{"id":1877,"date":"2026-07-18T18:30:48","date_gmt":"2026-07-18T09:30:48","guid":{"rendered":"https:\/\/www.yamada-shoten.pro\/english\/blog\/?p=1877"},"modified":"2026-07-18T14:03:01","modified_gmt":"2026-07-18T05:03:01","slug":"new-arrival-takehisa-yumeji-kawanishi-hide-ishii-hakutei-sekino-junichiro-saito-kiyoshi-andrew-wyeth-kado-hiroshi-kazama-kan-watanabe-sadao-serizawa-keisuke-yoshitoshi-eisen-and-others","status":"publish","type":"post","link":"https:\/\/www.yamada-shoten.pro\/english\/blog\/?p=1877","title":{"rendered":"New Arrival: Takehisa Yumeji, Kawanishi Hide, Ishii Hakutei, Sekino Junichiro, Saito Kiyoshi, Andrew Wyeth, Kado Hiroshi, Kazama Kan, Watanabe Sadao, Serizawa Keisuke, Yoshitoshi, Eisen and others"},"content":{"rendered":"
\n
\n
\n\t\t
\n\t\t\"The
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“The Complete Works of Nakayama Shinpei” by Takehisa Yumeji<\/strong>\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Acrobats
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Acrobats” by Kawanishi Hide\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Factory
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Factory of the Monkey and the Crab” written by Yoda Junichi, illustrated by Kawakami Sumio\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Twelve
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Twelve Views of Tokyo” by Ishii Hakutei<\/strong>\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Twelve
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Twelve Months of Maiko” by Sekino Junichiro<\/strong>\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Winter
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Winter in Aizu (31)” by Saito Kiyoshi<\/strong>\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Flour
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Flour mill” by Andrew Wyeth<\/strong>\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Don
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Don Quijote on the Notes” by Kado Hiroshi\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Title
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Title unknown” by Kazama Kan\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Clock
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Clock Shop in Hirosaki” by Yamataka Noboru\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Akashicho,
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Akashicho, Tsukiji” by Shimura Tatsumi\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Christ
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Christ and the Children” by Watanabe Sadao\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"The
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“The Annunciation” by Watanabe Sadao\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Absalom
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Absalom” by Watanabe Sadao\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"The
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“The Cleansing of the Temple” by Watanabe Sadao\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Flight
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Flight into Egypt” by Watanabe Sadao\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"St.
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“St. Francis and the Birds” by Watanabe Sadao\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Donkey
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Donkey Presenter” by Watanabe Sadao\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"The
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“The Good Shepherd” by Watanabe Sadao\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Ohayashi
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Ohayashi” by Mori Yoshitoshi\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Peaches
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Peaches and Chestnuts, Three Years; Persimmons, Eight Years” by Serizawa Keisuke\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Here
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Here is a Door to Enter or Exit” by Serizawa Keisuke\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Painting
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Painting on wood” by Serizawa Keisuke\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Painting
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Painting on wood” by Serizawa Keisuke\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Sagas
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Sagas Turning to Ashes” by Serizawa Keisuke\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Painting
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Painting on wood” by Serizawa Keisuke\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Serizawa
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Serizawa Keisuke Calendar for 1982” by Serizawa Keisuke\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Serizawa
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Serizawa Keisuke Calendar for 1986” by Serizawa Keisuke\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Serizawa
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Serizawa Keisuke Calendar for 1988” by Serizawa Keisuke\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Lola
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Lola” by Funakoshi Yasutake\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Miss
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Miss K” by Funakoshi Yasutake\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Girl
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Girl A” by Funakoshi Yasutake\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Gunpo
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Gunpo seigan” by Fukuda Suiko, Shimomura Izan and Mori Shumei\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Shoso
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Shoso Exlibris Collection” by Onchi Koshiro, Sugihara Masami, Kato Taro, Kawakami Sumio, Kawanishi Hide, Seimiya Hitoshi, Takei Takeo, Maekawa Senpan and other artists\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Collection
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Collection of Ema from Various Provinces” by Miyao Shigeo\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Genteiban
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Genteiban techo \/ Nos. 1-10” by edited by Imamura Hidetaro\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"MOSAICS
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“MOSAICS OF KYOTO IN WOOD-BLOCK PRINTS, I” by Minagawa Taizo\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Combined
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Combined book: Transcripts of Lectures on Western-style Painting”<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Complete
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Complete Reprint\u3000Mokkokukai Vol.1” original materials provided by Nara Kazuo, edited by Takimoto Hiroyuki\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Morning
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Morning Market in Takayama, Hida” by Watanabe Yoichi\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Mount
