A Postcard from the Kawasaki Shipyard – Kobe, 1891 川崎造船所

This postcard, postmarked July 4, 1891, was sent from the Higashi Kawasaki-chō district of Kobe to Maeda Yoshihiko, addressed via Rokuyōdō at 6-chōme, Shimoyamate-dōri. The sender was Kawasaki Zōsenjo—known in English as Kawasaki Shipyard—which at the time was still in its early decades of operation. Its presence in Kobe would eventually become central to Japan’s growing naval industry.

Stamped in red ink is the name and address of the company, along with a note advertising its services: shipbuilding machinery and other equipment, available either newly manufactured or repaired according to customer needs. This sort of messaging gives a glimpse into the commercial tone of the period, and how major industrial firms were beginning to establish both infrastructure and customer relationships across Japan.

The Kawasaki Shipyard would go on to play a major role in modern Japanese shipbuilding. In the decades that followed, it produced many important vessels for the Imperial Japanese Navy, including battleships like Ise and Haruna, aircraft carriers such as Akagi and Kaga, and a range of large submarines. But in 1891, this card shows a company still positioning itself as a capable and reliable supplier of marine machinery.

The handwritten message on the reverse is formal and somewhat abbreviated, written in a flowing style that makes full transcription difficult. However, it contains the usual expressions of courtesy and acknowledgment—phrases suggesting that the sender was replying to or thanking Maeda for a previous letter or assistance. It’s polite, reserved, and businesslike, in keeping with correspondence between professionals.

As with other cards addressed to Maeda, this one ties into a small but growing body of documents that help flesh out his network and standing in Meiji-era Kobe. 

Red Stamp:

神戸市 東川崎町 (Kobe-shi, Higashi Kawasaki-chō)

造船機気其他諸器械 (Shipbuilding machinery and other equipment)

川崎造船所 (Kawasaki Shipyard)

新製〇繕 御好ニ応ズ (New and repaired items available to order)

1891 Kobe – Four Unknown Acquaintances of Maeda Yoshihiko

Four postcards addressed to Maeda Yoshihiko were sent from Settsu Kobe between 1890 and 1891. The postmark dates are: January 27, 1890; October 4, 1891; December 14, 1891; and December 25, 1891. Notably, the card dated October 4, 1891, bears a double postmark—an uncommon occurrence.

Some of the sender names can be partially deciphered, with possibilities including 赤木, 隠法, and 好井. However, the readings are uncertain due to difficult handwriting. In the past, further research has helped clarify unidentified names shared on this blog. We hope the same will eventually be true for these.

高梁 (岡山県) 生まれの前田吉彦と辻の関係は？

These five postcards were sent by someone named Tsuji (辻). Unfortunately, we have not been able to decipher his given name or the content of his messages. All five were sent from Tokyo, with return addresses from two locations: Nihonbashi-ku (日本橋区) and Minamimaki-chō, Kyōbashi-ku (京橋区南槙町). One card refers to Maeda as an aburaeshi (油画師), or oil painter.

Postmarks are June 13, 1888; January 3, 1889; April 19, 1890; May 21, 1890; and May 28, 1890.

Since Maeda was originally from Takahashi in Bitchū, it’s possible that Tsuji was also from that region. He may even have been related to Tsuji Hichirōzaemon (辻 七郎左衛門, 1827–1888), a mid-ranking samurai official of the Bitchū-Matsuyama Domain. Born in 1827 (Bunsei 10) and passing away on September 12, 1888 (Meiji 21), Hichirōzaemon served under the honorary title toshiyori-yaku taigū (年寄役待遇, “senior advisor status”), receiving a stipend of 80 koku.

Originally named Tadasada (忠貞), he was commonly known as Shichirōzaemon (七郎左衛門) before later adopting the name Sayū (左右). He also used the artistic pseudonym Katan (華潭). Tsuji was an accomplished painter, particularly skilled in figurative and bird-and-flower (花鳥画) subjects, and was also a Chinese-style poet. His literary works appear in the anthology Takahashi Kokon Shisō (『高梁古今詞藻』). Among his writings is Kannan Jitsuroku (『艱難実録』), a firsthand account of Lord Itakura Katsukiyo’s experiences from the Battle of Toba-Fushimi (1868) to his surrender to imperial forces.

Tsuji was born in the Edo residence of the Matsudaira clan of Kuwana Domain (now in Mie Prefecture). He entered the service of Itakura Katsukiyo (板倉勝静) when Katsukiyo was adopted into the Itakura family from the Kuwana-Matsudaira line. As a close retainer, Tsuji held several important positions, including: attendant (近習), inspector (監察), temple and shrine administrator (寺社役), Edo liaison officer (江戸公用人), assistant councilor (参政助勤), chief administrator (元締), and chamberlain (側用人).

During the Boshin War (1868), he accompanied Itakura on the northeastern campaign. After Itakura’s surrender, Tsuji was imprisoned in the Shigehara Domain (重原藩), but was pardoned on December 23, 1869 (Meiji 2). He then relocated to Shigehara, where he became a professor at the domain school (養生館) and later served as chief administrator (大参事).

