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Japanese Prints Collection Circa 1765-1964 (Bulk 1780-1860) MS.2013.043 Japanese Prints Collection circa 1765-1964 (bulk 1780-1860) MS.2013.043 http://hdl.handle.net/2345/3820 Archives and Manuscripts Department John J. Burns Library Boston College 140 Commonwealth Avenue Chestnut Hill 02467 library.bc.edu/burns/contact URL: http://www.bc.edu/burns Table of Contents Summary Information .................................................................................................................... 3 Administrative Information ............................................................................................................. 5 Historical note - Ukiyo-e prints ...................................................................................................... 6 Biographical note - Morrissey family ............................................................................................. 7 Biographical note - Laforet family ................................................................................................. 8 Scope and Contents ...................................................................................................................... 9 Arrangement .................................................................................................................................. 9 Collection Inventory ..................................................................................................................... 10 I: Morrissey collection ............................................................................................................... 10 II: Laforet collection ................................................................................................................... 20 Japanese Prints Collection MS.2013.043 - Page 2 - Summary Information Creator - art: Suzuki, Harunobu, 1725?-1770 Creator - art: Torii, Kiyonaga, 1752-1815 Creator - art: Isoda, Koryūsai, active 1735-1790 Creator - art: Katsukawa, Shunkō, 1743-1812 Creator - art: Takahashi, Shōtei, 1871-1945 Creator - art: Tomikawa Fusanobu Creator - art: Ishiwata, Kōitsu, 1897-1987 Creator - art: Andō, Hiroshige, 1797-1858 Creator - art: Katsushika, Hokusai, 1760-1849 Creator - art: Saito, Kiyoshi, 1907-1997 Creator - art: Kitagawa, Utamaro, 1753?-1806 Creator - art: Shumman, Kubo, 1757-1820 Creator - art: Utagawa, Toyokuni, 1769-1825 Creator - art: Utagawa, Kuniyoshi, 1798-1861 Creator - art: Ikeda, Eisen, 1790-1848 Creator - art: Hosoda, Eishi, 1756-1829 Creator - art: Kikukawa, Eizan, 1787-1867 Title: Japanese prints collection Collection MS.2013.043 Identifier: Date [inclusive]: circa 1765-1964 (bulk 1780-1860) Date [bulk]: 1780-1860 Physical 26.25 Linear Feet (11 boxes, 1 oversize folder, 3 framed items) Description Language of the Japanese Material: Abstract: This collection consists primarily of ukiyo-e woodblock prints. It also includes a few examples of the mingei (folk art) and sosaku hanga ("creative prints") movements of the early 20th century. The bulk of the ukiyo-e prints are by Ando Hiroshige; other Japanese Prints Collection MS.2013.043 - Page 3 - notable artists include Katsushika Hokusai, Katsukawa Shunko, Kitagawa Utamaro, and Isoda Koryusai. Preferred Citation Identification of item, Box number, Folder number, Japanese Prints Collection, MS.2013.043, John J. Burns Library, Boston College. Japanese Prints Collection MS.2013.043 - Page 4 - Administrative Information Publication Information Processed by Erin Furlong in April 2014. This finding aid was produced using ArchivesSpace. Restrictions on access Collection is open for research. Restrictions on use These materials are made available for use in research, teaching and private study, pursuant to U.S. Copyright Law. The user must assume full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials. Any materials used for academic research or otherwise should be fully credited with the source. The original artists may retain copyright to the materials. Provenance Gifts (1949-1971) from Arthur M. Morrissey in honor of James W. Morrissey, and gifts (1994-1995) from Eugene and Mitsuko LaForet in honor of Dr. Shiro Tashahiro. Japanese Prints Collection MS.2013.043 - Page 5 - Historical note - Ukiyo-e prints The term ukiyo was originally used in Buddhist practices to refer to "the condition of impermanence created by daily life and its desires." At the start of the Tokugawa era (1603-1868), the term began to shift in meaning and use to convey the idea of a "floating world" that was applied to the emerging culture of pleasure, parties, and a preoccupation with the present moment. Ukiyo-e ("pictures of the floating world") rose to prominence in the seventeenth century as increases in agricultural production drove economic