Totoya HOKKEI (1780-1850)




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A surimono showing an unidentified fish – possibly a flying fish and carnations. An apparently unrecorded surimono. A pupil of Hokusai, Hokkei’s oeuvre was almost entirely in this genre, apart from illustrating ehon.

 

 

Very good impression and colour. Slight crease, otherwise very good condition. Signed Hokkei.

 

 

Status: Sold

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Totoya HOKKEI (1780-1850)




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A fisherman with a scoop and net seemingly trying to catch the moon’s reflection. One of an excessively rare chuban series with title Toshi gafu no uchi, “Drawing Album for Chinese Poems” printed in red, and sub-title Toshin denshi. Printed in tones of blue except for a light flush on the horizon. Another impression ( trimmed ) was in the Vever collection ( ex Hayashi ), Sotheby’s, Part III, lot 295. Other impressions ( damaged ) are in the BM, ref: 1937, 0710,0,230 and Honolulu Museum of Art, ref: 14463. Hokkei was one of Hokusai’s best pupils and designed many fine surimono.


Fine impression, colour and condition. Signed Hokkei.


Status: Sold

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Sugimura JIHEI (Acitive c. 1681-1703)




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A shunga print showing a samurai (his swords lying outside the screen) having sexual intercourse with a courtesan from a set of twelve such prints published mid 1680s. Jihei was the most impressive of Moronobu’s followers and seems to have specialised in shunga, often surpassing Moronobu. (Indeed, Jihei’s work was attributed to Moronobu for a long time.) Hand coloured, although probably not from the period but still with considerable age. Extremely rare.

 

 

Fine impression. Very good condition.

 

 

Status: Sold

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Totoya HOKKEI ( 1780-1850 )




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A mounted sage followed by his servant crossing a bridge over a lake. One of an excessively rare chuban series with title Toshi gafu no uchi, “Drawing Album for Chinese Poems” printed in red, and sub-title Toshin denshi. Printed in tones of blue except for a light flush on the horizon. Another impression ( trimmed ) was in the Vever collection ( ex Hayashi ), Sotheby’s, Part III, lot 295. Other impressions ( damaged ) are in the BM, ref: 1937, 0710,0,229 and Honolulu Museum of Art, ref: 14466. Hokkei was one of Hokusai’s best pupils and designed many fine surimono. Unidentified publisher’s seal and censor’s seal in right margin ( trimmed off on the other impressions ).


Fine impression and colour. Very good condition. Signed Hokkei.


Status: Sold

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Katsushika HOKUGA (Fl. c 1820s to 1830)




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An original fan painting showing a seated beauty holding a fan. Full colour on mica- covered paper. 6.5 x 18.5 in; 16.5 x 47 cms. Hokuga was a pupil of Hokusai and produced paintings and surimono. Good condition. Laid onto Japanese paper. Signed Hokuga hitsu.


Status: Sold

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Katsushika HOKUGA (Fl. c 1820s to 1830)




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A fine original painting showing a beauty on the snow-covered dock used by boats to the Yoshiwara. Hokuga was a pupil of Hokusai and produced paintings and surimono. Full colour on silk, 37.5 x 11.25 in; 92.75 x 28.5 cms. Two repaired wormholes, otherwise very good condition. Box with title “Beauty Standing on Dock” with painting guaranteed on the underside of lid by Narasaki Muneshige. Illustrated in Ukiyo-e Paintings in Japanese Collections, vol. 7: the Manno Art Museum, edited by Kobayashi Tadashi. The inscription above is by Ota Nampo – Shokusanjin ( 1749-1823 ). Signed Karyosai Hokuga fude.


Status: Sold




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Katsushika HOKUGA (active 1804-1818)




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A painting of a bamboo whisk seller. Hokuga was a pupil of Hokusai. A vigorous painting. Sumi and light colour on paper. 10.75 x 14 in; 27.5 x 35.5 cms. Nicely mounted and in fine condition. New box. Signed and sealed Hokuga.