After the abolition of the domain system in 1871 (Meiji 4), Tsuji joined the new Meiji government as chief magistrate of Kamo District in Aichi Prefecture (愛知県加茂郡長).

We’ve already noted a connection between Maeda and Itakura Katsusuke (see our November 22, 2024 post), so it’s reasonable to assume that this Tsuji may have been within their shared circle. At present, we do not know which Tsuji sent the cards—but as we continue to explore this collection, we may yet uncover his identity.

Unreadable Osaka Postcard Dated August 8, 1889

Unfortunately, we are unable to decipher any of the writing on this postcard. Unless another, more legible example of the sender’s handwriting comes to light, this card—sent from Osaka in 1889—will remain an unsolved mystery, its message lost to time.

June 26, 1889 Morimoto of Nishinomiya Hyogo

This postcard bears a postmark from 摂津西ノ宮 (Settsu Nishinomiya) in Hyogo Prefecture and was sent by an individual named Morimoto—though his given name remains uncertain. The message appears to outline travel plans, but what makes this card particularly noteworthy is how Morimoto addresses Maeda Yoshihiko: using the suffix "君" (kun).

This choice of address suggests one of two possibilities:

A close personal friendship between Morimoto and Maeda, as "kun" is often used among peers or by superiors toward younger or subordinate males.

Morimoto held a higher social or professional status than Maeda, granting him the familiarity to use "kun."

This is only the second known instance of Maeda being addressed this way in correspondence. For the previous example, refer to our October 13, 2024 post.

Unreadable Postal Card to Maeda Yoshihiko – November 8, 1891

The date is derived from the Kobe postmark, as the originating postmark is too faint and incomplete to decipher. The sender’s name, message, and return address are entirely illegible. However, as we continue examining this collection of postcards, we may encounter another from the same sender with identifiable details that could help clarify this one.

Yamana Ukai (山名迂介) Uchida Mohachi (内田茂八) Watanabe Yūkō (渡辺幽香) Relations?

These two postcards offer rare and compelling insights into the network of Japanese artists during the Meiji period, subtly “knitting together” personal and professional relationships that have otherwise gone undocumented.

Yamana Ukai, April 17, 1889

Postmarked in Shitaya, Tokyo (下谷東京), this postcard represents one of only two known records of the elusive artist Yamana Ukai (山名迂介), a figure absent from formal art historical archives despite extensive research. Sent from the residence of Watanabe Bunzaburō at 3-68 Naka-Okachimachi, Shitaya, and addressed to Maeda Yoshihiko, the card contains a respectful reference to Watanabe as 渡辺老兄 (Watanabe Rōkei, “esteemed elder Watanabe”), suggesting a senior-junior or master-apprentice relationship. While this establishes Yamana’s association with Watanabe’s artistic circle, much of the card’s content remains undeciphered for now.

Yamana Ukai, February 7, 1889

The earlier of the two cards, postmarked in Osaka, lists the return address of Uchida Mohachi (内田茂八) at 7-chōme Nakanoshima, Kita-ku—indicating Yamana was staying there at the time. Remarkably, this card includes two references to Watanabe Yūkō (渡辺幽香), a talented female artist. Her name appears first as 幽香女史 (Yūkō Joshi), using the honorific joshi for educated or professional women (circled in red on the original), and again as 渡辺幽香, spaced in signature-like fashion at the bottom-left corner, implying direct involvement.

Uchida Mohachi was likely an artist in his own right with a number of pupils. In fact, Watanabe Bunzaburō refers to 内田茂八門—the school or artistic lineage of Uchida Mohachi—when discussing Yamana Ukai, reinforcing the impression that Yamana was part of Uchida’s circle as well (see photo below).

Adding to the intrigue is the historical context: just two weeks prior to the Osaka postmark, the city hosted its first lithography and copperplate society meeting at the nearby Jiyūtei Hotel. Given Watanabe Yūkō’s known training in both techniques under Matsuda Rokuzan (松田緑山), and the proximity of Uchida’s address to the meeting site, it’s plausible—though speculative—that Uchida, Yamana, and Yūkō all attended. The double mention of Yūkō to Maeda Yoshihiko, who likely knew her reputation, raises further questions. Could this hint at collaborative work or a planned exhibition now lost to history?

This unexpected find not only revives Watanabe Yūkō’s faint historical presence but also offers a rare glimpse into the possible participation of women in early Meiji-era printmaking circles—a small but valuable clue in the broader reconstruction of women’s roles in Japanese art.

