Totoya HOKKEI (1780-1850)
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An original painting, full colour with gold outline to robe, 32 x 10.75 in; 81.3 x 27.3 cms, on silk. Shows a beauty erotically biting on her hand towel (tenugui) while on the way to a public bath house. This gesture represented deep emotion. Hokkei was one of Hokusai’s earliest and best pupils who not only produced paintings but illustrated books and is especially known for his fine surimono. Illustrated in Nihon ukiyoe hakubutsukan, ed., Nikuhitsu ukiyoe senshu gekan (Selected Painting of Ukiyo-e, second vol.) (Tokyo: Gakushu kenkyusha , 1985). Plate 188. In very good condition with an interesting shibori (tie-dyed) mount, cleverly echoing the pattern on the material she holds. Signed Hokkei ga with Hokkei seal.
Status: Available
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Totoya HOKKEI (1780-1850)
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A still life surimono showing a right-eye flounder or flatfish, Karei, and a red bream, kaneme-tai. And small unidentified vegetables. Provenance: A slip from a catalogue on the back indicates that it comes from a Paris sale, probably early 20th century describing it as Limande et dorade. Hokkei is best known for his surimono. He was originally a fishmonger, hence his name Totoya, and also accounts for the number of surimono he designed with fish and shells. Extremely rare.
Fine impression and colour with mica on the bream. Minor soil, otherwise very good condition. Signed Hokkei.
Status: Sold
Totoya HOKKEI (1780-1850)
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A surimono showing the Japanese Buddhist goddess Benten, as always with her lute, and a monkey and rat holding a scroll showing the short months (2,4,7,9,12) for the Rat year, 1828. Benten (Hindu: Saraswati) originates from India via China. She is also one of the Seven Gods of Good Fortune. A fukujuso plant in a pot to her right. Poems by Ganjotei Shirataka and Tetsujoan Maori.
Very fine impression with extensive silver and gold. Signs of mounting au verso, otherwise very good condition. Fine colour. Signed Hokkei.
Status: Sold
Totoya HOKKEI (1780-1850)
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Hokkei, a pupil of Hokusai, is best known for his fine surimono. This rather enigmatic example shows an ox being led by a farmer and his son. There appears to be a festival element in the headgear. Presumably issued for the Ox year (1829). The poetry club logo, top left, is in the form of an ox. Another impression is in Harvard, 1933.4.1981, and another example is in the MFA, Boston, 11.20608. Interestingly, this example lacks the aforementioned ox seal: Possibly there was a commercial printing of the surimono.Two poems above. Rare.
Fine impression. Fine colour with extensive silver. Fine condition. Signed Hokkei.
Status: Sold
Totoya HOKKEI (1780-1850) (Attrib. to.)
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A surimono showing a new year’s throng of musicians, a monkey trainer, a samurai and children with a large kite. Possibly one sheet of a diptych or triptych. A beautiful example of the art of the surimono. Rare.
Superb impression. Fine colour with extensive silver, gold and blind-printing.
Status: Sold
Totoya HOKKEI (1780-1850)
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Originally a fishmonger (hence the go Totoya). Studied painting under Kano Yosen’in and then became one of Hokusai’s best pupils. Produced excellent surimono such as here showing a sumptuously attired courtesan representing Kyoto from a set of three surimono Sangoku-shi no toen ketsugi, a History of the Three Kingdoms. (A play on the Chinese states of Wei, Shu and Wu during AD 220-280, but here being Kyoto, Edo, Osaka.) Produced for the Shipporen (“Seven Treasures”) Kyoka Club c 1827. Their emblem top right and also incorporated into the background and on the box bottom left. Extremely rare.
Superb impression, colour and condition with extensive silver and gold. One of the finest surimono I have catalogued. Signed Go Hokkei.