Status: Sold




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Manjiro HOKUGA (Fl. Early 19th Century)




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A pupil of Hokusai who specialised in Surimono and book illustration. Used Hokuga signature until 1810, then Hotei Gosei. Shows Shoki, the demon quellor, descending to earth on a vapour cloud wielding a sword in order to vanquish demons. Painted entirely in red pigment. The subject matter and use of red ink comes from China. The colour was thought to exorcise evil spirits and was used to ward off illness. Red pigment on paper. Image size: 37.5 x 10.75 in; 95.5 x 27.5 cms. Very good condition. Old box. A fine painting exhibited and published: Itabashi Kuritsu Bijyutsukan, Hokusai and his followers – the collection of the best Ukiyo-e paintings. Exhibition Catalogue, Tokyo, 2008, pl. no. 57. Signed Manjiro Hokuga ga with seal Manjiro.



Status: Sold




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Ichiryusai HIROSHIGE (1797-1858)




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The Yoro waterfall in Mino Province. Mino Yoro no taki. One of the best designs from Rokuju yoshu meisho zue, “Famous Places in the Sixty-Odd Provinces.” The series published by Koshimuraya Heisuke between 7/1853 and 3/1856 ( this being 8/1853 ). The fall was also depicted by Hokusai in his set of waterfalls.


Very fine early impression with strong woodgrain and blind-printing on the fall. The first edition has the falling water printed blue and other colour variations. ( See Pulverer impression in Rokujuyoshu Meisho Zue, Iwanami Shoten, Tokyo, 1996, no 23. ) The present state is preferred by some collectors. Fine colour and condition. Signed Hiroshige ga.


Status: Sold

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Utagawa HIROSHIGE (1787-1858)




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Hirame, olive halibut ( Paralichthys olivaceus ) and mebaru, black rock-fish ( Sebastes schlegeli ). Together with cherry blossom. Poem by Osaki Koharu. From the second series of nine fish prints published c 1840 – 42 by Yamasho ( Yamadoya Shobei ). Ex collection Felix Bracquemond ( 1833 – 1914 ). Japonisme in France usually starts with Bracquemond who was a graphic artist and designer and also worked with ceramics. He discovered Hokusai’s Manga in 1856 and used it as source material. He produced a number of etchings, often of birds and some with fish, obviously partly inspired by Japanese prints, including Hiroshige’s prints. So, it’s reasonable to suppose these were the actual prints he used as inspiration. Bracquemond’s initial: “B” accompanied the prints.


Very good impression, colour and condition. Centre fold as per usual. Signed Hiroshige ga.


Status: Sold

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Utagawa HIROSHIGE (1787-1858)




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Shimadai, a grouper ( probably Chilodactylus zonatus ) and ainame, greenling ( Hexagrammus otakii ). Together with red-berried nanten. Poem by Kanshunro Nushibito. From the second series of nine fish prints published c 1840 – 42 by Yamasho ( Yamadoya Shobei ). Ex collection Felix Bracquemond ( 1833 – 1914 ). Japonisme in France usually starts with Bracquemond who was a graphic artist and designer and also worked with ceramics. He discovered Hokusai’s Manga in 1856 and used it as source material. He produced a number of etchings, often of birds and some with fish, obviously partly inspired by Japanese prints, including Hiroshige’s prints. So, it’s reasonable to suppose these were the actual prints he used as inspiration. Bracquemond’s initial: “B” accompanied the prints.


Very good impression, colour and condition. Centre fold as per usual. Signed Hiroshige ga.


Status: Sold

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Utagawa HIROSHIGE (1787-1858)




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Akodai, the rock-fish. ( Sebastes matsubarae ). Known as the medetai, good-luck fish. Together with bamboo grass. Poem by Suzugaki. From the second series of nine fish prints published c 1840 – 42 by Yamasho ( Yamadoya Shobei ). Ex collection Felix Bracquemond ( 1833 – 1914 ). Japonisme in France usually starts with Bracquemond who was a graphic artist and designer and also worked with ceramics. He discovered Hokusai’s Manga in 1856 and used it as source material. He produced a number of etchings, often of birds and some with fish, obviously partly inspired by Japanese prints, including Hiroshige’s prints. So, it’s reasonable to suppose these were the actual prints he used as inspiration. Bracquemond’s initial: “B” accompanied the prints.