Watanabe Yūkō (渡辺 幽香, 1856 – 1942) was a pioneering Japanese artist of the Meiji period, known for her Western-style (yōga) paintings. Born into an artistic family in Edo (now Tokyo), she was the daughter of Goseda Hōryū (五姓田 芳柳, 1827–1892), a prominent painter, and the sister of Goseda Yoshimatsu (五姓田 義松, 1855–1915), also an accomplished artist. Her early exposure to art within her family significantly influenced her career. ​

Yūkō received her initial training in painting from her father and brother, immersing herself in the techniques of Western-style art. This familial mentorship was a common pathway for women artists of that era, as formal art education institutions were predominantly male-oriented. ​In 1869, Yūkō began a series of lithographs titled "Sun'in mankō" (寸陰蔓稿), depicting popular scenes of Japan. The following year, she created another series of pictures, showcasing her versatility and commitment to capturing Japanese culture through her art. ​

Yūkō's personal life was closely intertwined with her professional journey. She married Watanabe Bunzaburō (渡辺 文三郎, 1853–1936), a fellow painter who had also studied under her father. This union further solidified her connections within the art community and provided mutual support in their artistic endeavors. ​

Beyond her artistic achievements, Yūkō was dedicated to the advancement of women's education in Japan. She taught at the Gakushūin Women's Higher School (学習院女子高等科), an institution established to educate women of the nobility. Her role as an educator reflected her commitment to empowering women through education, aligning with the broader societal shifts of the Meiji era that sought to modernize and elevate the status of women. ​

Watanabe Yūkō's life and work exemplify the challenges and triumphs of female artists in Meiji Japan. Her ability to navigate the male-dominated art world, coupled with her dedication to education, underscores her significant contributions to Japanese art and society.

山下久馬太 Yamashita Kumata Rare Meiji Japanese Artist

Yamashita Kumata (山下久馬太), a rare and lesser-known artist of the Meiji Period, graduated from the Kyoto Municipal School of Arts and Crafts in July 1886 (Meiji 19). This institution, established during a transformative era in Japanese history, was instrumental in shaping modern Japanese art by blending traditional techniques with Western influences. At a time when Japan was rapidly modernizing, the school aimed to cultivate a new generation of artists who could navigate the convergence of Eastern and Western artistic traditions. Yamashita, like many of his peers, was trained in both Eastern and Western painting styles, equipping him with the technical skills and conceptual understanding to contribute to Japan’s evolving art scene.

The Kyoto Municipal School of Arts and Crafts was part of a broader effort to preserve Japan’s cultural heritage while embracing Western artistic methods. Graduates from its Tōsō and Sōsō art departments were known for their dual expertise, a hallmark of Meiji-era artists. Yamashita’s education at this institution would have provided him with a strong foundation to engage with the dynamic artistic landscape of his time.

Two postal cards sent by Yamashita offer a glimpse into his life and work. The first, postmarked January 2, 1890, lists his return address as Kyoto Jinjō Shihan Gakkō (京都尋常師範学校), or Kyoto Normal School, a teacher training institution established in 1876 (Meiji 9) to address the need for qualified educators during Japan’s educational reforms. The second card, dated June 15, 1891, shows his address in Kyoto’s Kamikyō Ward (京都市上京区). Both cards bear the postmark “Yamashiro Kyoto” (山城京都). The 1891 card is addressed to Maeda Yoshihiko, identified as an oil painter (油画師, Aburaeshi), and appears to be a letter of inquiry related to art, specifically concerning the use and significance of colors.

NOTE: The third postcard displayed here, labeled as "sample," is included from a separate listing. It serves as evidence to demonstrate the connection between Yamashita Kumata (山下久馬太) and Hikita Keizō (疋田敬蔵), illustrating that the two were acquainted with each other.

The sole reference to Yamashita Kumata’s identity as an artist is a painting he created in 1887, titled 臥竜松真写: 臥竜松在于備前和気郡大内村一ノ井氏庭中 (True Depiction of the Garyū Pine: The Garyū Pine Located in the Garden of the Ichii Family in Ōuchi Village, Wake District, Bizen). Yamashita’s role in the artistic circles of the Meiji era is further highlighted by his close association with Hikita Keizō (疋田敬蔵), a Western-style painter and educator who studied under Antonio Fontanesi at the Kobu Bijutsu Gakko, as evidenced by our postal card dated May 22, 1891, from Yamashiro, Kyoto, which bears both of their names as senders. 

This card not only confirms their acquaintance but also suggests a collaborative relationship, possibly extending to Maeda Yoshihiko, reflecting their shared artistic spirit. Additionally, Yamashita’s influence is underscored by his work as a drawing instructor for Kojima Torajirō (児島虎次郎, 1881–1929), further cementing his place within the creative networks of the time.

Five Pioneers of Western-Style Painting in Meiji Japan 1891

Postmarked on March 20, 1891—though the date is partially obscured, we believe the year is correct based on other cards in this collection—this rare and unusual postal card was sent from Yamashiro, Kyoto, to Maeda Yoshihiko, a Western-style painter in Kobe. The message appears to express gratitude to Maeda for hosting the sender and their companions in Kobe. It also lists five prominent artists who attended the gathering. Given that Hikita’s name appears on the far left and we have another message written by him for comparison (see below), we are certain that Hikita was the author of this note.

