Tsuji Chōzaemon (辻長左衛門) 小豆澤写真油絵

Between 1888 and 1890, five postcards were sent from Tokyo to the Western-style painter Maeda Yoshihiko (前田吉彦, 1849–1904). Postmarked June 13, 1888; January 3, 1889; April 19, 1890; May 21, 1890; and May 28, 1890, they came from two central Tokyo addresses—Nihonbashi-ku and Minamimaki-chō in Kyōbashi-ku. One of the cards refers to Maeda as an aburaeshi (油画師), or oil painter, showing how he was known professionally at the time.

All five cards were sent by Tsuji Chōzaemon (辻長左衛門), an artisan whose name also appears in a printed art catalog titled 『小豆澤写真油絵』 (Azukizawa Shashin Abura-e), compiled by Azukizawa Ryōichi（小豆澤亮一, 1848–1890）. Despite its title, the catalog was not a product of a photo studio. Rather, it was a curated collection of artworks—likely published after October 1885 (Meiji 18), which appears to be the earliest date for the items included. The catalog featured a wide range of works: photographs, oil paintings, lacquerware, ceramics, metalwork, textiles, and other decorative arts.

Tsuji Chōzaemon’s contribution was the 金焼着瑠璃鐘 (Kin’yaki Chakururi-shō), a bell decorated with gold-fired ornamentation and lapis-blue glaze. Whether intended for ceremonial or ornamental use, the piece exemplifies the high level of craftsmanship found throughout the catalog. Other featured works include lacquered writing boxes, ivory figurines, patterned leather, Kutani vases, silver incense burners, Meiji-era wallpapers, and even coffee sets by renowned enamelist Tōkawa Sōsuke.

Together, the postcards and the catalog entry shed light on the vibrant, interconnected world of Meiji-era artists and artisans. Figures like Maeda and Tsuji were part of a shared creative environment where correspondence, exhibition, and craft publication helped define both personal relationships and the evolving role of art in modern Japan.