Status: Sold
Totoya HOKKEI (1780-1850)
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A surimono showing two beauties by the pond at Tsunowazu Kumano Shrine in Yotsuya. The title is: Yotsuya Juniso, referring to the twelve shrines at Tsunowazu in Yotsuya. The poem on the large stone is by Shibanoya and refers to the peacefulness of the place with the willows and water. The other writing directs visitors to the cool of the nearby waterfall and the Unju forrest.
Fine impression with silver and gold. Fine colour and condition. Signed on request, Motome ni ojite Hokkei fude.
Status: Sold
Totoya HOKKEI (1780-1850)
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A surimono showing the poetess Kiyogaki standing on Mukaigaoka Hill overlooking a frozen Shinobazu Pond with the shrine of Benten. (And since the snake was the messenger of Benten, this print was probably issued for Snake Year 1833.) Two poems by Tojuen Kiyogaki and Yayoian.
Fine impression and colour with extensive silver – especially on the frozen lake. Slight soil, otherwise very good condition. Signed Hokkei.
Status: Sold
Totoya HOKKEI (1780-1850)
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A surimono from a set Onkyoku zukushi, “An Array of Songs.” In the cartouche, top right, on the right, is Tokiwazu (a school of vocal music featuring the 3-stringed shamisen), and on the left the title of the musical piece illustrated here, which is Oimatsu, “Old Pine Tree,” a brief and auspicious piece composed in 1747 and used for celebratory occasions. A warrior is shown reclining against an old pine in heavy rain. Issued c 1818. Another from the set is illustrated in Reading Surimono, John Carpenter, Hotei publishing, 2008, no. 76, p. 203. Rare.
Fine impression with gold, blind-printing and the rain printed in silver. Very good colour. The red may be down slightly but, as yet, I have not found another impression to compare. Very good condition. Signed Hokkei.
Status: Sold
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
Totoya HOKKEI (1780-1850)
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An uncut large surimono with the poems attached showing a rustic bridge in a country setting. Geese flying above. Published c 1810s. Provenance: Ex Samuel Tuke collection, seal centre left. Tuke was a member of the Japan Society of London and many of his prints went to the British Museum, while others were sold at Sothebys in 1911. Rare.
Very good impression, colour and condition. Signed Totoya Hokkei ga.
Status: Sold
Totoya HOKKEI (1780-1850)
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A surimono showing three overlapping fans. The top fan shows the first sunrise of the new year behind a shachi on a castle roof. Usually called dolphins, they in fact had the head of a tiger and body of a carp. The second shows a court lady and attendant collecting young pines on the first day of the year. The third shows an imperial ox cart. Possibly for the Ox year 1829. Another impression was in the Adolphe Stoclet sale, Sothebys 8th June 2004, lot 463, p. 242. Poems by Shinshukei, Shigekado and Shinratei Manzo (leader of the Manjiren club).
Very fine impression and colour with gold and silver. Fine condition. Signed Hokkei.
Status: Sold
Yashima GAKUTEI (1786-1868) and Totoya HOKKEI (1780-1850)
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Two vols. kyoka books complete: Ressen retsujo gazoshu, a “Collection of the Portraits of Immortal Men and Women.” Twenty eight portraits of Chinese hermits and twenty one portraits of celebrated women in Japanese history. Being a selection of kyoka presented at the meetimg held at Kawachiya of Yanagibashi Ryogoku in Edo, 1st day of the 9th month, Bunsei 7 ( 1824 ). Published by Shinsenyen. Rare.
Original covers and title slips. Minor marks to covers, otherwise very good condition.
Status: Sold
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
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
Aoigaoka HOKKEI (1780-1850)
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A large ( 17.25 x 24.25 inches; 44 x 62 cms. ) aerial view of the Asakusa Kinryu Shrine in the Eastern Capital, Toto Kinryuzan, Asakusa dera no zu. Published c.1830s by Izumiya Ichibei and Mamura Hanbei and blocks cut by Akibara Namijiro. At the top right a red seal ( of a collector or shop ) Ei-o do. There appears to be another edition of this view with another publisher, lacking block cutter’s name and without the setting sun top right. Rare: For obvious reasons these large views did not survive in any quantity.
