The term surimono usually connotes small oblong or square prints with pictorial motifs invariably accompanied by light verses known as kyoka, but the same term has also been attached to prints of quite a different order, one of whose main functions was to publish haiku, verses of a class quite distinct from kyoka, embellished with designs by mainly Shijo, or less frequently, Nanga artists. It has never been satisfactorily determined how the word surimono, literally "printed thing," became specifically assigned to the small kyoka prints (and to the "long" surimono originating mainly in the same verse societies and designed by the same artists), but there seems absolutely no reason why the same word should have been applied to what is a very different species of print pictorially the work of artists other than Ukiyo-e, and printed in techniques more painterly, more closely imitative of brushpainting, than the Ukiyo-e kyoka surimono. The only links between the two types are that they are both woodblock printed (though by different techniques), and that they are vehicles for publishing amateur verse (but of two opposing types).The distinction between the two types was already fully understood by Edmond de Goncourt. In the 1896 sale catalogue of his effects these large non-Ukiyo-e prints are called "Kyoto surimono,"¹ though in a note it is explained: "Pour le bon entendement du public nous conservons à ce genre de gravures l'appellation généralement adoptée de Sourimono de Kiôto, bien qu'elle ne soit pas toujours exacte. Beaucoup de ces feuilles se faisaient à Yédo et la signature de Zeshin, surtout, s'y rencontre fréquemment." In somewhat the same imprecise way they have been called "Osaka surimono, perhaps because some of the earliest of the type, as will be discussed later, were actually produced in that city.Most of the early French print collections included small representative groups of what might more generally be called (from the name of the school to which the majority of the artists belonged) Shijo surimono. They were, however, given a quite subordinate place in relation to the more preciously printed and much admired Edo kyoka surimono. They were obviously considered of little account. In the Goncourt sale mentioned, they were sold in lots of twenty or thirty at a time, without mention of the artists' names. Charles Vignier, when, in the 1920s, he came to catalogue the auction sales of so many of the great French collections then in process of being broken up, showed his usual perceptive connoisseurship in appreciating their artistic significance and accorded them the same, full, reliable catalogue entries, print by print, as the smaller Edo surimono. In the first Gonse sale catalogue, lots 131 to 138 relate to specimens by Ganku, Shonen, Keibun, and Suiseki, among others, and perhaps for the first time the exceptional nature of their printing techniques was stressed.² The Ganku print of a crane among reeds, bearing New Year felicitations (no. 131 in the catalogue), he described as "épreuve exceptionelle et rarissime"; of another by Shonen of a blackbird and waterlilies, he wrote: "Pièce d'une étonnante intensité, en superbe tirage." Alphonse Isaac was one of the few collectors who went to the extent of specializing in this form of print, and the December 1925 sale catalogue,³ again by Vignier, included nearly a hundred among the lots 210 to 334, some of which, or other impressions of them can be recognized in the Mitchell Collection, and in the Scheiwe Collection referred to below. But among collectors generally, they never gave rise to the marvel and wonder evoked by the exquisitely designed and produced surimono by Hokusai, Shumman, Toyohiro, Shinsai, Hokkei, Gakutei, and a few others. It is difficult to account for this lack of enthusiasm, but there is a clue in the fact that those collectors who showed any partiality for the Shijo surimono—such as Goncourt, Gonse, and Isaac—were also admirers and collectors of ehon and albums, not merely of the Ukiyo-e artists, but of the Kyoto, or "classical" schools, as well. The large surimono were the single-sheet counterparts to prints already familiar to such collectors in book and album form. Other collectors who confined themselves to Ukiyo-e broadsheets and ignored the illustrated books had no chance to acquire a taste for prints that lay outside their restricted range.The Japanese themselves have always been rather lukewarm in their attitude even to kyoka surimono; with one or two notable exceptions they seem completely to have ignored the Shijo type. It has to be said that the last two decades have seen a growing realization, east and west, of the special artistic value of the Shijo surimono, and several notable collections have been formed, notably by Charles Mitchell, resident in Tokyo, whose prints are now in The Minneapolis Institute of Arts and are the source of the illustrations to this paper; and by Theodore Scheiwe in Münster, West Germany, the excellent 1972 catalogue of whose collection describes and illustrates a number.