Very good impression, colour and condition. Centre fold as per usual. Signed Hiroshige hitsu.


Status: Sold

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Utagawa HIROSHIGE (1787-1858)




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Inada, yellowtail or amberjack ( Seriola quinqueradiata ) and fugu, blowfish or puffer ( Fugu pardalis ). Together with plum blossom. Poem by Suzugaki. From the second series of nine fish prints published c 1840 – 42 by Yamasho ( Yamadoya Shobei ). Ex collection Felix Bracquemond ( 1833 – 1914 ). Japonisme in France usually starts with Bracquemond who was a graphic artist and designer and also worked with ceramics. He discovered Hokusai’s Manga in 1856 and used it as source material. He produced a number of etchings, often of birds and some with fish, obviously partly inspired by Japanese prints, including Hiroshige’s prints. So, it’s reasonable to suppose these were the actual prints he used as inspiration. Bracquemond’s initial: “B” accompanied the prints.


Very good impression, colour and condition. Centre fold as per usual. Signed Hiroshige hitsu.


Status: Sold

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Utagawa HIROSHIGE (1787-1858)




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Suzuki, Japanese sea perch ( Lateolabrax japonicus ) and kaneme-tai, red bream ( possibly Beryx splendens ). With shiso or beefsteak plant. Poem by Atsugaki. From the second series of nine fish prints published c 1840 – 42 by Yamasho ( Yamadoya Shobei ). Ex collection Felix Bracquemond ( 1833 – 1914 ). Japonisme in France usually starts with Bracquemond who was a graphic artist and designer and also worked with ceramics. He discovered Hokusai’s Manga in 1856 and used it as source material. He produced a number of etchings, often of birds and some with fish, obviously partly inspired by Japanese prints, including Hiroshige’s prints. So, it’s reasonable to suppose these were the actual prints he used as inspiration. Bracquemond’s initial: “B” accompanied the prints.


Very good impression, colour and condition. Centre fold as per usual. Signed Hiroshige ga.


Status: Sold

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Utagawa HIROSHIGE (1787-1858)




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Katsuo, bonito ( Katsuwonus pelamis ). Also called ocean bonito, stripe-bellied bonito and striped tuna. Together with three sprigs of cherry ( sakura ). Poems by Toshinoto Haruki and Toshihiro Machikado. From the first series of eleven fish prints published c 1840 – 42 by Yamasho ( Yamadoya Shobei ). Ex collection Felix Bracquemond ( 1833 – 1914 ). Japonisme in France usually starts with Bracquemond who was a graphic artist and designer and also worked with ceramics. He discovered Hokusai’s Manga in 1856 and used it as source material. He produced a number of etchings, often of birds and some with fish, obviously partly inspired by Japanese prints, including Hiroshige’s prints. So, it’s reasonable to suppose these were the actual prints he used as inspiration. Bracquemond’s initial: “B” accompanied the prints.


Very good impression, colour and condition. Centre fold as per usual. Signed Hiroshige ga.


Status: Sold

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Utagawa HIROSHIGE (1787-1858)




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Tobiuo, flying fish ( probably Prognichthys ) and ishimochi also called guchi or shiroguchi, white croaker ( probably Argyrosomus argenatus ). Together with a single lily. Poem by Toshigaki Maharu. From the second series of nine fish prints published c 1840 – 42 by Yamasho ( Yamadoya Shobei ). Ex collection Felix Bracquemond ( 1833 – 1914 ). Japonisme in France usually starts with Bracquemond who was a graphic artist and designer and also worked with ceramics. He discovered Hokusai’s Manga in 1856 and used it as source material. He produced a number of etchings, often of birds and some with fish, obviously partly inspired by Japanese prints, including Hiroshige’s prints. So, it’s reasonable to suppose these were the actual prints he used as inspiration. Bracquemond’s initial: “B” accompanied the prints.