Another card, dated May 22, 1891, from Yamashiro, Kyoto, features two senders: Hikita Keizō (疋田敬蔵) and Yamashita Kumata (山下久馬太). Yamashita, a lesser-known artist, is primarily recognized for his 1887 painting of the Garyū Pine, titled 臥竜松真写: 臥竜松在于備前和気郡大内村一ノ井氏庭中 (True Depiction of the Garyū Pine: The Garyū Pine Located in the Garden of the Ichii Family in Ōuchi Village, Wake District, Bizen). Beyond this work, Yamashita’s artistic influence is further evidenced by his role as a drawing instructor for Kojima Torajirō (児島虎次郎, 1881–1929), highlighting his involvement in the artistic community of the Meiji era.

The Meiji period (1868–1912) was a transformative era in Japanese history, marked by rapid modernization and the adoption of Western ideas and techniques. This cultural shift extended to the arts, where a group of visionary artists embraced Western-style painting, blending it with traditional Japanese aesthetics to create a new artistic identity. Among these trailblazers were Ōhira Hiromasa, Tamura Sōryū, Morizumi Isana, Koyama Sanzō, and Hikita Keizō. Each of these artists not only mastered Western techniques but also dedicated their lives to teaching and promoting this new art form, leaving an indelible mark on Japan’s artistic landscape.

Ōhira Hiromasa (大平廣正) : The Educator and Advocate

Ōhira Hiromasa (1858–1901) was a pioneering Western-style painter and art educator from Fukui Prefecture. After graduating from middle school, he began his career as an art teacher, but his passion for Western painting led him to Tokyo, where he studied under Honda Kinkichirō at the Shōgidō art school. Ōhira played a crucial role in the early Western-style art movement in Japan, co-founding the Meiji Art Society (Meiji Bijutsukai), the country’s first Western painting organization. His dedication to art education was evident in his teaching roles at institutions like Fukui Middle School and Fukui Girls' High School, where he nurtured the next generation of artists. Today, his works are preserved in the Fukui Prefectural Museum of Art, serving as a testament to his contributions to the evolution of Western-style art in Japan.

Tamura Sōryū (田村宗立): The Monk Who Bridged East and West

Tamura Sōryū (1846–1918), a Buddhist monk and artist, was instrumental in introducing Western-style painting to Kyoto. Born in Tanba Province, Tamura displayed artistic talent from a young age, studying traditional Nanga painting before transitioning to Western techniques. His fascination with realism led him to acquire a camera and study oil painting under European mentors, including British artist Charles Wirgman. Tamura’s influence extended beyond his own works; he taught at the Kyoto Prefectural School of Painting and later established the Meiji Art Institute, where he mentored emerging artists. His self-portrait, housed at the National Museum of Modern Art in Kyoto, exemplifies his mastery of Western realism. Tamura’s ability to blend Western techniques with traditional Japanese themes made him a pivotal figure in the evolution of modern Japanese painting.

Morizumi Isana (守住勇魚): The Innovator of Kyoto’s Art Scene

Morizumi Isana (1854–1927) was a key figure in introducing Western-style art to Japan. Born in Tokushima Prefecture, Isana began his artistic training under his father, a Sumiyoshi school painter, before moving to Tokyo to study Western techniques under Kunisawa Shinkurō and Italian painter Antonio Fontanesi. Isana co-founded the Jūichi-jikai (Eleven Members Society) to promote Western-style painting and later moved to Kyoto, where he taught at Doshisha University and the Kyoto Higher School of Art and Craft. His contributions to Kyoto’s textile industry, particularly his designs for Nishijin textiles, showcased his versatility. Isana’s works, such as "Male Nude" and "Landscape," are preserved at the Tokyo University of the Arts Museum, reflecting his enduring influence on Japan’s art scene. Morizumi Chikana (守住周魚), younger sister of Isana, was also a painter.

Koyama Sanzō (小山三造): The Lithographer and Exhibitor

Koyama Sanzō (1860–1927) was another prominent Western-style painter of the Meiji era. Born in Shizuoka Prefecture, Sanzō studied at the Kobu Art School in Tokyo before relocating to Kyoto, where he became a professor at the Kyoto Prefectural School of Painting. After resigning in 1881, he ventured into lithography, producing art reproductions and instructional materials. Sanzō was an active participant in the art community, organizing exhibitions with fellow artists like Morizumi Isana and Tamura Sōryū. His later years were spent in Fushimi, Kyoto, where he continued to innovate and contribute to the artistic dialogue of his time.

Hikita Keizō (疋田敬蔵): The Botanical Illustrator

Hikita Keizō (1851–?) was a Western-style painter and educator who studied under Antonio Fontanesi at the Kobu Bijutsu Gakko. In 1879, he founded the Meiji Art School to promote Western-style painting and later joined the Hokkaido Development Commission, where he showcased his talent with works like "Autumn Scenery of the Ishikari River." Hikita’s dedication to art education was evident in his teaching role at the Kyoto Prefectural Art School. After retiring, he focused on lithography, compiling his botanical illustrations into the "Keiran Gafu," a collection that remains a testament to his artistic vision and contribution to art literature.

