Artist: Hashiguchi Goyō (橋口五葉)

Print: Woman in a summer kimono (Natsui no onna - 夏衣の女)

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Dates: June 1920,created
Dimensions: 11.5 in,17.75 in,Overall dimensions
Medium: Japanese woodblock print

Signed: Goyō ga (五葉画)
Artist's seal: GY in circle
Dated: Taishō kunen rokugatsu
(Sixth Month, Ninth Year of Taishō - 大正九年六月)

Related links: Museum of Fine Arts, Boston; Metropolitan Museum of Art; British Museum; Honolulu Art Museum; Harvard Art Museums; Edo Tokyo Museum; Hagi Uragami Museum of Art; Chazen Museum of Art; Los Angeles County Museum of Art; Walters Museum of Art; Spencer Museum of Art; Yale University Art Gallery; Minneapolis Institute of Arts; Nelson-Atkins Museum of Art; Achenbach Foundation for Graphic Arts; Yamamoto Art Museum; The Art Institute of Chicago; Ishikawa Prefectural Museum of Art; Museum für Ostasiatische Kunst, Köln;

Physical description:

Kendall Brown wrote in Shin-Hanga: New Prints in Modern Japan: "For models Goyō often used waitresses and maids rather than geisha. This choice, no doubt based on economic factors, nonetheless resulted in Goyō's immortalizing these women, who in many ways were the Taishō equivalent of Utamaro's geisha. Goyō's favorite model was Nakatani Tsuru, a waitress at Osaka's Ichō restaurant, whom he brought to live in his Akasaka home-studio. In Woman in Summer Kimono... Nakatani stares at the viewer as she sits before a mirror pulling a transparent summer kimono over her body. The solid, three-dimensional treatment of her body visible beneath the pattern of the robe shows Goyō's method of almost literally dressing his naturalistic drawing in decorative design."


A different title is given by Helen Merritt in Modern Japanese Woodblock Prints: The Early Years, University of Hawaii Press, Honolulu, 1990 where the print is illustrated in color.

Tsuru sits before a traditional dressing-table and mirror-stand on a 'zabuton' (flat cushion), wearing a transparent 'yukata' (summer bathrobe). On page 72 it says: "Most of Goyo's models were waitresses, bu the prints for which they posed have a quiet dignity which suggests that the models were well-bred women of culture and refinement. The quality, which was probably the embodiment of Goyō's ideal of feminine beauty, is most marked in Nakatani Tsuru Seated Before the Dressing Stand, 1920... Nakatani Tsuru, in the simplest of sheer garments\, sits in repose. She fills the space with quiet, classic elegance - elegance that is enhanced by the sensitive printing of the garment and the suggest solidity of the limbs beneath it."

The carver was Koike Masazō and the printer was Akimoto Shōzaburō.

There are other copies in the Ishibi Prefectural Museum, the Keio University Library, the San Diego Museum of Art and the Toledo Museum of Art.



1) In color in Fresh Impressions: Early Modern Japanese Prints, #7, p. 81.

2) In a small black and white illustration in Shin-Hanga: New Prints in Modern Japan, p. 61, Figure 73.

3) In a black and white exhibition in 近代日本美人画展 : 伝統木版画を支えた作家たち Exhibition of Modern Japanese Beauties: Meiji, Taishō, Shōwa, Riccar Art Museum, 1982, n.p., no. 46.

4) In a small black and white reproduction in 原色浮世絵大百科事典 (Genshoku Ukiyoe Daihyakka Jiten), vol. 1, p. 141.

5) In a small black and white reproduction in The Japanese Print Since 1900: Old Dreams and New Visions by Lawrence Smith, p. 55.

6) In The Female Image: 20th century prints of Japanese beauties, Abe Publisher, 2000, #15, p. 41.

7) in color in Seven Masters: 20th-Century Japanese Woodblock Prints from The Wells Collection, Minneapolis Institute of Arts, 2015, p. 56.