshû, 日本浮世絵博物館 肉筆浮世絵撰集. 2 vols, Tokyo, Gakushû Kenkyûsha, 1985 (

In conjunction with the above exhibition a deluxe volume was published containing a larger group of 351 paintings from the Sakai Collection, reproduced in colour with details of signatures and seals and commentaries by various authorities.

Epoch-making exhibition of 756 prints, paintings and books by Hokusai organised by Nagata Seiji. The ninety paintings included many of the best examples from Japanese collections.

  • Osaka, Kokusai Koryû Bijutsu-shi Kenkyûkai (eds). Tôyô bijutsu ni okeru fûzoku hyôgen, 国際交流美術史研究会 東洋美術における風俗表現. 1985 (

Proceedings of the International Symposium of Art Historical Studies on the subject of ‘The Representation of Genre in East Asian Art'.



Fifty-four of the most important Ukiyo-e paintings in the Azabu Museum Collection.

  • Kyoto, Kokuritsu Hakubutsukan. Shimabara Sumiya no bjutsu, 京都国立博物館 島原角屋の美術. Exh. cat., Feb. 1986

Exhibition of paintings and artefacts from the Sumiya, a house of pleasure in Kyoto founded in the middle of the seventeenth century.

  • Kyonan, Hishikawa Moronobu Kinenkan. Hishikawa Moronobu Kinenkan zuroku, 鋸南町菱川師宣記念館 菱川師宣記念館図録, Tokyo, Gabundô, 1986 (

Catalogue of the collections of the memorial museum to Moronobu located close to his birthplace in Chiba Prefecture. Includes 46 paintings.

  • Kyonan, Hishikawa Moronobu Kinenkan. Mizuta korekushon zuroku, 鋸南町菱川師宣記念館 水田コレクション図録. Exh .cat., Apr. 1986 (

Exhibition of the Mizuta Mikio Collection of Ukiyo-e paintings and prints from the Mizuta Art Museum, Seijô University.

A short-lived bulletin of the Azabu Museum which ran to only two issues. No. 1 contains biographical studies of Hôtei Gosei and Nomura Yoshikuni. No. 2 contains articles on an album of letters and paintings collected by Ôta Nampo and studies of a votive panel painting by Kiyoshige.

  • Tokyo, Waseda Daigaku Engeki Hakubutsukan. Kabuki ematen zuroku, 早稲田大学演劇博物館 歌舞伎絵馬展図録. Exh. cat., 12 Nov.-8 Dec. 1986 (

Comprehensive scholarly catalogue of an exhibition of sixty-eight votive plaques of Kabuki actors. One sculpture of Saruwaka kyogen figures dates from 1664, but the oldest painted panel is otherwise from 1725. There is a complete listing of known panels arranged by prefecture.



  • Narazaki Muneshige (ed.). Nihon no bijutsu, nos 248-250: Nikuhitsu ukiyo-e, 楢崎宗重 日本の美術第248号〜第250号 - 肉筆浮世絵. 3 vols, Tokyo, Shibundō, 1987 (

Excellent general introduction to history of Ukiyo-e painting. Vol. 1 (Kambun-Hôreki) introduces 122 paintings, many previously unpublished, with text by Asano Shûgô; vol. 2 (Meiwa-Kansei) contains ninety-eight paintings, with text by Nagata Seiji; vol. 3 (Kansei-Meiji) contains ninety-eight paintings with text by Nagata Seiji.

Twenty-eight paintings from the Nakanishi Bunzô Collection.

  • Tokyo, Ôta Kinen Bijutsukan. Katsushika-ha, Utagawa-ha o chûshin to shita shita-e ten, 太田記念美術館 葛飾派・歌川派を中心とした下絵展. Exh. cat., 2 June - 24 July 1987 (  

Important exhibition of 189 preparatory drawings of the Katsushika and Utagawa schools, including items from the Nagase Collection.

Sales exhibition of fine Ukiyo-e paintings held by the Sumisho Gallery, Tokyo.

  • Narazaki Muneshige. ‘Teisai Hokuba hitsu go-sekku zu', 楢崎宗重 蹄斎北馬筆五節供図. Kokka, 国華 1107 (Sept. 1987), 26-31.

A major series on Ukiyo-e paintings and prints in the principal European collections, with commentaries by a range of leading scholars. The index volume lists 400-500 paintings spread among the various collections.