development, creating a literate, wealthy, urban merchant class interested in art that represented their own lifestyles. Ukiyo-e included paintings, screens, and illustrated books, but the focus of the movement was on woodblock prints. Popular ukiyo-e subjects were famous kabuki actors, courtesans, and sumo wrestlers. Other frequently used themes were famous teahouses, city quarters, historical heroes, ghosts, erotic books, and most aspects of ordinary life, with landscape prints beginning to appear in the 1830s. The ukiyo-e woodblock prints were traditionally carved on cherry-wood blocks using a negative copy of an original sketch by an artist. Prints were usually created in orders of 400 to cover initial expenses and then reprinted if the image proved successful. A traditional ukiyo-e print would be the product of the work of four to five different people, with the artist having no hand in the physical production of the print. The design would be created by the artist with consultation from the publisher, and would then be given to skilled craftsmen who carved the design and sent the woodblock to another group of specialized workers who would print the actual image. Ukiyo-e prints were initially created entirely in black ink, while hand applied colors began to be used in 1688 with limited options of tan-e ("orange-red pigment pictures") or beni-e ("rose colored pictures") used until the development of full color woodblock printing in 1765. While the strong push for modernization during the Meiji (1868-1912) and Taisho (1912-1926) eras left the traditional practice of ukiyo-e in decline, the prints continued to be produced with the traditional themes of kabuki actors and beautiful women, as well as more Western and modernized images. Scenes focusing on Western clothing and inventions and battle scenes depicting the Sino-Japanese and Russo-Japanese wars became popular in the middle of the Meiji period. In the 1910s, Watanabe Shozaburo sought to revitalize the traditional ukiyo-e focus on kabuki actors and native landscapes, forming the shin-hanga ("new print") movement, which emphasized the original collaborative process of different craftsmen and artists creating each part of the print. This contrasted with the competing concurrent art movement of sosaku- hanga ("creative prints"), which focused on the creation of woodblock prints made entirely by one artist, for the sake of art. Sources Kobayashi, Tadashi. Ukiyo-e: An Introduction to Japanese Woodblock Prints. Tokyo: Kodansha International, 1992. Calza, Gian Carlo. Ukiyo-e. London: Phaidon, 2005. Japanese Prints Collection MS.2013.043 - Page 6 - Berglund, Lars. "The Art of Ukiyo-e – A Short Historical Survey." In Impressions: Japanese Prints and Paintings In the Utagawa Tradition, edited by The Utagawa Society of Japan. Nagano: Soei Publishing, 1994. Jenkins, Donald. "A Mirror on the Floating World." In Designed for Pleasure: The World of Edo Japan in Prints and Paintings, 1680 – 1860, edited by Julia Meech and Jane Oliver, 15-32. Singapore: Asia Society and Japanese Art Society of America, in association with the University of Washington Press, 2008. Smith, Lawrence. "Japanese Prints 1868-2008." In Since Meiji: Perspectives on the Japanese Visual Arts, 1868 – 2000, edited by J. Thomas Rimer, 361-407. Honolulu: University of Hawai'i Press, 2012. Biographical note - Morrissey family James W. Morrissey (1897-1949) graduated from Boston College (1920), as did all four of his brothers: Francis Morrissey (1921); Dr. Leonard Morrissey (1923); William Morrissey (1925); and Dr. Arthur M. Morrissey (1929). He then worked for the McDonald Steel Company in South Boston before serving in in Venezuela during World War II, and postwar became the president of Morrissey Brothers Tractor Company in Watertown, Massachusetts. Long interested in Japanese culture, James W. Morrissey collected woodblock prints as well as books related to Japanese art. This collection passed to his brother Arthur at his death. Dr. Arthur M. Morrissey (1906-2004) was an ophthalmologist and a veteran of World War II. Morrissey donated his brother's collection of Japanese prints to Boston College in December 1949 as a memorial to his brother, and continued to add to the Library's collection for many years. Dr. Morrissey also later donated his own collection of Haitian paintings from his work as a volunteer with Catholic Charities in the late 1960s. Sources Connolly, Terence, S.J., letter to Arthur Morrissey, December 20, 1949, Archives and Library Records, John J. Burns Library, Boston College. Delaney, Patricia. "Haiti Before the Quake: Exhibit at Burns Library." February 9, 2010. http:// www.bc.edu/offices/pubaf/archive/news/haitian_paintings_exhibit2010_0209.html "Dr. Arthur M. Morrissey," The Boston
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