Very good impression and colour. Faint fold marks with some expert restoration. Lightly laid onto Japanese paper. Signed Aoigaoka Hokkei sha.
Status: Sold
Aoigaoka HOKKEI (1780-1850)
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Izu, Goseiki no Mida, A boat navigating a rocky promentary from Hokkei’s most famous series: Shokoku meisho, ‘Famous Views of the Provinces’ ( here Izu Province ) published by Eijudo and Nakamuraya Katsugoro, c 1830’s. This set of long, narrow, large-tanzaku format prints is one of the finest landscape series by any artist and is extremely rare. The complete set of thirteen prints is listed in Images from the Floating World, Richard Lane, 1978, p. 254. I have located images of 7 from this set but am unable to find the others at the moment. ( Images found for: Lane 3; 4; 5; 6; 8; 9; & 13. )
Very good impression and colour. Minor soil and small expert repairs at top two corners, otherwise good condition. Signed Hokkei ga.
Status: Sold
Aoigaoka HOKKEI (1780-1850)
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One volume, black & white, Kyoka suikoden shu, “Picture Book of the Water Margins with Kyoka Poems”. Presumably this is based on the 1829 Kyoka suikoden gazo shu . There were a number of variant editions after it.
Original covers and title slip. Slight wormage, otherwise good condition. Although pages start at 6 ( and go to 23 ) there is no indication of any pages being removed.
Status: Sold
Totoya HOKKEI (1780 – 1850)
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The Dragon King, Ryu-jin, presenting the tide-ruling jewels Nanjiu and Kanjiu. In Japanese folklore he ruled the sea and inhabited a spectacular castle in the depths of the ocean.
Fine impression and colour with extensive gold and silver. Minimal edge soil. Signed Hokkei.
Status: Sold
Aoigaoka HOKKEI (1780 – 1850)
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An unidentified fish amongst carnations. An apparently unrecorded surimono.
Fine impression and colour. Minor crease, otherwise good condition. Signed Hokkei.
Status: Sold
Totoya HOKKEI (1780-1850)
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Two swallows diving above a stream from a set Sanju-roku tori zukushi, “A Series of Thirty-six Birds and Animals”. The title in the shape of a rolled makimono top right. A takaramono printed in gold on blue with good luck symbols runs along the top. Produced for the Shipporen Poetry Club c1830. Poems by Fukubunro Arimasu and Kozanro Okikaze. Of the utmost rarity: Surimono, when encountered from this series, are invariably reprints or copies. Only known as a Meiji Akashi reprint. Others from the set are illustrated in: Vever I, 1974, lot 339; Gale Catalogued, Hillier 1970, no 253; Le Veel sale ( 3rd Part ) 1981, lot 165.
Fine impression and colour with sprayed blue pigment to simulate water drops. Very small repaired wormhole at bottom, otherwise very good condition. Signed Hokkei.
Status: Sold
Totoya HOKKEI (1780-1850)
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A deer with her fawn from a set Sanju-roku tori zukushi, “A Series of Thirty-six Birds and Animals”. The title in the shape of a rolled makimono top right. A takaramono printed in gold on blue with good luck symbols runs along the top. Produced for the Shipporen Poetry Club c1830. Poems by Fukukitei Karakusa and Eigado Soya. Of the utmost rarity: Surimono, when encountered from this series, are invariably reprints or copies. The only impression I have catalogued of this design. Others from the set are illustrated in: Vever I, 1974, lot 339; Gale Catalogued, Hillier 1970, no 253; Le Veel sale ( 3rd Part ) 1981, lot 165.
Fine impression and colour. Light pink ground. Minimal marks, otherwise very good condition. Signed Hokkei.