⁴Before coming to aesthetic considerations, the attempt ought to be made to deal with the origins of the Shijo surimono, especially those of which are of an unusually large size for any woodblock print, Ukiyo-e or Shijo school. Nothing is more difficult. In the world of what might be called "private" publishing in Japan—for the great majority of these prints were not the product of a commercial enterprise, but conceived and brought out by clubs or societies of verse-writers—there was no attempt to advertise precedence for this or that kind of print, the originality of the technique, or the status of the artist, all of which would surely have given the clues art-historians hope for. The societies were simply intent of publishing on a single sheet as many poems of their members as was consonant with clarity and refinement. They had the good sense to involve the artists they considered not merely outstanding as painters but also sympathetic to their ideals.I have been limiting my remarks to the Shijo surimono of large size, that is, about 38 cm by 48 cm (about 15 by 19 inches), but the same artists designed smaller prints for the dissemination of haiku, the commonest size being roughly 18 cm by 25 cm (about 7 by 9-3/4 inches). The two broad groups seem to have been published at more or less the same period, but conceivably the smaller-sized prints predominated, and more certainly have survived, especially from the early Meiji period (began 1868). The smaller oblong print is not discussed here, though when any large-scale monograph on the Shijo surimono is eventually undertaken its contribution to the art-form will need to be established.Although the other was of quite exceptional dimensions, outsize color prints of a surimono type were not originated by the Kamigata verse societies. The earliest to appear had the pictorial element provided by none other than Hokusai. Of the three or four of these prints by him which are recorded, the best known is one of peonies of varied color with poetic inscriptions at one corner together with the signature Gakyojin Hokusai and a date around 1802. (One of the poems is signed Hakuen, a pen-name of the actor Ichikawa Danjuro V, who died in 1806). This print is known by two impressions: one formerly owned by Adolphe Stoclet and now in the Winzinger Collection;⁵ the other once in the Kunsthalle, Bremen.⁶Only a small proportion of the Shijo surimono are fully dated. Some may refer to the year, animal, but, without the full jikkan, giving the position in the 60-year cycle, one can only make intelligent guesses, based as much as anything on the known span of the artist's working life. Only a few are recorded with dates prior to 1820. The Isaac sale catalogue lists a print of six poets by Shisai Dojin Tanicho (an artist not otherwise known) dated 1808,⁷ and a joint work by Gito and Goun, of a crayfish and foliage, is dated 1815.⁸ In the Scheiwe Collection⁹ is a print of a hare by Goshun which, if issued during his lifetime (he died in 1811) could be datable to the Year of the Hare, 1807, but more likely it was published posthumously, perhaps in 1819. In my own collection I have a large sheet decorated with a powerful design on a fugu—fish by Tani Buncho, dated Bunsei 2 (1819) and conceivably produced for an Edo-based society. From this year onwards dated sheets are more common, and one senses that although isolated prints may have been produced earlier, the practice of issuing them did not become a regular activity of the poetry clubs until the third year of the Bunsei period, 1820.It is possible that those produced in Osaka were among the earliest. A group of artists living in that city was closely associated with the haiku societies: it is significant that they were joint illustrators of a series of haiku anthologies published from about 1818 to 1820 commemorating the poet Kien. The first, Sakazuki Awase (A collection of Sake Cups), with a closing note dated 1818, was in honor of the poet's sixtieth birthday, and contained illustrations by Nagaharu, Suiseki, and Shonen; the second, Niju Kasen (Twenty Poets), published in 1819, is known only from the reference to it in the third, Kai Awase (Matching Shells), published in 1820, with illustrations by Hagaharu, Suiseki, Shonen, Kagen, and others.¹⁰Nagaharu, Suiseki, Shonen, and Kagen were all Osaka artists, and each designed a number of the large surimono, all of which are undated. All but Kagen were listed on a banzuke or directory of Osaka artists for Bunka 4 (1807), though only works by Suiseki and Shonen are known from that early date. But as they were all four working closely with the haiku poets from 1818 onwards, it seems quite likely that the publication of the separate sheet prints, embellished with color-printed designs by them, began then or shortly afterwards. Keibun and Toyohiko were Kyoto-based Shijo artists whose early paintings and book illustrations coincide in time with the first works of the Osaka artists mentioned above, and it is conceivable that the large surminono that they designed were contemporary with the earliest of those produced in Osaka.These groups and individuals can certainly be