List of works by Toyohara Chikanobu

List of works by Toyohara Chikanobu includes artwork created over many decades and in a range of formats.

Details about the woodblock prints of Toyohara Chikanobu are provided below in a specific format:

Ōban yotsugiri-e

A partial list of single-panel series in ōban yotsugiri-e format includes:

Ōban yoko-e

A partial list of single-panel series in ōban yoko-e format includes:

Chūban yoko-e

Prints in chūban yoko-e [4] format include:

Chūban tate-e

Prints in chūban tate-e[5] format include:

Chūban harimaze-e

Prints in harimaze-e[6] series include:

Ōban tate-e

A partial list of single-panel series in ōban tate-e format includes:

Two of his well-known ōban tate-e diptych series include:

A kakemono series exists:

A partial list of triptych series includes:[22]

In addition, his œuvre contains a very large number of three panel scenes with individual titles, not collated into series. One group of these could be assembled under the heading, "The Royal Household at Play", another could be grouped under "Scenes from the Kabuki", and a third under two sub-titles, "The Satsuma War" and the "The Sino-Japanese War.'

An album of twenty-five triptychs was published in 1877 by several artists,[27] including Chikanobu, which brought to light the events of an important domestic insurrection (the Satsuma Rebellion).

A bound album in ōban tate-e format was conceived and assembled by the publisher, Matsuki Heikichi, under the title of “Kyōdō risshiki “ [Self-made Men Worthy of Emulation/Exemplars of Learning and Achievement] containing 50 prints (though 53 are known) by various artists[28] including Chikanobu who produced two of the images: #16 Hagaku and # 43 Chikako. Although the publication dates of the prints in this series ranged from 1885 to 1890, Chikanobu’s two contributions to this effort are dated the fourth and fifth months of 1886.[29][30]

Publishers

Chikanobu's work was printed and disseminated by a variety of publishers.

Publisher notes

  1. ↑ 24. Matsui Eikichi (松井栄吉) was located at 弓町二番地
  2. ↑ 19. Hasegawa Sumi (長谷川壽美) was located at 東京市京橋区南傳馬町二丁目十七番地
  3. ↑ 4. Narasawa Kenjirō (奈良澤健次郎) was located at 東京神田區錦町二丁目三番地
  4. ↑ 3. Fukuda Hatsujirō (福田初次郎) was located at 日本橋区艮谷川町十九番地
  5. ↑ 15. Matsuki Heikichi (松木平吉) was located at 東京市日本橋區吉川町二番地
  6. ↑ 15. Matsuki Heikichi (松木平吉) was located at 東京市日本橋區吉川町二番地
  7. ↑ 4. Narasawa Kenjirō (奈良澤健次郎) was located at 東京神田區錦町二丁目三番地
  8. ↑ 1. Kōbayashi Tetsujirō (小林鉄次郎) was located at 日本橋区通三丁目十三番地
  9. ↑ 2. Hasegawa Tsunejirō (長谷川常冶郎) was located at 神田区鍛治丁五バンチ
  10. ↑ 3. Fukuda Hatsujirō (福田初次郎) was located at 日本橋区艮谷川町十九番地
  11. ↑ 4. Narasawa Kenjirō (奈良澤健次郎) was located at 東京神田區錦町二丁目三番地
  12. ↑ 5. Takegawa Seikichi (武川清吉) was located at 日本バン区本銀丁二丁目十二バンチ
  13. ↑ 6. Morimoto Junzaburō (森本順三郎) was located at 浅草區瓦丁二バンチ
  14. ↑ 7. Yokoyama Ryōhachi (横山良八) was located at下谷区スキヤ町十二バンチ
  15. ↑ 8. Komiyama Shōhei (小宮山昇平) was located at 日本バン区本右町二丁目九バンチ
  16. ↑ 9. Takegawa Unokichi (武川卯之吉) was located at 日本バン区本銀丁二丁目十二バンチ
  17. ↑ 10. Tsunashima Kamekichi (綱島亀吉) was located at 日本橋区馬喰町二丁目十四番地
  18. ↑ 11. Hasegawa Sonokichi (長谷川園吉) was located at 日本橋区小傳馬町三丁目十七番地
  19. ↑ 12. Miura Bumei (三浦武明) was located at 浅草並木町一番地
  20. ↑ 13. Yamamura Kinzaburō (山村金三郎) was located at 浅草吉野町五十六番地
  21. ↑ 14. Akiyama Buemon (秋山武右衞門) was located at 日本橋區室町三丁目九番地
  22. ↑ 15. Matsuki Heikichi (松木平吉) was located at 東京市日本橋區吉川町二番地
  23. ↑ 16. Tsujioka Bunsuke (辻岡文助) was located at 日本椅区横山町三丁目二番地
  24. ↑ 17. Yamaguchi Yoshi (山口芳)was located at 神田松冨丁四番チ
  25. ↑ 18. Arita-ya (有田冶) was located at 駒込東庁町百四十七番地
  26. ↑ 19. Hasegawa Sumi (長谷川壽美) was located at 東京市京橋区南傳馬町二丁目十七番地
  27. ↑ 20. Toshimo Toshin (眞下常信) was located at 森川丁一番地
  28. ↑ 21. Ookura Sonbei (大倉孫兵工) was located at 日本橋道一丁目十九番地
  29. ↑ 22. Hatano Tsunesada (定多野常定) was located at 馮島六丁目廿五番チ
  30. ↑ 23. Katsuki Yoshikatsu (勝木吉勝) was located at 東京市下谷区スキヤ町十五番地
  31. ↑ 24. Matsui Eikichi (松井栄吉) was located at 弓町二番地
  32. ↑ 25. Kimura Fukujirō (木村福次郎) was located at 浅草十九町二番地
  33. ↑ 26. Murakami Takashi (村上剛) was located at 芝区高輪車丁八十三番地
  34. ↑ 27. (亘市兵工) was located at 堀江丁二丁目十バンチ
  35. ↑ 28. Asano Eizō (浅野栄造) was located at 上く東黒門丁十四号地
  36. ↑ 29. Hayashi Kichi- (林吉- ) was located at 南傳馬町一丁目二番地
  37. ↑ 28. Inoue Shigeru (heikō) was located at 日本椅區馬喰町三丁目十九バンチ
  38. ↑ 31. Furuchi Korekatsu (古市之親) was located at 下谷上車坆廾五バンチ
  39. ↑ 32. Kashiwagi Nobeichirō (柏木延一郎) was located at 京橋区銀座四丁目四バンチ