A Collective Legacy

Together, Ōhira Hiromasa, Tamura Sōryū, Morizumi Isana, Koyama Sanzō, and Hikita Keizō represent the vanguard of Western-style painting in Meiji Japan. Their individual journeys—marked by a relentless pursuit of knowledge, a commitment to education, and a passion for innovation—collectively shaped the trajectory of Japanese art. By blending Western techniques with Japanese sensibilities, they created a unique artistic language that continues to inspire and influence artists today. Their legacy is not only preserved in their works but also in the countless students they mentored and the institutions they helped establish, ensuring that their contributions to Japan’s artistic heritage endure for generations to come.

Akimoto of Ryoueisha 両栄社 1889

This card was sent by an individual named 秋元 (Akimoto)—though we are unable to decipher his first name—from 摂津神戸兵庫 (Settsu Kobe Hyogo) on July 15, 1889. He lists his address as 兵庫 宮前町廿六番地 両栄社 (Hyogo Miyamae-cho 26-banchi Ryoueisha) and addresses the recipient, Maeda Yoshihiko, as 油絵師 (Aburaeshi, meaning "oil painter").

While Ryoueisha is likely the name of a business, we have been unable to determine its nature or purpose. Additionally, without knowing Akimoto's full name, further research into his identity has proven challenging.

Akihara Motoyuki of Maruyama Kyoto

These two cards are dated January 2, 1889, and February 15, 1891, and bear postmarks from Yamashiro Kyoto (山城京都). While we are not entirely certain of the sender's identity, we believe it to be 秋原本之 (Akihara Motoyuki) from Maruyama, Kyoto. Unfortunately, we have been unable to confirm his identity or find further information about him.  

Hirase Yoichiro (1859～1925) Renowned Japanese Malacologist 平瀬 與一郎

Although some correspondence of Hirase Yoichiro is preserved in the Smithsonian Collection, these letters are limited to the period between 1900 and 1923. Additionally, a few letters are found in the collection of John Read le Brockton Tomlin (see 2 photos of typewritten letters from their collection below), a prominent British malacologist, but these also date from the later years of Hirase's life. To date, no correspondence from his earlier years has been discovered outside of our collection, which includes six postal cards spanning 1889 to 1891: January 2, 1889; March 25, 1889; August 6, 1889; January 1, 1890; July 9, 1891; and August 5, 1891. These early correspondence provide valuable insights into Hirase's formative years as a malacologist and naturalist.

All six cards bear a postmark from 山城京都 (Yamashiro Kyōto). Four of them feature Hirase Yōichirō's personal red stamp, which includes his name and address: 平瀬與一郎, 京都烏丸通, 下長者町北 (Hirase Yōichirō, Kyōto Karasumaru-dōri, Shimochōja-machi Kita). Notably, Hirase occasionally uses the simplified character "与" instead of "與" when handwriting his name, appearing as 平瀬与一郎.

Hirase Yoichiro (平瀬 與一郎, 1859–1925) was a pioneering Japanese malacologist, naturalist, and renowned researcher specializing in shellfish. His groundbreaking contributions to the field of malacology earned him widespread recognition. Following in his footsteps, his son, Hirase Shintarō (平瀬 信太郎, 1884–1939), also became a distinguished malacologist, further solidifying the Hirase family's legacy in the study of mollusks. Hirase made substantial contributions to the understanding of Japanese shellfish during the Meiji and Taisho periods. His research was entirely self-funded, which eventually led to financial and physical exhaustion, preventing him from fully realizing his dream of cataloging all Japanese shellfish. Despite these challenges, Hirase's work laid the foundational knowledge for future Japanese malacologists.

Hirase dedicated much of his life to the study of mollusks, amassing an extensive collection of shells and identifying over 700 new species. His meticulous research significantly advanced malacology in Japan, a field that had previously been dominated by Western scholars. Recognizing the need for a platform to disseminate knowledge, he founded Kai Ryū Zasshi (Conchological Magazine) in 1907, Japan's first periodical dedicated to the study of mollusks. This publication not only facilitated scientific discourse but also encouraged Japanese researchers to contribute to the growing body of knowledge on marine life.

In 1913, Hirase established the Hirase Conchological Museum in Kyoto, which housed his vast collection and served as a hub for research and education. His dedication to collecting and classifying mollusks provided future generations with a wealth of knowledge and an invaluable resource for continued study. However, unlike many of his contemporaries who relied on institutional backing, Hirase funded his research entirely on his own. This placed an immense financial strain on him, as he covered the costs of expeditions, specimen preservation, and publication expenses out of pocket.

Artistic Contributions

While Hirase was a scientist at heart, his appreciation for the aesthetic beauty of shells was equally profound. His most notable artistic endeavor was Kaigara Dammen Zuan (貝殻断面図案), published in 1913. This woodblock-printed book showcased intricate cross-sectional designs of shells, revealing their natural symmetry and structure in a way that was both scientifically accurate and artistically compelling. The book, produced by the renowned Kyoto publisher Unsōdō, reflects a harmonious blend of traditional Japanese printmaking techniques and modern scientific illustration.

Hirase’s work in Shell Motifs highlights his ability to transform natural forms into mesmerizing artistic compositions. His renderings of shell interiors, with their delicate spirals and layered formations, resemble abstract art while maintaining their scientific integrity. The precision and elegance of these depictions suggest that Hirase viewed mollusks not only as subjects of study but also as objects of beauty. His artistic vision extended beyond mere documentation—he sought to capture the inherent patterns and complexity of marine life in a way that would inspire both scientists and artists alike.