seen as the first to grapple successfully with the problems set for artists by a new form of print, and their example was persuasive enough both to influence and to stimulate to fresh originality all those that followed them, right down to the time when the format flourished finally in Edo, where such late 19th-century masters as Shibata Zeshin and Suzuki Shonen excelled. From the outset, the large prints were issued for the purpose of publishing haiku, and not only the verses of a single poet but those of a whole coterie were included, the contributors sometimes numbering as many as sixty or more. Obviously, the pictorial element had only the loosest connection with the verses: it was not intended to illustrate them; indeed how could it, except in the most general way, relate to the subject matter of dozens of verses from different writers, even where there was a common theme such as "spring" or the "full moon"? More pertinent from the purely graphic aspect was the necessarily restricted clientele. The composition of verses of this sort was a club activity, amounting at times to actual competition among members, and their effusions were hardly likely to have been of interest to the public at large. Outside the members of the club who were commissioning such surimono, there could have been little call for impressions, but an edition, although small, would always be guaranteed by subscribers: it was not a commercial publication in any sense. Hence, it was often a de luxe print, the edition perhaps limited to about one hundred impressions, and this encouraged the block-cutter and printer to lavish their utmost skill and interpretive flair. A splendidly stout torinoko paper was used, with sympathetic surface that both absorbed and enhanced the printer's colors. Very occasionally, the block-cutter impressed his own seal, inconspicuously, at the lower left-hand corner of a print (a practice that was followed in some privately-published Ukiyo-e kyoka surimono). I have a print of florally decorated fans by Nangaku, dateable to the 1820s, which bears the seal of Kikusha, followed by the character to, "cutter"; a late print by Chokunyu in the Scheiwe Collection has the seal of Kataoka of Naniwa (Osaka).¹¹So far, I have tried to situate the large surimono chronologically and technically. Their aesthetic appeal, though now so widely appreciated, is less simple to pin down. It lies in a combination of several factors, separable in discussion but inextricably fused in the actual prints.The great majority of the designs are in what can broadly be termed Shijo style, that is, there is a measure of naturalism but only to the extent that the artist's brush is unimpeded and freely allowed to express itself. We have come to admire this truly painterly style not only in original brush drawings and paintings but also in the sensitively interpretive color woodblock versions published in gafu, or "drawing book," form. The Keijo Gaen of 1814, for instance, is an album of prints that covers a wide range of individuals and pinpoints their own special characteristics; the Sonan Gafu of 1834, on the other hand, is a solo performance by Chinnen, designed to show his versatility of treatment of a wide variety of subjects. The generous size of the separate-sheet prints, the potential to employ broad areas of color, with more explicit interpretation of the ploys of the painter's brush, such as the gradation from forceful edge to vague evanescent areas of color, meant that the surimono carried the prints of the gafu a stage further, to what might be called the ultimate in Shijo color-printing. The Nagaharu (figure 1) exemplifies this claim: a print of this amplitude and "spread," whilst not completely unprecedented in one or two exceptional albums, was obviously more easily conceived with the noble format of the surimono in mind.Given the style of the pictorial element and its graphic interpretations, the next, and vital, consideration is its integration, its harmony, with the written word, which, it must be remembered, was the raison d'être for the print. It is in this placement of picture vis-à-vis text that some of the most original triumphs of the print reside. Of course, sometimes the demands of the printed book of verses (kyoka or haiku) were much the same, but on a more limited, more manageable scale. The presentation of large blocks of vertical columns of calligraphy in a pictorial setting called for a great deal of ingenuity in mise en page or mise en dessin. Take an example from one of the greatest designers, Suiseki, whose Suiseki Gafu, Series II (1820), is one of the supreme masterpieces among the books of color-prints of the school: the row of lanterns hanging in a framework of wood or metal (figure 2). The verses are unevenly placed, but their verticality cannot be avoided: Suiseki introduces a contrapuntal element by placing the lanterns in a diagonal that leads right out of the page, and insists on the three-dimensional retreat of the lanterns in a diminuendo achieved by the fading of the color and the increasing vagueness of the line as they recede. The