  • Sendai-shi Hakubutsukan. Azabu Bijutsukan shozô nikuhitsu ukiyo-e meihin ten, 仙台市博物館 麻布美術館所蔵肉筆浮世絵名品展, Exh. cat., 11 June-17 July 1988 (

104 major paintings from the collection of the Azabu Museum.

  • Jenkins, Donald. ‘Paintings of the Floating World’, in Cleveland Museum of Art (eds), A Private World; Japanese and Chinese Art from the Kelvin Smith Collection, Exh. cat., 14 Sept. - 13 Nov. 1988, pp. 6-40 (  

Essay about Ukiyo-e painting, introducing sixteen examples from the Kelvin Smith Collection, Cleveland Museum of Art.

  • Tokyo, Idemitsu Bijutsukan. Nikuhitsu ukiyo-e (‘Ukiyo-e paintings’), 出光美術館 肉筆浮世絵. By Naitô Masato, 内藤正人, 1988 (

Important scholarly catalogue of this major collection, 162 paintings illustrated in colour with details of signatures and seals.

Catalogue by Matthi Forrer of 113 preparatory drawings and related prints by Kuniyoshi in the collection of the National Museum of Ethnology, Leiden.



  • Tokyo, Azabu Museum of Arts and Crafts. ‘Fashion of Edo'. Women's Dress in Ukiyo-e Paintings, 麻布美術工芸館 江戶のファッション. Exh. cat., 14 June-2 July 1989 (

Inaugural exhibition in the new Azabu Museum of Arts and Crafts tracing changing women's fashions in the Edo period using textiles and Ukiyo-e paintings.

  • Naito Masato. 'Katsukawa Shunshô no nikuhitsu bijinga ni tsuite', 内藤正人 勝川春章の肉筆美人画について. Bijutsushi, 美術史, No. 125 (March 1989), 57-81 (

Excellent article which lists all paintings by Shunshô known to the author and proposes a convincing chronology of the development of Shunshô's painting style, based in part on a detailed analysis of changes in signature and seals.

Good selection of 130 Ukiyo-e paintings, many not previously introduced. Some collectors' names given.

  • Kumamoto Kenritsu Bijutsukan. Imanishi korekushon meihin ten l, 熊本県立美術館 今西コレクション名品展1. Exh. cat., 17 Oct.-26 Nov. 1989 (

Includes seventy-five Ukiyo-e paintings, the first selection from the newly discovered collection of the late Imanishi Kikumatsu. Well reproduced in colour with details of signatures and seals and careful commentaries by Asoshina Yasuo.

100 examples from the important collection of this specialist Ukiyo-e painting museum.



  • Clark, Timothy. ‘Paintings by Hokusai in the British Museum’, Orientations. Vol. 21, no. 8 (Aug. 1990), 37-44
  • Tokyo, Mainichi Shimbun (eds). Kiyossone to kinsei Nihonga Sato-gareri ten, 毎日新聞社 キヨッソーネと近世日本画里帰り展. Exh. cat., 16 Aug.-4 Sept. 1990 (

Includes fifty-two Ukiyo-e paintings from the Chiossone collection, many already introduced in UT, vol. 10 (1987).

  • Kumamoto Kenritsu Bijutsukan. Imanishi korekushon meihin ten II. 熊本県立美術館 今西コレクション名品展2. Exh. cat., 5 Oct.-4 Nov., 1990 (

Includes a further twenty Ukiyo-e paintings from the Imanishi collection.

Summum of Nagata's researches on Hokusai, integrating well paintings, drawings, books and prints. The five volumes are arranged by subject-matter.



  • Tokyo, New Ôtani Bijutsukan. Maboroshi no ukiyo-e bjin-tachi, ニューオータニ美術館 幻の浮世絵美人たち. Exh. cat. by Uchida Kinzô, 21 May-30 June 1991 (

Inaugural exhibition of 111 Ukiyo-e paintings from the Ôtani Collection in a purpose-built gallery inside the New Ôtani Hotel, Tokyo.

Sales catalogue of thirty-eight Ukiyo-e and other, mainly Shijô school paintings.

  • Kumamoto Kenritsu Bijutsukan. Imanishi korekushon meihin ten III, 熊本県立美術館 今西コレクション名品展3 Exh. cat., 8 Oct.-17 Nov. 1991 (

A further selection of 106 Ukiyo-e paintings from the Imanishi Collection.



Photographs of Ukiyo-e paintings. Collectors' names given, such as Kuwabara Yôjirô, Takeoka Toyota et al.