Welcome to Nihon no hanga

“The wood-block print shows the artist’s true value: his skill as well as his shortcomings, his successes as well as his failures in the work. ”

Yoshida Hiroshi, 1939

Located in a 17th century canal house with Amsterdam School elements, Nihon no hanga is a private museum dedicated to showcase exhibitions created around a collection of 20th century Japanese prints, collected over 30 years by Elise Wessels. During our opening months in May and November, visitors are invited to join guided tours and other events in our stunning museum.

Nihon no hanga collaborates with specialists and museums around the world and our exhibitions have been received favorably by international audiences. The museum strives to further the understanding of modern and contemporary Japanese woodblock prints.

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Ono Tadashige (1909-1990) Rooftops in Amsterdam, 1933

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Onchi Kōshirō 恩地孝四郎 (1891–1955) L’

Onchi Kōshirō 恩地孝四郎 (1891–1955)
L’hiver (Winter; Fuyu 冬)
Series: Beauties of the four seasons (Bijin shiki 美人四季)
Date: 1927
Signature: Onchi Kō (on original covers)
Publisher: Self-published
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As Kiyoko Sawatari writes in our catalogue ‘Waves of renewal’: “Onchi's rendition of the female form is simple, direct and modern: (…) a woman dressed in black with piercing blue eyes holds a black kitten in L’hiver. When the Nihon Hangasha (Japan Print Company) republished Beauties of the four seasons in 1930, the names of the seasons were changed from French to Japanese; moreover, the striking blue eyes in Winter are printed black. Although more conventional than his original set, this new version appears to have been more popular.”
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Kiyoko Sawatari, 'The figurative and abstract in the art of Onchi Kōshirō the 1920s to the 1940s', in ‘Waves of renewal: modern Japanese prints, 1900 to 1960 Selections from the Nihon no Hanga collection, Amsterdam’ Hotei Publishing (2016), p. 69 (cat. 154).
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Kitano Tsunetomi 北野恒富 The heron maiden (Sa

Kitano Tsunetomi 北野恒富
The heron maiden (Sagi musume 鷺娘)
Date: c. 1925
Signature: Tsunetomi hitsu
Publisher: Nezu Seitarō
Block-cutter: Yamana Yoshiteru
Printer: Matsuno Kassui
This print is Tsunetomi's most famous design. It is based on a folktale of a young man who finds a wounded heron and nurses it back to health and sets it free. He then meets a beautiful girl, falls in love and marries her. The couple live by selling the beautiful cloth she weaves, but she cautions him that he must never watch her as she works. His curiosity gets the better of him and he discovers that she is the white heron. Changing back into her human form she reveals that now that her secret is revealed, she must leave. She transforms herself into a heron and takes flight.
This example from our collection is in pristine condition, with the mica background and the snowflakes rendered with superior quality gofun (a white pigment made of pulverised shells). It lacks the artist’s seal below the signature and is unnumbered. It remains a mystery why the numbered editions, such as the one in the Robert. O. Muller collection, are prone to problems in condition: the paper is toned, the mica is thin and poorly applied, and the snowflakes are cracked. The Muller print does have a red artist’s seal below the signature and is numbered in the lower margin. This situation has been further complicated by the recent discovery of a folder that is associated with the numbered edition. On this folder The heron maiden is titled Winter and there is also a series title reading Beauties in the four seasons (Shiki bijin). This suggests that four designs were originally planned; however, only this print and another, Maiko, are known.
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Text from our catalogue ‘Waves of renewal: modern Japanese prints, 1900 to 1960 Selections from the Nihon no Hanga collection, Amsterdam’ Hotei Publishing (2016), p.123.
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Happy Holidays from Nihon no hanga ⭐ We would l

Happy Holidays from Nihon no hanga ⭐
We would like to wish you and your loved ones a happy and prosperous 2021!
2020 has been a trying year for all of us. Both our May and November exhibitions have been cancelled due to the ongoing covid-19 crisis, but we have high hopes for next year with some exciting exhibitions and other projects! #linkinbio
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Katshira Tokushi 勝平得之 (1904-1971)
New Year's decorations (mayudama) (まゆだま)
Series: Ten scenes of Akita customs (second series) (秋田風俗十題)
Date: 1941
Signature: Tokushi; Tokushi Katsuhira
Publisher: Self-published
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Kobayakawa Kiyoshi 小早川清 (1899-1948) Pupils