Very good impression, colour and condition. Centre fold as per usual. Signed Hiroshige ga.


Status: Sold

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Utagawa HIROSHIGE (1787-1858)




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Shiroamadai, white horsehead ( Latilus argentatus ) and omonhata, rock cod ( Epinephalus areolatus ). Together with Japanese horse radish, wasabi. Poem by Atsugaki. From the second series of nine fish prints published c 1840 – 42 by Yamasho ( Yamadoya Shobei ). Ex collection Felix Bracquemond ( 1833 – 1914 ). Japonisme in France usually starts with Bracquemond who was a graphic artist and designer and also worked with ceramics. He discovered Hokusai’s Manga in 1856 and used it as source material. He produced a number of etchings, often of birds and some with fish, obviously partly inspired by Japanese prints, including Hiroshige’s prints. So, it’s reasonable to suppose these were the actual prints he used as inspiration. Bracquemond’s initial: “B” accompanied the prints.


Very good impression, colour and condition. Centre fold as per usual. Signed Hiroshige hitsu.

Status: Sold

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Utagawa KUNISADA (1786-1865)




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The best design from Toyokuni kigo kijutsu kurabe, “A Contest of Magic Scenes by Toyokuni.” Shows the actor Ichikawa Kodanji IV as Mo’un Kokushi. The story is based on the Takizawa Bakin and Hokusai Chinsetsu yumiharizuki. The magician is seated on a rocky promontory with exploding rocks emanating from behind his head. A stunning design. Published by Hirayano Shinzo, 1863.


Superb impression, colour and condition. The deluxe first edition on thick hosho and every refinement of printing using the finest pigments, burnishing, mica and gofun. Extra paper at left and top. Signed The 79 year old Toyokuni hitsu.



Status: Sold

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Teisai HOKUBA (1771-1844)




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Three courtesans watching clients leaving in light rain. One of Hokusai’s best pupils; a fine painter and illustrator of kyoka books.


Very good impression, colour and condition. Signed Hokuba ga.



Status: Sold

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Keisai EISEN (1790-1848)




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The Kegon Waterfall from the set: Celebrated Views in the Nikko Mountains published by Yamamoto, c 1844. The set obviously inspired by Hokusai’s earlier waterfall set of eight prints, but impressions are rarer indicating it may not have been so popular.


Very good impression and colour. Slight soil around edges and thinned area in top margin. Signed Keisai Eisen utsusu.



Status: Sold

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Welcome to the new site, please browse the catalouge for categories, click here for new acquisitions.


Katsushika HOKUSAI (1760-1849)

 

Katsushika HOKUTAI (Act. c. 1800 – 1830)




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A long surimono by an early pupil of Hokusai. Most likely an invitation to a New Year musical event at Shinagawa ( ? ). Shows three musicians playing samisen, koto and kokyu ( ? ). Probably a unique impression. An Eisai Hokutai was the artist for a book: Tokaeri-bana in 1809. This appears to be the same artist.


Fine impression with gauffrage. Fine colour. Signs, as usual, of the foldmarks on the invitation: These invites were folded three times – once horizontally and twice vertically to form a neat packet. Otherwise very good condition. Signed Shinshinshi Hokutai.



Status: Sold

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Links

MUSEUM COLLECTIONS OF UKIYO-E PRINTS AND PAINTINGS

British Museum
British Museum – www.britishmuseum.org/explore/galleries/asia/rooms_92-94_japan.aspx – two highlight pages:

Katsushika Hokusai – www.britishmuseum.org/explore/highlights/highlight_objects/asia/k/katsushika_hokusai,_the_talism.aspx

Ukiyo-e Paintings and prints – www.britishmuseum.org/explore/highlights/articles/u/ukiyo-e_paintings_and_prints.aspx

Chester Beatty Library - www.cbl.ie/cbl_image_gallery/collection/list.aspx?collectionId=1