Personal Sacrifices and Legacy

Despite his passion and dedication, Hirase’s self-funded research eventually took a toll on him. The financial burden of maintaining his collection, producing publications, and sustaining his museum led to significant hardship. As his resources dwindled, his ability to continue his work diminished. Coupled with the physical exhaustion of fieldwork and meticulous study, these challenges ultimately prevented him from fully realizing his dream of cataloging all Japanese shellfish. His museum, once a center for malacological research, eventually closed, and much of his collection was dispersed.

Famous 毛利 Mōri-Clan to Rokuyōdo Meiji 22 (1889)

These two postal cards were postmarked in 摂津大坂島ノ内 (Settsu Osaka Shimanouchi) on January 2, 1889, and February 22, 1889, respectively. Both cards feature a return address of 大坂南区 (Osaka Minami-ku). Interestingly, they are addressed to Maeda Yoshihiko at 六要堂 (Rokuyōdo). We’ve previously discussed the significance of the term “Rokuyōdo” in past posts, so if you’re curious about its meaning and historical context, we encourage you to refer to those earlier entries.

As for the sender, the name 毛利 (Mōri) stands out—a name of considerable historical importance in Japan. It’s worth noting that “Mōri” should not be confused with the similar-sounding “Mori.” The Mōri clan holds a prominent place in Japanese history, particularly during the Sengoku and Edo periods. Unfortunately, the sender’s given name on these cards is illegible, making it difficult to determine which branch of the Mōri clan he belonged to or what his connection might have been to the artist, Maeda Yoshihiko.

Maeda himself hailed from a samurai-class family, albeit one with a relatively low stipend. This adds an intriguing layer to the correspondence, as it hints at a possible relationship—personal, professional, or otherwise—between the sender and Maeda. 

1891 油画師 Maeda Yoshihiko

This postcard, sent from Settsu Kobe Hyogo (摂津神戸兵庫) and dated August 19, 1891, addresses Maeda as 油画師 (Aburaeshi), meaning "oil paint artist." Given the frequency with which this title appears on such cards, it is evident that Maeda had established himself as a prominent and well-recognized Western-style artist by the mid-1880s. Unfortunately, as is the case with many of these postcards, we are unable to identify the sender,斎藤貞一 (Saitō Teiichi),  nor can we decipher the message written on it. This lack of information leaves gaps in our understanding of the context and personal connections associated with these correspondences.

前田吉彦先生 明治24年

This postcard, bearing a postmark from August 24, 1891, was sent from 摂津大坂島ノ内 (Settsu Osaka Shimanouchi) and is addressed to Maeda Yoshihiko Sensei. The return address is listed as 大坂島ノ内 (Osaka Shimanouchi), indicating it was sent locally. As is typical with many early postal cards, the sender’s name is unreadable.

Yamada Kaidō (山田介堂) 1891 Nanga Painter

Postmarked December 4, 1891, at Yamashiro Kyoto (山城京都), this postal card was sent by Yamada Kaidō (山田介堂) while staying at the residence of Inoue Uhei (京都御車道今出川栄町井上宇兵衛宅). In the message, Yamada addresses Maeda Yoshihiko of Kobe as Seiyōgaka (西洋画家, Western-style painter), which is the first instance we have seen him referred to in this way. Most of the time, he was addressed as Aburaeshi (油画師, oil painter).

Yamada Kaidō (1869–1924) was a prominent Japanese painter active during the Meiji and Taishō periods, known for his contributions to Nanga (Southern School) painting and his influence on the Kyoto art scene. Born in Maruoka, Fukui Prefecture, he displayed an early interest in art and initially studied under Wang Yanzhang, a Chinese painter in Nagasaki, where he gained a foundation in Nanga techniques.

Seeking further refinement, he moved to Kyoto and trained under renowned artists such as Tanomura Chokunyū and Tomioka Tessai, while also studying under Hosoya Rissai in Akashi and Hirano Goga in Hita. His mastery of Nanga painting earned him recognition at the prestigious Bunten (Ministry of Education Art Exhibition), where he received multiple awards. In 1921, he co-founded the Nihon Nanga-in (Japan Nanga Institute) alongside fellow artists Tajika Chikuson and Ikeda Keisen, solidifying his status as a leading figure in the Nanga revival movement.

His works, often characterized by vibrant blue-green landscapes and poetic inscriptions, reflect a synthesis of traditional Chinese and Japanese aesthetics. Despite losing vision in one eye in his later years, he remained a dedicated artist, adopting the pseudonym "Sekigyokudōjin" (One-Eyed Jade Recluse) and continuing to produce remarkable works until his passing on September 17, 1924.

Today, his paintings are highly regarded in Japanese art circles, with pieces held in private collections and museums. His contributions to Nanga painting highlight his deep engagement with both Chinese and Japanese artistic traditions, ensuring his legacy endures through his works, which continue to inspire admiration among art historians and collectors alike.