Nagaharu (figure 1) achieves its aim by the extreme asymmetry of the flowering camellias and their wholly frontal treatment: the calligraphy in this case is forced on to another plane, and the effect together, instead of contrapuntal, is like themes presented consecutively on two contrasted groups of instruments. Two later examples show the continuing ingenuity of designers in this aspect of their art. Figure 3 illustrates a print by Hodai, a follower of Suiseki. He ingeniously hangs the lines of poetry between the upper and lower frames of a row of banners whose varied angles syncopate the uncompromising verticality of the verses. Ayaoka in a print dated 1861 (figure 4) presents the poems on an irregular "cloud" form, superimposed on the dense branches and twigs of a flowering plum tree.We have no evidence as to the manner in which the prints were designed, whether, for instance, the artists could govern the number, or the set-up, of the verses. In the instances given above one feels that there must at least have been consultation between the representatives of the verse societies and the artists commissioned to make the designs, but in other cases the impression is given that the artist was asked to prepare a picture to appear on one side of the sheet, and the calligraphist would insert, not always very imaginatively, the lines of verse in the area left blank by the artist. The Nagaharu (figure 5), the Suiseki (figure 6), and the Keibun (figure 7) seem to lack any real involvement between design and text. The Keibun (figures 8 and 9) proves the point beyond dispute since the same design was used for the issue of two prints, each with a different series of verses. The print illustrated in figure 8 is dated 1821; that in figure 9 is undated, but judging by the greater refinement of printing of the dated sheet, it might be assumed that it came first.Many of the artists whose designs appear on the prints were outstanding and well-known Shijo painters. Among the more frequent contributors were Keibun (figures 7, 8 and 9) and Toyohiko (figure 14) who, after Goshun, can be considered the leading propagators of the style. Another, Suiseki (figures 2 and 6), although he left few paintings, was the sole designer of several fine gafu and verse-anthologies and a contributor, in company with other artists, to numerous illustrated books. Some artists, however, are known primarily for their designs for large surimono, and of these Nakamura Nagaharu (or Choshun) is the most enigmatical. As mentioned above, he is recorded as early as 1807, but no paintings by him seem to be recorded, and apart from the large surimono, his only extant work appears in the Sakazuki Awase of 1818 and the Kai Awase of 1820. Yet his designs for surimono prove him to be an artist of unusual power and originality. Camellias (figure 1) and Tree Trunk and Canopy (figure 5) have been discussed already; another superb composition is illustrated in figure 10 where the blocks of calligraphy are dramatically split by the cascading yellow asters and their red and green leaves.¹²Yamanaka Shonen, another of the Osaka artists, is known by a small number of dashing brush-drawings, but his reputation, like Suiseki's, depends more on his illustrations for books (dated between 1806 and 1820) and his designs for large surimono. One of the most impressive of these prints is the Flowers of Strands, figure 11.¹³A minor artist, also living at one time in Osaka, who left a few outstanding surimono, is Tamate Toshu (1795-1871). He was one of the artists of the Kai Awase of 1820, and the print illustrated may be of about that date. It is another remarkable example of the marriage of literary and pictorial elements. Apart from the concentration of color in the group of figures at the top left-hand corner, a spectacular touch of décor is provided by random patches of yellow herbage whose jagged green ridges make a distracting contrast to the orderly lines of calligraphy (figure 12).One feature common to both Shijo paintings and the large-scale prints calls for comment-the frequent collaboration between two or more artists. It is one of those amiable traits that seems to bespeak the congenial relationship between artists of the school. It occurs sometimes among Nanga and also, less frequently, among Ukiyo-e artists, but it is much more prevalent among the followers of Goshun. Artistically, it raises problems: how did such collaboration arise; how was it effected; and was anything to be gained by it? The print by Oju and Taiki (figure 13) is typical. The full moon rising over the hills is by Oju, the suzuki grass in the foreground by Taiki. It seems a quite unnecessary collaboration—either one or the other artist, one suspects, was quite capable of handling the complete design, and neither was at pains to emphasize his own particular style; one of the strange features about these joint works was the way in which artists were prepared to drop their own identifying idiosyncrasies in the cause of an overall and virtually anonymous harmony. It seems almost as if the artists, like the poets, wished to