Corfu Museum of Asian Art - www.matk.gr/en/exhibitions/current-exhibitions/ghosts-and-spirits-the-supernatural-in-japanese-ukiyo-e-prints-tribute-to-lafcadio-hearn,-takis-efstathiou-collection/

Fine Arts Museums of San Francisco, Achenbach Graphics Arts Council – www.legionofhonor.famsf.org/legion/collections/japanese-prints

Fitzwilliam Museum - www.fitzmuseum.cam.ac.uk/dept/pdp/prints/japanese/

Hokusai Museum Obuse - www.hokusai-kan.com/w/?page_id=1569

Honolulu Museum of Art - http://honolulumuseum.org/art/collections/5785-new-japanese-woodblock-prints

Japan Museum Sieboldhuis – www.sieboldhuis.org/en/tentoonstellingen/detail/permanent_display

Japan Ukiyo-e Museum - www.japan-ukiyoe-museum.com

Metropolitan Museum of Art - www.metmuseum.org/toah/hd/ukiy/hd_ukiy.htm

Musee National des Arts Asiatiques – Guimet - www.guimet.fr/en/collections-en/japan

Museum of Fine Arts Boston - www.mfa.org/collections/search?search_api_views_fulltext=ukiyo-e%20prints&page=2

Ota Memorial Museum of Art - www.ukiyoe-ota-muse.jp/annai-E.html

Rijksmuseum voor Volkenkunde - www.volkenkunde.nl/en/gallery-exhibitions

Tokyo National Museum - www.tnm.jp/modules/r_free_page/index.php?id=445&lang=en

Victoria and Albert Museum - www.vam.ac.uk/content/articles/u/ukiyo-e-pictures-of-the-floating-world/

OTHER LINKS

Hygrawww.hygra.com – A site that provides the Online History of Antique Boxes: a large stock of exquisite 18th and 19th century antique boxes and tea caddies.

 

Artists

( A to Z )

Kyogado ASHIKUNI ( Fl. c. 1807 – 1818 )
Gigado ASHIYUKI ( Fl. c. 1814 – 1833 )



Ki BAITEI ( 1734 – 1810 )
Takizawa BAKIN ( 1767 – 1848 )
Ono BAKUFU ( 1888 – 1976 )
Georges BIGOT ( 1860 – 1927 )
Kawamura BUMPO ( 1779 – 1821 )
Ippitsusai BUNCHO ( Fl. c. 1765 – 1792 )



Toyohara CHIKANOBU ( 1838 – 1912 )
Kishi CHIKUDO ( 1826 – 1897 )
Tsubaki CHINZAN ( 1801 – 1854 )
Eishosai CHOKI ( Fl. c. 1756 – 1808 ). See also SHIKO



Rekisentei EIRI ( Fl. c. 1790 – 1800 )
Keisai EISEN ( 1790 – 1848 )
Hosoda EISHI ( 1756 – 1829 )
Hosoda EISHO ( Fl. c. 1780 – 1800 )
Ichirakutei EISUI ( Fl. c. 1790 – 1823 )
Kikugawa EIZAN ( 1787 – 1867 )


Hirano HAKUHO ( 1879 – 1957 )


Elizabeth KEITH ( 1887 – 1956 )
Imao KEINEN ( 1845 – 1924 )


Yashima GAKUTEI ( 1786 – 1868 )
Ogata GEKKO ( 1859 – 1920 )
Adachi GINKO ( Fl. c. 1847 – 1897 )
Matsumura GOSHUN ( 1752 – 1811 )
GYOSAI. See Kawanabe KYOSAI