Status: Sold
Totoya HOKKEI (1780-1850)
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A rare surimono with title: Enoshima kiko, Ryudo, “Record of a Journey to Enoshima”. A set of sixteen prints for the Manji-ren Club ( their swastika seal top right above title cartouche ). Each surimono has an association with Enoshima, as here, where the year of issue is 1833, a Snake Year, the reptile being the messenger of Benten whose shrine is situated at Enoshima. The scene shows a picnic party enjoying the view, while a couple explore the Dragon’s Cave on the right. In the distance the snows of Mount Fuji stand out in silver. Two other impressions illustrated in One Hundred Surimono in the Collection of Sidney C. Ward, no.28, p.35 and the second Le Veel sale. 1980, lot 149.
Very fine impression, colour and condition with silver, gold and gauffrage. Signed Hokkei.
Status: Sold
Totoya HOKKEI (1780-1850)
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A rare surimono showing a tea-house on an inlet. A couple are being entertained by a waitress in an open room while another goes to collect fish from a man holding a fish-scoop. The shop sign indicates a magnificent view of Kanto ( the provinces situated east of the Hakone Barrier Station ).
Very fine impression, colour and condition. Extensive details in gold and silver. Signed Hokkei.
Status: Sold
Totoya HOKKEI (1780-1850)
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Shows a Shinto priest carrying a firebrand and running to avoid a large wave. In his left hand he carries me, an edible seaweed which he has gathered. This ritual was carried out at night on New Year’s Eve at the Hayatomo Myojin Shrine, in northern Kyushu. The shrine is seen, top right, beneath a black sky. Other examples of this rare surimono are illustrated in: Vever sale, Part 1, Sothebys, 1974, lot 336, p.315; Jewels of Japanese Printmaking: Surimono of the Bunka-Bunsei era 1804-1830, Joan B. Mirviss, 2000, no.48, p.97 ( colour ); One Hundred Surimono in the Collection of Sidney C. Ward, no.26, p.32; Surimono, Steff Schmidt and Setsuko Kuwabara, 1990, no.38, p.92. One of the finest surimono designs. Published c early 1830s.
Fine impression. The red of the firebrand turned, otherwise very good colour. Extensive flecked foam printed silver and the gold of the poems, against the black sky, intact. Very good condition. Signed Oju Hokkei hitsu.
Status: Sold
Totoya HOKKEI (1780 – 1850)
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A surimono showing a courtesan with attendant holding a kite with an image of Danjuro in a shibaraku role. Title: Haru no machi, “The Series of Spring Town”. Issued by the Fundarikaren Club. Their emblem is repeated on the cloth sack the attendant carries on his back. Rare: This is the only genuine impression I have catalogued.
Fine impression and colour with gold and silver. Slight fading, otherwise fine condition. Signed Hokkei.
Status: Sold
Totoya HOKKEI (1780-1850)
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A young beauty holding a fallen kite from a series: Yanagi bantsuzuki “A Series of Willows”, sub-title: Yanagi yu “The Public Bath Willow”.
Fine impression and colour. Slight signs of mounting au verso, otherwise good condition. Signed Go Hokkei.
Status: Sold
Aoigaoka HOKKEI (1780 – 1850)
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A surimono from the set: Hanazono bamtsuzuki, “A Set for the Hanazono Group”. A series of at least seventeen prints published c1820s. Each image gives a positive injunction to start something on an auspicious day; as here: Ibori yoshi “A Good Day to Dig a Well”.
Fine impression, colour and condition. Signed Hokkei.
Status: Sold
HOKKEI (1780 – 1850)
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A surimono from the set: Hanazono bamtsuzuki, “A Set for the Hanazono Group”. A series of at least seventeen prints published c1820s. Each image gives a positive injunction to start something on an auspicious day; as here: Nyugaku yoshi “A Good Day to Start Studying”.
Fine impression. Slight turning of colour on border, otherwise very good colour and condition. Signed Hokkei.
Status: Sold
Aoigaoka HOKKEI (1780 – 1850)
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A surimono from the set: Hanazono bamtsuzuki, “A Set for the Hanazono Group”. A series of at least seventeen prints published c1820s. Each image gives a positive injunction to start something on an auspicious day; as here: Yudono hajine yoshi “A Good Day to Start Having a Bath”.