明治24年前田吉彦の往復はがき

This card was postmarked on January 11, 1891, in Settsu Kobe Hyogo (摂津神戸兵庫) and was sent by Nakajima Yajiro? (中島(弥?)次郎). While we have featured several individuals with the surname Nakajima on this blog, it remains unclear whether this Nakajima or any others are related.

The card itself is a distinctive pink double postcard (往復はがき), a clever stationery format designed for prepaid return messages. It is likely that Maeda Yoshihiko initially sent this double card to Nakajima, who then separated it into two parts, using one half to reply. This ingenious method saved Nakajima 1 sen in postage, showcasing the practicality of such postal innovations during the era. The message from Nakajima appears poetic and reflective, suggesting a nostalgic journey? 

Masuda Matsuyuki 増田松之 from Watanabe Bunzaburō 渡辺文三郎 1889

On July 29, 1889, Watanabe Bunzaburō, husband of Yūkō (幽香), a prominent figure at the Goseda Art School, sent a postcard to Maeda Yoshihiko in Kobe. This postcard is also addressed to Masuda Matsuyuki, who was staying with Maeda at the time, underscores the close ties among artists and educators of the era. These relationships fostered collaborations that significantly enriched the artistic community. Watanabe appears to have been informing them of his new address.

Masuda Matsuyuki (1862–1932, 増田松之) was a prominent yet relatively under-researched figure in the artistic and educational landscape of Meiji-era Japan, not widely known in Japan or the West. As both an artist and educator, he navigated the complex intersection of Japan’s traditional culture and the growing influence of Western art. His contributions ranged from his own creative work to his influential roles in teaching and collaborating with other artists and intellectuals.

Masuda’s artistic training began with Takahashi Yuichi, widely regarded as a pioneer of Western-style oil painting in Japan. Yuichi’s innovative approach to incorporating realism and Western techniques had a lasting impact on Masuda, whose skills were further refined under the tutelage of Goseda Hōryū (五姓田芳柳). These formative years provided Masuda with a strong foundation in Western-style painting, setting the stage for his later work in both artistic and educational spheres.

One of Masuda’s most notable achievements was the publication of the Watercolor Painting Album (水彩画帖), a three-volume series created in Osaka in 1892–1893 (Meiji 25–26). Printed using multi-color lithography, this series showcased Masuda’s mastery of watercolor techniques and his ability to adapt them to an educational context. The albums, now preserved in institutions such as the National Diet Library and the Sakura Color Products Collection, were an important resource for disseminating Western artistic methods in Japan. By producing these volumes, Masuda not only contributed to the artistic field but also addressed the educational need for accessible teaching materials.

Masuda’s involvement in art education extended beyond publications. Early in his career, he served as an art instructor at Saitama Normal School, where he trained future educators in drawing and painting. His role as a teacher reflected his belief in art as a critical component of modern education. Masuda later joined the faculty at Keio University, where he worked in the Faculty of Commerce and Industry and the Ordinary Department (普通部). He succeeded Nose Tsurujirō (能勢鶴次郎) in 1909 and served until 1919. During his tenure, Masuda contributed significantly to the development of Keio’s art programs, balancing his work at the Ordinary Department with responsibilities in other areas of the university.

One such collaboration was the organization of an exhibition of oil paintings and modern calligraphy at Kobe Elementary School. This event, held in conjunction with a meeting of the Academic Encouragement Association (学術奨励会), was co-organized by Masuda, Maeda Yoshihiko, and Nakajima Seikei. The exhibition, which included an on-site calligraphy demonstration, reflected the intersection of traditional Japanese calligraphy and Western oil painting, offering the public a rare opportunity to engage with these evolving art forms.

Masuda’s work extended into other teaching roles as well. Records indicate that he was involved in teaching at Kakegawa Middle School following its re-establishment in 1900 (Meiji 33). While details about the exact timeline are unclear, this position further illustrates his commitment to advancing art education in regional settings. His career also intersected with broader educational reforms, as his expertise in Western art and painting techniques positioned him to influence Japan’s incorporation of these methods into formal curricula.

Through his artistic contributions, educational efforts, and collaborations, Masuda Matsuyuki emerged as a key figure in the cultural transformation of Meiji-era Japan. His ability to bridge the gap between traditional Japanese art and Western techniques exemplified the spirit of modernization that defined the period. By training the next generation of educators, creating accessible teaching materials, and participating in public exhibitions, Masuda left an enduring legacy in both art and education.

1890 Poetic Verse of Seasonal Change 田門義典

This postal card, dated May 27, 1890, was sent from Osaka. The address side features exquisite penmanship, making it exceptionally clear and easy to read. The sender explicitly addresses Maeda as 油絵師 (aburaeshi), meaning "oil painter."

However, the message side, while equally beautiful, is written in a highly personalized, freehand style typical of the period, which makes it challenging to decipher. Although "AI" interprets the sender's name as 田中昇也 (Tanaka Shōya), we believe it is more likely 田門義典 (Tamon Yoshinori), who lists his address as 大阪市東区 (Osaka-shi, Higashi-ku).