Kobayakawa Kiyoshi 小早川清 (1899-1948)
Pupils of the eyes (no. 4) ([yon] Hitomi [四] 瞳)
Series: Figures in contemporary fashions (Kindai jiseishō no uchi 近代時世粧ノ内)
Date: January 1931
Signature: Kiyoshi saku
Artist’s seals: Kobayakawa (upper right)/ Kobayakawa (lower left margin)
Edition: 2/100
Publisher: Self-published
Block-cutter: Takano Shichinosuke
Printer: Ono Tomisaburō
Compared with Itō Shinsui’s elegant portrayal of women, Kiyoshi’s women are more sensual, as typified in the six women illustrated in this set. The figures include ‘Modern Girls’ (modan gaaru or moga), who embraced modernity by having their hair cut short and by frequenting urban cafés, as well as women shown in more traditional settings. In reality, from the mid 1920’s to the late 1930s only a small proportion of Japanese women wore Western dress. The blocks for this set were carved by the same artisan Hashiguchi Goyō employed for some of his prints more than a decade earlier. The series was released in a limited edition of one hundred.
Kiyoshi believed that as an artist of the Shōwa era his images of women would inevitably convey the healthful beauties of the day. The woman’s white scarf has an intricate silver pattern, with the outlines overprinted in silver and grey. The unidentified seal in the lower right corner is most likely a collector’s seal.
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Text from our catalogue ‘Waves of renewal: modern Japanese prints, 1900 to 1960 Selections from the Nihon no Hanga collection, Amsterdam’ Hotei Publishing (2016), pp. 201, 203.
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Miki Suizan’s two series on Kyoto were exhibited

Miki Suizan’s two series on Kyoto were exhibited at the landmark modern Japanese print exhibition of 1930 at the Toledo museum of Art in Ohio. In the booklet curator Dorothy Blair shared her thoughts on Suizan’s work: “It is hard to say whether he excels in figures or landscapes, but perhaps his landscapes are simpler and often more effective than his figures.” At the time the woodblock prints were sold at the museum, some for as little as $2.00 (which at the time was even considered a bargain!). The traveling sales exhibition went to 10 different museums, showcasing 343 Japanese prints by 10 then contemporary artists. Thanks to a mail-order system set up by artist and entrepreneur Yoshida Hiroshi (1876-1950), many Shin hanga prints quickly found their way into museums, offices, and people’s homes across the US.
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Miki Suizan 三木翠山 (1887-1957)
Autumn at Tsūten Bridge (no. 11) (Tsūtenkyō no aki (jūichi) 通天橋の秋　(十一))
Series: Newly selected famous views of Kyoto, volume two (Shinsen Kyōto meisho dai ni shū 新選京都名所第二集)
Date: 1925
Signature: Suizan
Publisher: Satō Shōtarō
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A beauty lost or left in translation? As with the

A beauty lost or left in translation? As with the two previously shared prints of this series, the English and Japanese descriptions of this print differ extremely. First, the titles could not be more dissimilar: “Maid of Northern Japan” (English) versus “Round hairstyle” (Japanese). The English text pushes the notion that the North, because of its different climate and dress, is the backcountry of Japan (though according to the author there is a ‘kind of beauty’ in its primitiveness). It is quite clear the English text was not based on the description provided by Sekino himself. In his text he reminisces about the relationship with his wife – whom he often used as a model for his prints and here reimagined as a younger version of herself – and their childhood memories of the hairstyle. But Sekino also criticises that at the time (being 1946) contemporary customs were not considered ‘suitable for art’. Although he does not mention ‘who’ has said this, it is evident that the series' main concern was old and traditional customs of Japanese women. This was both to cater to the new foreign market which adored the romantic idea of ‘traditional Japan’ and at the same time feed the nostalgia for Japanese ideals of domestic consumers. The disjointed thoughts of the two descriptions raise several questions: was Sekino’s personal commentary intentionally left out of the ‘translation’? And why did the English text writer add his own interpretation and judgment of northern ‘costume’, and subsequently ignored the focus of original title and description of the print: the hairstyle?
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Sekino Jun’ichirō 関野準一郎 (1914-1988)
“Maid of Northern Japan” (輪髪: Round hairstyle)
Series: Selection of customs of Japanese women (Nihon jozoku sen 日本女俗選)
Date: August 1946
Publisher: Fugaku Honsha (Uemura Masurō)
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After being unable to open our museum in May this