Fine impression. Slight turning of colour on border, otherwise very good colour and condition. Signed Hokkei.
Status: Sold
Aoigaoka HOKKEI (1780 – 1850)
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A surimono from the set: Hanazono bamtsuzuki, “A Set for the Hanazono Group”. A series of at least seventeen prints published c1820s. Each image gives a positive injunction to start something on an auspicious day; as here: Kadoide yoshi “A Good Day to Start a Journey”.
Fine impression. Slight turning of colour on border, otherwise very good colour and condition. Signed Hokkei.
Status: Sold
Aoigaoka HOKKEI (1780 – 1850)
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A surimono from the set: Hanazono bamtsuzuki, “A Set for the Hanazono Group”. A series of at least seventeen prints published c1820s. Each image gives a positive injunction to start something on an auspicious day; as here: Sake zukuri yoshi “A Good Day to Make Sake”.
Fine impression. Slight turning of colour on border, otherwise very good colour and condition. Signed Hokkei.
Status: Sold
Totoya HOKKEI (1780-1850)
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A dragon emerging from dark clouds. An extremely rare surimono; the few other known examples being trimmed.
Fine impression, very good colour and condition. Signed Hokkei.
Status: Sold
Totoya HOKKEI (1780-1850)
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A langoustine and fish. An extremely rare surimono designed for the Gogawa Club (seal top right) and produced by Shunman sei.
Very good impression, colour and condition with blind-printing on fish. Signed Hokkei sha.
Status: Sold
Totoya HOKKEI (1780-1850)
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An exceptionally rare surimono showing salt gatherers on a beach, their huts behind them and Mount Fuji towering over the horizon. Published c 1820s. I cannot, at the moment, locate another impression.
Fine impression with gold clouds and Fuji heavily blind-printed. Fine colour. Minimal soil, otherwise very good condition. Si8ned Hokkei.
Status: Sold
Teisai HOKUBA (1771-1844)
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One of the outstanding pupils of Hokusai, his paintings rated next below the master’s, and also one of the earliest, together with Hokkei and Shinsai. Designed some fine surimono, also kyoka books. But best known for his highly accomplished kakemono of bijin, often set against well known places in Edo. This pair of paintings shows, right, a beauty beneath a cherry tree, Sakura; and, left, a beauty on a small jetty beneath a maple tree, Momiji. Beautifully presented with old mounts and box. Full colour on silk. Image sizes 39.75 x 13.5 in; 101 x 34.5 cms. In extremely good condition with beautiful details on the costumes of the two bijin. Each painting signed Teisai with seals Tei Sai. Probably c 1830’s when his finest work is considered to have been made.
Status: Sold
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Utagawa TOYOKUNI II (1777-1835)
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Fuji bosetsu, Evening Snow on Fuji from a set of Eight Famous Views published by Iseya Rihei, c. 1833-4. Fuji towers over a religious compound. Toyokuni, like Kuniyoshi, Kunisada, Gakutei and Hokkei, while not known as a landscapes artist, produced a few fine examples, as here. Rare.
Very fine impression and colour. Fine condition. The first edition: It’s not generally known that there are two editions with the title recut. Also, the purple colour in the title label invariably fades to a puce colour. Signed Toyokuni hitsu.
Status: Sold
Kochoro KUNISADA (1786-1865)
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Sunrise at Futamigaura, Futamigaura akebono no zu from an untitled set of ten landscapes published by Kinkodo c. 1832. Shows the husband and wife rocks at Futami beach in Ise Province. A Shinto site indicated by the rope and gateways on top of the left rock. Kunisada, like Kuniyoshi, Toyoshige, Gakutei and Hokkei, while not known as a landscapes artist, produced a few fine examples, as here. Rare.
Fine impression, the waves gauffraged. Minor soil and marks, otherwise very good colour and condition. Signed Kochoro Kunisada ga.
Status: Sold
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 )