If the sender is indeed Tamon Yoshinori, he writes a poetic seasonal greeting that flows gracefully. While the "AI" translation may not be entirely accurate, it captures a lovely sentiment, so I include it here not for precision but for sheer enjoyment:

Suddenly, the heat has arrived.

The atmosphere has shifted, yet if all remains unchanged,

let us share a lighthearted conversation while we can.

Near the great bell, a refreshing breeze blows.

Together with a friend, I take up my brush

to capture the famous scenery.

I send you my warm regards.

Osaka Great Meiji Flood of 1885

Sent on January 15, 1886, from Osaka by Nakajima Tamajirou (中嶋玉二郎), he lists his address as 大坂北浜正栄館 (Osaka Kitahama Seieikan), a location that may have been a residence, business, or institution in the commercial district of Kitahama, Osaka.

Nakajima addresses Maeda with great respect, using the formal title 前田先生机下 ("Maeda Sensei, under your desk"), a phrase that conveys humility and deference. This suggests that Maeda held a position of authority or mentorship in Nakajima’s life, possibly as a teacher, mentor, or senior figure. The mention of 六要堂 (Rokuyōdō) once again appears, further emphasizing its significance in their correspondence. As we’ve discussed in previous posts, 六要堂 likely refers to an art studio, class, or cultural space associated with Maeda Yoshihiko.

In the message, Nakajima references a flood report published in the Asahi Shinbun (朝日新聞), one of Japan’s leading newspapers at the time. The Great Meiji Flood of 1885 (明治十八年の大水害)  had a profound impact on several regions in Japan, with Osaka being notably affected (see the photos of contemporary illustrations). The flood submerged most of Osaka city, impacting approximately 270,000 residents. It was one of several severe natural disasters during the Meiji period, shaping Japan’s approach to disaster prevention and infrastructure development.

Osaka Jinjō Chūgakkō 1889

This is a New Year’s greetings card postmarked on January 1, 1889, in Settsu, Osaka (摂津大坂). The return address is listed as Osaka Jinjō Chūgakkō (大阪尋常中学校), or Osaka Ordinary Middle School, an educational institution established during the Meiji period in Japan.

The card includes two sender names, but their exact readings are unclear. Our best guesses are 水空玄女 (Suikū Genjo) and 幸国亭一 (Kōkoku Teiichi), though they could also be 来田 (Kita) and 水宝 (Mizuho), or something entirely different. Given the return address and the context, it is likely that the senders were educators or otherwise connected to the school, and they may have known Maeda Yoshihiko through educational or professional links. 

油画師の前田吉彦先生 明治21年

This postcard, dated February 18, 1888, was sent from Osaka by someone named 秋山 (Akiyama) to 油画師 前田吉彦先生 (Abura-eshi Maeda Yoshihiko-sensei). The message begins with the usual polite greetings and a reference to the cold weather. Akiyama then requests permission to visit Maeda at his school, as the term 母校 (alma mater) appears in the text, suggesting a possible student-teacher relationship. Akiyama also asks for a reply. While it seems likely that Akiyama was once a student of Maeda, the lack of a full name makes it impossible to uncover further details about him.

九十銭の謎: 1891 Letter to Kadouchi

Dated May 7, 1891, this letter was sent from 摂津大坂 (Settsu Osaka). The sender listed their return address as 大坂南本町4丁目 (Osaka Minami Honmachi 4-chome). It was addressed to 門内 (Kadouchi), care of Maeda Yoshihiko. Unfortunately, the identity of both the sender and the recipient, Kadouchi, remains unknown. The content of the message appears to reference a payment of 九十銭 (90 sen) for an unspecified purpose. The context of the payment and the relationship between the parties involved are unclear.

1889 油絵師 Maeda Yoshihiko Red Ink Stamp 吉彦

This card is postmarked in 摂津大坂 (Settsu Osaka) and dated August 1, 1889. The sender’s name is illegible, but they address Maeda Yoshihiko as 油絵師 (abura-eshi), meaning "oil paint artist." This term appears frequently in the postal cards within this collection, suggesting it was a well-known title for Maeda.

The message seems to inquire about an upcoming meeting, with the writer asking Maeda about a specific matter. While the content is somewhat typical of the correspondence in this collection, what makes this card particularly interesting is the small, oval, red ink stamp bearing Maeda’s name, 吉彦 (Yoshihiko). This is the first instance we’ve encountered of such a stamp in this collection, and it may have been used by Maeda on his artworks.

Osaka Kyūhōji 1891 Postal Card from 糸谷表

This card is postmarked in 摂津大阪 (Settsu Osaka) on December 11, 1891, and is written in pencil. The return address is listed as 大阪久宝寺 (Osaka Kyūhōji), likely referring to a temple in the area. The sender’s name appears to be 糸谷表 (Itotani Omote or Itoya Hyō), though the reading is uncertain. From what we can decipher, the message follows the typical format of many postal cards from this period, featuring generic exchanges of thanks, greetings, and wishes for good health. Despite efforts to find more information, no significant details about 糸谷表 have surfaced in online searches.