appear together to underline their membership to a confraternity sharing common ideals. Full Moon and Crickets (figure 14) makes this attitude even clearer. Three notable artists are involved, but although each signs his part—Toyohiko the full moon, Keibun and Kokei one each of the crickets—one feels that almost any artist might equally well have provided the drawings; but the three in question have fully signed and sealed their slight contributions. Indeed, this brings us to another aspect of Shijo, the delight in the petty bagatelle, the mock solemnity in handling insignificant trifles.The antitheses to these amusing foils to the lines of verses are the compositions of some consequence involving figures. Yacho (1782-1828) was an admirable artist who, despite the small number of extant works, should be better known. Hunting Party (figure 15) is one of the boldest and most effective color-prints known in this format: here the verses are subservient to the design and serve merely to emphasize the diagonal drive of the composition. Of a different order, but equally bold and aggressive, is the design by Hatta Koshu of Drinking Party (figure 16). This artist, who died in 1822, is well known to us from the Koshu Gafu, a book of drawings published in color-print form in 1812 and including a number anticipatory to the surimono's gusto.The bulk of the designs for the Shijo surimono are kacho-e, bird-and-flower pictures. Several examples have already been referred to, and two more, both dated 1821, will serve to underline the wide range of subject and the treatment to be encountered. Yokoyama Seiki (1792-1864), considered the ablest pupil of Keibun, designed Poppies (figure 17), and Kyosai (Shodo) of whom little is known, the evocative Rooks and a Dead Tree (figure 18).Still life was more frequently used for the pictorial motifs on the smaller prints until late in the nineteenth century when Shibata Zeshin (1807-1891), one of the last great masters of Shijo, resorted to such subjects in many highly original compositions for large size surimono. Earthenware Basins (figure 19) was signed by the artist in his eighty-first year, giving a date around 1887.The collection of these large surimono now in The Minneapolis Institute of Arts is the most important known, both in extent and in the quality of individual prints. It was formed by Charles H. Mitchell, an American long resident in Japan, and has as its backbone the contents of two albums formerly owned by Imao Keinen (1845-1924), one of the outstanding naturalistic painters of his time. In the albums, the dated surimono ranged between Bunsei 3 (1820) and Bunsei 10 (1827), which seems to indicate that the majority, if not all, belonged to the 1820s, and that they were collected by someone at that time. They later fell into the hands of Keinen, who is known to have been wealthy and something of a collector. Mr. Mitchell advises me that he has a bound set of photographs made of the contents of the two albums before the prints were separated, accompanied by the following note:

These surimono were mounted in two albums with the bookplates of Imao Keinen on the covers. The albums were purchased from a Kanda bookshop in Tokyo in 1963. The photographs were made while the surimono were still mounted in the albums. Subsequently, in the interest of preservation—to avoid further damage from the center fold, and to enable the repair of damaged prints—the surimono were removed from the albums, and they now exist as separate prints.

Jack Hillier, widely considered the foremost writer in English on Japanese paintings, prints, and illustrated books, last contributed to the Bulletin in 1974 with an article on the Richard Gale Collection of Japanese paintings and prints. Since then he has catalogued another collection and published, in three volumes, Japanese Prints & Drawings from the Vever Collection. An increasing devotion to the study of book illustration and painting in the past several years is reflected in R. Hillier's most recent publications, The Art of Hokusai in Book Illustration and Japanese Prints: 300 Years of Albums and Books (with Lawrence Smith), both 1980.Endnotes

1. M. S. Bing, Objets d'art japonais et chinois, peintures, estampes composant la collection des Goncourt (Paris, March 1897) (sale cat.).
2. Charles Vignier, Collection Louis Gonse: oeuvres d'art du Japon (Paris, May 1924) (sale cat.).
3. Charles Vignier, Collection de Monsieur P.A. Isaac: objets d'art du Japon (Paris, December 1925) (sale cat.).
4. Rose Hempel, Ukiyo-e: die Kunst der heiteren verganglichen Welt, Japan 17.-19. Jahrhundert: Sammlung Scheiwe (Essen: Villa Hügel, 1972), pp. 284-291 (exhib. cat.).
5. Illustrated in color in Franz Winzinger, Meisterwerke des japanischen Farbholzschnitts (Graz, Austria, 1975).
6. Illustrated in Friederich Perzynski, Hokusai (Bielefeld and Leipzig, 1908), fig. 50.
7. Vignier, Isaac, no. 210.
8. Vignier, Isaac, no. 241.
9. Hempel, Scheiwe, no. 517.
10. See C. H. Mitchell, The Illustrated Books of the Nanga, Maruyama, Shijo and Other Related Schools of Japan: A Bibliography (Los Angeles, 1972).