After being unable to open our museum in May this year, we had hoped to open Nihon no hanga to the public this November with a snow-themed exhibition. After careful consideration we have come to the conclusion to not open the museum this November. We have decided to postpone our ‘Snow Country’ exhibition to November 2021. However, we will keep posting through our socials, to maintain your regular digital dose of modern Japanese woodblock prints!
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Kawase Hasui 川瀬巴水 (1883-1957)
Spring snow at Kiyomizu temple, Kyoto (春の雪京都清水)
Publisher: Doi Hangaten
Date: 1932 (1946-55 impression)
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Saitō Kiyoshi was a sōsaku hanga artist from Aiz

Saitō Kiyoshi was a sōsaku hanga artist from Aizu (modern-day Fukushima Prefecture). He is mostly known for his Winter in Aizu print series, and his love of cats. In 1946 Saitō contributed two designs to this series ‘Selection of customs of Japanese women’. Again, is it incredibly interesting to compare the English and Japanese descriptions that were released with the portfolio. The sparse English text is merely descriptive, providing none of the artist’s poetic thoughts found in the Japanese version.
English:
“Akita is a modern city in Northern Japan. In the suberbs (sic) of Akita, the Colts-foot grows taller than a man’s head. The pictur (sic) shows girls gathering Colts-foot.”
Japanese:
“Akita’s famous product is coltsfoot. In the thick wood of their extremely long greenery, the red bands of the girls slip in and out of view. The blue apron, hand coverings (tekkō) and gaiters (kyahan) are unique and sturdy garments of the North. These are the reliable clothes of working Japanese girls and women. This figure is not exclusive to Akita and the North, but when you look at the North isn’t there a certain attractively reliable and rational charm? The outfit is not extravagant, but beautiful and traditional Japanese. The beautiful Akita lass cutting coltsfoot, from different angles the big broad leaves hide and reveal her figure. These are the customs of local famous products.”
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Saitō Kiyoshi 斉藤清 (1907-1997)
Girls Cutting Colts-foot (Akita) (蕗刈る乙女)
Series: Selection of customs of Japanese women (Nihon jozoku sen 日本女俗選)
Date: August 1946
Publisher: Fugaku Shuppansha (Uemura Masuo)
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How about another complete series from our collect

How about another complete series from our collection AND more beauties? This following series was created by members of the Japan Print Association after WWII. Prolific sōsaku hanga artists Onchi Kōshirō, Maekawa Senpan, Kawanishi Hide, Sekino Jun’ichirō, and Saito Kiyoshi created designs for this portfolio of ten prints. It came with a Japanese language booklet with commentaries by the artists and a separate folder of English descriptions. After WWII many artists released prints with English captions, to give context to foreign buyers (often American soldiers). We would like to think the translations provided are faithful to the original, but they are often simplified and usually are contextual descriptions (see image above). The two texts offer interesting details that provide different perspectives on the same work. The original Japanese text by Senpan shows his criticism on the subject and provides a little more insight into his design choices:
‘Maiko are the equivalent of an apprentice geisha of the Eastern Capital. The classic value of a Kyoto maiko differs. Compared to the dynamic and reckless apprentice geisha, she is exceptionally static, docile, and doll-like in appearance. First and foremost, I feel that in extreme cases of formal dress and thick make-up, they lose their healthy complexion, which creates a porcelain-like impression. From that critical standpoint, even though it is said this is characteristic of maiko, I personally do not like this doll-like style. Therefore, I decided to redden the cheeks of her powdered appearance. That way I emphasise her childishness and innocence. Geisha already have a certain sex appeal, but a maiko still being an innocent child, makes her more lovely and cute.’
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Maekawa Senpan 前川千帆 (1880-1960)
Maiko (舞妓)
Series: Selection of customs of Japanese women (Nihon jozoku sen 日本女俗選)
Date: August 1946
Publisher: Fugaku Shuppansha (Uemura Masuo)
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Happy International Cat Day😻 Here at Nihon no h