Hirano HAKUHO ( 1879 – 1957 )
Suzuki HARUNOBU ( 1724 – 1770 )
Kawase HASUI ( 1883 – 1957 )
Kitagawa HIDEMARO ( Fl. c. early 19th century )
Kinoshita HIRONOBU ( Fl. c. 1851 – 1870 )
Gosotei HIROSADA ( Fl. c. 1847 – 1863 )
Ichiryusai HIROSHIGE ( 1797 – 1858 )
Ichiryusai HIROSHIGE II ( 1826 – 1869 )
Ando HIROSHIGE III ( 1843 – 1894 )
Nakamura HOCHU ( Fl. c. late 18th to early 19th century )
Sakai HOITSU ( 1761 – 1828 )
Totoya HOKKEI ( 1780 – 1850 )
Teisai HOKUBA ( 1771 – 1844 )
Shunkosai HOKUEI (Active 1824-1837)
Katsushika HOKUGA ( Fl. c. 1830 )
Shotei HOKUJU ( Fl. c. 1789 – 1818 )
Katsushika HOKUSAI ( 1760 – 1849 ). Also used numerous other names such as: SORI, SHUNRO, SHINSAI
Shokosai HOKUSHU ( Fl. c. 1808 – 1832 )


KEISAI. See Kitao MASAYOSHI
Suzuki KIITSU ( 1796 – 1858 )
Kitagawa KIKUMARO ( Fl. c. ? – 1830 ). See TSUKIMARO
Kobayashi KIYOCHIKA ( 1847 – 1915 )
Torii KIYOHIRO ( Fl. c. 1737 – 1771 )
Torii KIYOMASA ( Fl. c. 1700 – 1722 )
KIYOMINE. See Torii KIYOMITSU II
Torii KIYOMITSU ( 1735 – 1785 )
Torii KIYOMITSU II ( 1787 – 1868 ). See KIYOMINE
Torii KIYONAGA ( 1752 – 1815 )
Torii KIYONOBU ( 1664 – 1729 )
Torii KIYONOBU II ( 1706 – 1763 )
Torii KIYOTSUNE ( Fl. c. 1757 – 1779 )
Isoda KORYUSAI ( Fl. c. 1767 – 1788 )
Ohara KOSON ( 1877 – 1945 ). See SHOSON
Torii KOTONDO ( 1900 – 1976 )
Toyohara KUNICHIKA ( 1835 – 1900 )
Utagawa KUNIHIRO ( Fl. c. 1815 – 1843 )
Ichiunsai KUNIHISA ( 1832 – 1891 )
Utagawa KUNINAO ( 1793 – 1854 )
Utagawa KUNISADA ( 1786 – 1865 )
Utagawa KUNISADA II ( 1823 – 1880 )
Utagawa KUNISATO ( ? – 1858 )
Utagawa KUNITERU ( 1808 – 1876 )
KUNITERU. See Utagawa SADASHIGE
Utagawa KUNITERU II ( 1829 – 1874 )
Utagawa KUNIYASU ( 1794 – 1832 )
Ichiyusai KUNIYOSHI ( 1797 – 1861 )
Santo KYODEN. See Kitao MASANOBU
Kawanabe KYOSAI ( 1831 – 1889 ). See GYOSAI


Okumura MASANOBU ( 1686 – 1764 )
KitaoMASANOBU ( 1761 – 1816 ). See Santo KYODEN
Kitao MASAYOSHI ( 1764 – 1824 ). See KEISAI
Oishi MATORA ( 1794 – 1833 )
Hishikawa MORONOBU ( Fl. c. 1618 – 1694 )


Nishimura NANTEI ( 1775 – 1834 )
Utagawa NOBUKATSU ( Fl. c. 1830 – 1844 )
Watanabe NOBUKAZU ( Fl. c. late 19th century )


Hishikawa RYUKOKU ( Fl. c. 1808 – 1816 )
Jokei RYUKOSAI ( Fl. 1772 – 1816 )