11. Hempel, Scheiwe, no. 526.
12. Also illustrated in Jack Hillier, The Uninhibited Brush: Japanese Art in the Shijo Style (London, 1974).
13. Also illustrated in Hillier, Brush, pl. 157.

Referenced Works of Art

1. Nakamura Nagaharu
   Japanese, active about 1807-1820
   Camellias
   Signed: Nagaharu; seal: Jun
   Gift of Mr. and Mrs. Samuel H. Maslon, P.77.27.124
2. Sato Suiseki
   Japanese, active about 1806-1840
   Lanterns in a Framework
   Signed: Masuyuki; seal: Suiseki
   Gift of Mr. and Mrs. Samuel H. Maslon, P.77.27.210
3. Sato Hodai
   Japanese, active about 1833-1880s
   Festival Banners
   Signed and sealed: Hodai
   Gift of Mr. and Mrs. Samuel H. Maslon, P.77.27.51
4. Yushin Ayaoka
   Japanese, 1846-1910
   Plum Branches, dated Manen 2 (1861)
   Seal: Ayaoka
   Gift of Mr. and Mrs. Samuel H. Maslon, P.77.27.16
5. Nakamura Nagaharu
   Tree Trunk and Canopy
   Signed: Nagaharu; seal: Jun
   Gift of Mr. and Mrs. Samuel H. Maslon, P.77.27.125
6. Sato Suiseki
   Men Decorating a Pillar
   Signed: Masuyuki; seal: Suiseki
   Gift of Mr. and Mrs. Samuel H. Maslon, P.77.27.212
7. Matsumura Keibun
   Japanese, 1799-1843
   Kingfisher on a Reed
   Signed and sealed: Keibun
   Gift of Mr. and Mrs. Samuel H. Maslon, P.77.27.86
8. Matsumura Keibun
   Autumn Leaves and Pine Needles, no date
   Signed and sealed: Keibun
   Gift of Mr. and Mrs. Samuel H. Maslon, P.77.27.83
9. Matsumura Keibun
   Autumn Leaves and Pine Needles, no date
   Signed and sealed: Keibun
   (The same design as that in figure 8, but accompanied by a different set of verses)
   Gift of Mr. and Mrs. Samuel H. Maslon, P.77.27.84
10. Nakamura Nagaharu
    Asters
    Signed: Nagaharu; seal not read
    Gift of Mr. and Mrs. Samuel H. Maslon, P.77.27.123
11. Yamanaka Shonen
    Japanese, active about 1806-1820s
    Flowers on Stands
    Signed and sealed: Shonen
    Gift of Mr. and Mrs. Samuel H. Maslon, P.77.27.177
12. Tamate Toshu
    Japanese, 1795-1871
    Courtesan Procession through a Yellow Field
    Signed: Toshu; seal: a stylized flower
    Gift of Mr. and Mrs. Samuel H. Maslon, P.77.27.226
13. Kinoshita Oju
    Japanese, 1777-1815
    and
    Takesawa Taiki, dates unknown
    Moonlight Landscape
    Signed: Oju (moon over hills) and Taiki (suzuki grass in foreground)
    Gift of Mr. and Mrs. Samuel H. Maslon, P.77.27.135
14. Yoshimura Kokei
    Japanese, 1769-1836
    and
    Okamoto Toyohiko
    Japanese, 1773-1845
    and
    Matsumura Keibun
    Full Moon and Crickets
    Signed and sealed: Toyohiko (full moon), Keibun and Kei (crickets)
    Gift of Mr. and Mrs. Samuel H. Maslon, P.77.27.93
15. Yano Yacho
    Japanese, 1782-1828
    Hunting Party
    Signed: Yacho; seal: Yano
    Gift of Mr. and Mrs. Samuel H. Maslon, P.77.27.238
16. Hatta Koshu
    Japanese, 1760-1822
    Drinking Party
    Inscribed: by request
    Signed: Koshu; seal not read
    Gift of Mr. and Mrs. Samuel H. Maslon, P.77.27.115
17. Yokoyama Seiki
    Japanese, 1792-1864
    Poppies, dated Bunsei 4 (1821)
    Signed and sealed: Seiki
    Gift of Mr. and Mrs. Samuel H. Maslon, P.77.27.168
18. Shodo Kyosai
    Japanese, active about 1814-1820s
    Rooks and a Dead Tree, dated Bunsei 4 (1821)
    Signed: Kyosai; seal: Shodo
    Gift of Mr. and Mrs. Samuel H. Maslon, P.77.27.172
19. Shibata Zeshin
    Japanese, 1807-1891
    Earthenware Basins
    Inscribed: in his eighty-first year
    Signed: Zeshin; seal: Tairyu-O
    Gift of Mr. and Mrs. Samuel H. Maslon, P.77.27.243