Happy International Cat Day😻 Here at Nihon no hanga we love cats! Black ones especially, because in Japan they are thought to ward off evil. No bad luck here 😸 Many of our own favourite cat prints can still be seen at @sieboldhuis in Leiden. 'Neko. The Cat Japanese Art' features many 20th century woodblock print artists, from Takehisa Yumeji to contemporary artists like Udagawa Tamio! The exhibition is open until 13 september.
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Takahashi Hiroaki (Shōtei) 高橋弘明 (松亭) (1871–1945)
Cat (Neko 猫)
Date: c. 1930
Signature: Sanjisai Kōmei
Artist’s seal: Hiroaki
Publisher: Fusui Gabō
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Ishikawa Toraji 石川寅治 (1875–1964)
Black cat (Kuroi neko 黒い猫)
Series: Ten types of female nudes (Rajo jisshu裸女十種)
Date: 1934
Signature: Ishikawa
Artist’s seal: Tora
Publisher: Ryokūsō Gashitsu (Ishikawa Toraji)
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Udagawa Tamio 宇田川民生 (b. 1947)
To the city
Date: 2000
Signature: Tamio
Publisher: Self-published
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Takehisa Yumeji (1884-1934)
Black cat (Kuroneko 黒猫)
Series: Ten subjects of women (Onna jūdai 女十題)
Date: 1938
Signature: Yumeji (block-signed)
Artist’s seal: Shūjin sankō
Publisher: Katō Hanga Kenkyūjō (Katō Junji)
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An iconic beauty by Itō Shinsui. His successful c

An iconic beauty by Itō Shinsui. His successful career in woodblock printmaking spans nearly fifty years. Between 1916 and 1964 he designed 147 prints, many of which were published by Watanabe Shōzaburō. But the collaboration not always went smoothly. Shinsui was brutally honest about this matter, as he wrote in 1933:
‘My bijinga were clear [in intent]—in other words, they were purely commercial items . . . However, in my case I embrace the hope of creating artworks that retain a particular content, works more firmly based on subjectivity and nearly impossible to attain in the woodblock print medium . . . Because the proprietor, Mr. Watanabe, also fervently believes in the effects achieved by the outstanding prints of the past, the fact that he does not categorically approve new techniques is one reason why they cannot simply be executed now . . . In reality, there are instances when the print that appears from our brush is significantly different from our expectations. In that light, the level of excitement can decline dramatically and the interest in elements such as colour distinctions can be completely lost.’
Even if they did not always agree,Watanabe and Shinsui frequently worked together for the majority of both their careers. After Watanabe’s death in 1962, Shinsui only designed a handful of prints in commission for a watchmaker, including his last ever print, published in 1964.
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Handmirror was a favourite for poster design for the two exhibitions we created around our collection for Fondation Baur in Geneva in 2016 and Fondation Custodia in in Paris in 2018. It is interesting to see how the same print was treated very differently by the graphic designers.
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Itō Shinsui 伊東深水 (1898–1972)
Handmirror (Tekagami 手鏡)
Date: 1954
Signature: Shinsui ga
Artist’s seal: Shinsui
Publisher: Watanabe Shōzaburō
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Starting today! 👏 The free online course 'Visua

Starting today! 👏 The free online course 'Visualizing the Birth of Modern Tokyo' on edX will explore Tokyo through Japanese art! Koizumi Kishio's 'One hundred pictures of Great Tokyo in the Shōwa era' will also be part of this interesting course offered by MITx and Visualizing Cultures. Very exciting to see James T. Ulak will be one of the instructors, his translations of Kishio's comments were of great value to our exhibition! Check edx.org for to enroll this course for free!
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Through this course learners will investigate:
• Tokyo, through the many locations depicted at different points in time, especially helpful if they would like visit these sites today;
• the Meiji restoration and how Tokyo emerged from the earlier city of Edo to become Japan’s capital;
• cultural and political interactions between east and west;
• how Tokyo was rebuilt from various forms of destruction;
• methods used by scholars and curators of the Visualizing Cultures project and Smithsonian Institution to develop online content and exhibitions;
• the ability of visual motifs to capture tangible and intangible qualities of time and place;
• how to read image sets, especially useful in the large digital archives of today;
• woodblock print series, distribution, and competition from other media.
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#edx #japanesehistory #japanesearthistory #japaneseart #woodblockprints #japaneseprints #koizuimikishio #kobayashikiyochika #freecourse

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