Segawa Kikunojo in the role of a woman standing in a room listening to the strains from a koto, a sho, a biwa, and a taiko (ancient musical instruments) which appear in a cloud above her head and are played by unseen hands, while lotus petals fall
Summary
Torii Kiyomasu II (鳥居 清倍, c. 1720–1750), like the rest of the Torii artists, in billboards and other images for the promotion of the kabuki theatres.
His prints, like many at the time, were made largely using the urushi-e (lacquer print) and benizuri-e (rose print) methods; the lines or outlines of the prints themselves would often be in monochrome or a limited number of colors and the rest would be done by hand.
Charles Stewart Smith (1832-1909) was an art collector and businessman. As a businessman, Smith was a president, and director of the Associates Land Company, vice president and director of the City and Suburban Homes Company, treasurer and director of the Woodlawn Cemetery, trustee of Barnard College and director of the Fifth Avenue Bank, German Alliance Insurance Company, Greenwich Savings Bank, and Fourth National Bank. He was a member of the Union League, Lawyers, Players, Century, and Merchants Club. As an art collector, Smith was a trustee of the Metropolitan Museum of Art, Vice President of the Society of Art Collectors (558 Fifth Avenue, New York). In 1892, while traveling in Japan on his honeymoon with his third wife, he purchased several thousand Japanese prints, ceramics, and paintings from the British military man, journalist, author and collector Captain Frank Brinkley (1841-1912). In 1901 Smith donated 1,763 Japanese woodcut prints to the New York Public Library and the rest to The Metropolitan Museum of Art. Among these color woodcuts is a celebrated group of prints by Kitagawa Utamaro, as well as examples of the work of Harunobu, Koryusai, Sharaku, and Hokusai.
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