Gokitei SADAFUSA ( Fl. c. 1825 – 1850 )
Hasegawa SADAHARU ( Fl. c. 1830 – 1844 )
Gokotei SADAKAGE ( Fl. c. 1818 – 1844 )
Utagawa SADAHIDE ( 1807 – 1873 )
Hasegawa SADANOBU ( 1809 – 1879 )
Utagawa SADASHIGE ( Fl. c. mid 19th century ). See KUNITERU
Gofutei SADATORA ( Fl. c. 1825 )
Yamaguchi SHIGEHARU ( 1803 – 1853 )
Kitao SHIGEMASA ( 1739 – 1820 )
Nishimura SHIGENAGA ( 1697 ? – 1756 )
Nishimura SHIGENOBU ( Fl. c. 1724 – 1735 )
SHIKO. See Eishosai CHOKI
Ryuryukyo SHINSAI ( 1764 – 1820 )
Ito SHINSUI ( 1898 – 1972 )
Kojima SHOGETSU ( Fl. c. 1880 – 1890 )
SHOSON. See Ohara KOSON
Takahashi SHOTEI ( 1871 – 1945 )
Yamamoto SHOUN ( 1870 – 1965 )
Yamakawa SHUHO ( 1898 – 1944 )
Katsukawa SHUNCHO ( Fl. c. 1780 – 1795 )
Takehara SHUNCHOSAI ( Fl. c. 1772 – 1801 )
Katsukawa SHUN’EI ( 1762 – 1819 )
Katsukawa SHUNKO ( 1743 – 1812 )
Hishikawa SHUNKYO ( Fl. c. early 19th century )
Kubo SHUNMAN ( 1757 – 1820 )
Katsukawa SHUNSEN ( Fl. c. 1762 – 1830 )
Natori SHUNSEN ( 1886 – 1960 )
Gatoken SHUNSHI ( Fl. c. 1820 – 1828 )
Katsukawa SHUNSHO ( 1726 – 1792 )
Katsukawa SHUNTEI ( 1770 – 1820 )
Katsukawa SHUNZAN ( Fl. c. 1782 – 1798 )
Yamaguchi SOKEN ( 1759 – 1834 )


Ikeno TAIGA ( 1723 – 1776 )
Katsukawa TERUSHIGE ( Fl. c. 1715 – 1725 )
Mori TETSUZAN (1775-1841)
Migita TOSHIHIDE ( 1863 – 1925 )
Mizuno TOSHIKATA ( 1866 – 1908 )
Okumura TOSHINOBU ( Fl. c. 1717 – 1750 )
Utagawa TOYOHARU ( 1735 – 1814 )
Utagawa TOYOHIRO ( 1773 – 1828 )
Utagawa TOYOKUNI ( 1769 – 1825 )
Utagawa TOYOKUNI II ( 1777 – 1835 ). See TOYOSHIGE
Yamamura TOYONARI ( 1885 – 1942 )
Ishikawa TOYONOBU ( 1711 – 1785 )
TOYOSHIGE. See Utagawa TOYOKUNI II
TSUKIMARO. See Kitagawa KIKUMARO
Kitano TSUNETOMI ( 1880 – 1947 )


Toyokawa UMEKUNI ( Fl. c. 1816 – 1826 )
Kitagawa UTAMARO ( 1753 – 1806 )
Kitagawa UTAMARO II ( ? – 1831 )


Inoue YASUJI ( 1864 – 1889 )
Hiroshi YOSHIDA ( 1876 – 1950 )
Ipposai YOSHIFUJI ( 1828 – 1887 )
Utagawa YOSHIIKU ( 1833 – 1904 )
Utagawa YOSHIKATA ( Fl. c. 1841 – 1864 )
Utagawa YOSHIKAZU ( Fl. c. 1850 – 1870 )
Toyokawa YOSHIKUNI ( Fl. c. 1803 – 1840 )
Utagawa YOSHIMUNE ( 1817 – 1880 )
Ichiyosai YOSHITAKI ( 1841 – 1899 )
Utagawa YOSHITORA ( Fl. c. 1850 – 1880 )
Taiso YOSHITOSHI ( 1839 – 1892 )
Utagawa YOSHITSURU ( Fl. c. 1840 – 1850 )
Ichieisai YOSHITSUYA ( 1822 – 1866 )
Mori YOSHIYUKI ( 1835 – 1879 )


Shibata ZESHIN ( 1807 – 1891 )