Notes

  1. 1 2 3 4 5 6 7 This appears to be a "calendar" series; each print depicting a specific month
  2. ↑ This series was originally produced in «1897» by [19], possibly under the title Jūni hito'e (十二ひと繪) Twelve Prints in Sequence (a pun on the twelve-layered kimono); it was reissued in booklet form in «1906» with the present title by [4]
  3. ↑ The album, printed in 1898 consisted of 12 prints folded cross-wise, was entitled bijutsu reikishi gajō (美術-歷史畫帖). In 1906 another twelve prints were added to the series, which then may have been re-titled.
  4. ↑ The chūban yoko-e (中判立て絵) format is ~19 x 25.5 cm or about 7.5" x 10" and is horizontally positioned. For further information about woodblock formats, please see Woodblock printing in Japan
  5. ↑ The chūban tate-e (中判立て絵) format is ~25.5 x 19 cm and or about 10" x 7.5" and is vertically oriented. For further information about woodblock formats, please see Woodblock printing in Japan
  6. ↑ A harimaze-e (張交絵) is a page of prints meant to be cut apart
  7. ↑ Yotsugiri (四切り) format is a comparatively rare, small print size, about 7" x 5" (19cm x 13cm), obtained by printing four prints on an oban sized sheet
  8. ↑ also seen titled as Kagoshima meimeiden (鹿兒嶋銘々傳) Kagoshima Biographies
  9. ↑ In this series of ōban tate-e prints each sheet is divided into quadrants displaying four emperors per page
  10. ↑ This series should not be confused with either of the two later series entitled: Tōkyō meisho.
  11. ↑ It was the custom of many artists thoroughout the years to glorify courtesans and tea-house waitresses, so this title might be read: "Reputable Ladies of Different Houses.
  12. ↑ It should be noted that there are two productions of this titled series; the earlier published in Meiji 17, while the latter shows dates from Meiji 30 and Meiji 35.
  13. ↑ This is another very common theme amongst the artists of the Meiji period. Chikanobu produced two entirely different single ōban series, as well as a triptych series, with this title. The earlier ōban series was published {50} «1884-6 »[1] with a second edition published «1895»; the other series was published {36} «1898–1902» [15].
  14. ↑ "Setsugekka" (雪月花?), while literally meaning "snow, moon, and flowers", comes from a poem by Bai Juyi and is used to describe serene beauty
  15. ↑ There are two editions of this series, though both with the same publishing date. One, with an ornate, colored border, which usually contains the print number in the cartouche and the other, with a plain gray border, which is not numbered.
  16. ↑ This series was printed by both publishers.
  17. ↑ i.e.: 1886 - jutsu refers to the Year of the (Fire) Dog
  18. ↑ Many prints in this series are undated.
  19. ↑ A very popular theme with several Meiji artists, depicting the Confucian exemplars of filial devotion. Their Japanese counterparts have also been portrayed, though not by Chikanobu, who uses this theme to contrast these paragons with modern Japanese women, mostly from the entertainment class.
  20. ↑ The insets were done by several of his students.
  21. ↑ This series was re-issued by a second publisher
  22. ↑ This list does not include his kabuki scenes, which number well over a hundred and were never collated.
  23. ↑ There appear to be three(3) distinct triptych series of this title.
  24. ↑ 39 triptychs, one pentatych, and the table of contents is a diptych
  25. ↑ 31 triptychs, one hexatych, and the table of contents is a diptych
  26. ↑ This series has also been called "Bamboo Knots"
  27. ↑ Okumura Toshinobu, Hasegawa Sadanobu, Nakai Yoshitaki, Suzuki Toshimoto, et al.
  28. ↑ Kiyochika (17), Toshikata (16), Tankei (12), Yoshitoshi (4), Chikanobu (2), Kuniaki (1), and Kunichika (1).
  29. ↑ In an article by Iwakiri Shin'ichirou "Kyoudou risshi no matoi" ni tsuite (Meiji chuuki no ukiyoe kai no doukou o saguru) Pages 441-455 in "Ukiyoe no genzai" Yamaguchi Keisaburou (editor) Tokyo: Bensei Shuppan, 1999 473 pages, hardcover, boxed
  30. ↑ Christie's, New York: Lot 699/Sale 7050, 12–13 July 2005; Lot Description: VARIOUS ARTISTS A bound album containing fifty designs from the series Kyōdō risshiki [Self-made Men Worthy of Emulation], very good impressions, colours and condition

Further reading

Wikimedia Commons has media related to Toyohara Chikanobu.
This article is issued from Wikipedia - version of the 10/18/2016. The text is available under the Creative Commons Attribution/Share Alike but additional terms may apply for the media files.