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Mount Ibuki” by Watanabe Yoichi\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Fuji
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Fuji (tentative title)” by Kojima Ikkei\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Kuchi-e
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Kuchi-e Print” by Terasaki Kogyo\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Kuchi-e
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Kuchi-e Print” by Mizuno Toshikata\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Pictures
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Pictures of Children \/ Playing Outdoors” by Shuntei\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"The
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“The Storehouse of Loyal Retainers” by Eisen\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"The
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“The Seventh Month” by Kuniyoshi\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"One
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“One Hundred Poems by One Hundred Poets \/ Taira no Kanemori” by Kuniyoshi\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Representations
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Representations of Desires \/ Wanting to See It in Dreams” by Yoshitoshi\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"A
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“A Mirror of Strange Tales from China and Japan \/ Shobu of Jin” by Yoshitoshi\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Tokaido
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Tokaido \/ The Shinbashi District of Shiba in Edo” by Yoshitsuya\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"The
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“The Battle of Ishibashiyama (tentative title)” by Yoshikazu\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"The
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“The Iris Garden at Horikiri” by Kiyochika\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Brief
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Brief History of Vengence of the Loyal Retainers \/ Oribe Yasubei Taketsune, One of the Retainers” by Toyokuni III\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Tokaido
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Tokaido \/ Famous Places in Kyoto: The Riverbed at Shijo” by Toyokuni III\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"An
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“An Assortment of Beauties in the Modern Style \/ Minakichi Upstairs at the Umegawa-ro” by Kunisada II\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Tokaido
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Tokaido \/ Otsu” by Hiroshige II\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Texts
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Texts for the Five Festivals \/ Text for the Ninth Month” by Shunsho\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Ehon
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Ehon Sangoku yofuden” by Hokuba\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Supplicants
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Supplicants (tentative title)” by Osai\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Popular
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Popular and Prosperous Pleasure Quarters: The Inamoto House” by Chikanobu\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"View
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“View of the Toshogu Shrine in the Mountains of Nikko” by Chikuyo\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Newly
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Newly Selected Records of the Taiko Hideyoshi \/ Offering Incense at Daitoku-ji” by Toyonobu\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Silkworm
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Silkworm Cultivation \/ No. 1” by Chikashige\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Sketches
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Sketches from the History of Greast Japan \/ Nos. 27 and 28” by Ginko\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Sketches
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Sketches from the History of Greast Japan \/ Nos. 39 and 40” by Ginko\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"An
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“An Assortment of Women’s Customs \/ Weaving Woman” by Gekko\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Sumo-e:
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Sumo-e: Odate Uzaemon from Tokyo” by Kuniaki II\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"The
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“The Storehouse of Loyal Retainers \/ Act 6” by Unknown\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"The
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“The Storehouse of Loyal Retainers \/ Act 5” by Unknown\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Mirror
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Mirror of Modern Makeups\u3010Reproduction\u3011” by Kunisada I\t\t<\/a>\n\t<\/div>\n<\/div>\n
\n
\n\t\t
\n\t\t\"Gohachi
\n\t\t<\/a>\n\t<\/div>\n
\n\t\t
\n\t\t“Gohachi dayori \/ No. 1 and 2” by edited by Imamura Hidetaro\t\t<\/a>\n\t<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

“The Complete Works of Nakayama Shinpei” by Takehisa Yumeji “Acrobats” by Kawanishi Hide “Factory of the Monkey and the Crab” written by Yoda Junichi, illustrated by Kawakami Sumio “Twelve Views of Tokyo” by Ishii Hakutei “Twelve Months of Maiko” by Sekino Junichiro “Winter in Aizu (31)” by Saito Kiyoshi “Flour mill” by Andrew Wyeth “Don […]<\/p>\n","protected":false},"author":1,"featured_media":1879,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3],"tags":[],"class_list":["post-1877","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-new-arrivals"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.yamada-shoten.pro\/english\/blog\/index.php?rest_route=\/wp\/v2\/posts\/1877","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.yamada-shoten.pro\/english\/blog\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.yamada-shoten.pro\/english\/blog\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.yamada-shoten.pro\/english\/blog\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.yamada-shoten.pro\/english\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1877"}],"version-history":[{"count":5,"href":"https:\/\/www.yamada-shoten.pro\/english\/blog\/index.php?rest_route=\/wp\/v2\/posts\/1877\/revisions"}],"predecessor-version":[{"id":1883,"href":"https:\/\/www.yamada-shoten.pro\/english\/blog\/index.php?rest_route=\/wp\/v2\/posts\/1877\/revisions\/1883"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.yamada-shoten.pro\/english\/blog\/index.php?rest_route=\/wp\/v2\/media\/1879"}],"wp:attachment":[{"href":"https:\/\/www.yamada-shoten.pro\/english\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1877"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.yamada-shoten.pro\/english\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1877"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.yamada-shoten.pro\/english\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1877"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}