Hisada Michi 久田道 Echigo Niigata

The two postcards featured here are customary New Year’s greetings, postmarked January 2, 1889, and January 1, 1890, from Echigo Niigata (越後新潟). The sender, identified as Hisada Michi, provided a return address listed as Niigata-shi (新潟市), though his full address remains indecipherable. Despite this small glimpse into his identity, there is no additional correspondence from Michi to Maeda Yoshihiko, suggesting their connection may have been distant, marked only by the tradition of exchanging New Year’s greetings.

Customary in Japan, New Year postcards are a way to convey good wishes and maintain social ties, even among acquaintances. The lack of further correspondence hints that Michi and Maeda’s relationship might not have extended beyond formal gestures of courtesy. Unfortunately, efforts to uncover more about Hisada Michi have yielded no further insights, leaving him a fleeting figure in the historical narrative tied only to these thoughtful, ephemeral greetings.

Kikui Kamejiro 菊井亀次郎 Bizen Oil Paint Artist 油絵氏 Kobe

These two postcards, postmarked in Bizen on January 4, 1890, and July 30, 1891, were sent by Kikui Kamejiro (菊井亀次郎), who provided his return address as Taiji, Iwabuson, Iwanashi-gun, Bizen (備前磐梨郡石生村大字). Notably, Kikui addressed the recipient, Maeda Yoshihiko, as "oil paint artist" (Abura-Eshi, 油絵氏). This title appears frequently on other postcards sent to Maeda around 1890, indicating his established reputation as a skilled practitioner of oil painting. Such consistent recognition underscores Maeda’s prominence in the artistic circles of the time. Unfortunately, as is often the case with many other postal cards in this collection, we have been unable to uncover who Kikui Kamejiro was in a historical context.

Who Was Kobori Kazunosuke (小堀数之助) of Takahashi, Bitchu?

 

In the late 19th century, small acts like sending a letter or a postcard could carry big stories. One such story is that of Kobori Kazunosuke, a traveler whose postcards from 1888 to 1892 give us a glimpse into a life full of movement and connections. His journey is closely tied to Maeda Yoshihiko, an artist and art teacher in Kobe, who lived at a time when Japan was changing rapidly during the Meiji era.

Kobori Kazunosuke’s story comes to life through six postcards he sent to Maeda Yoshihiko in Kobe. Each one, with its postmark and date, shows us a man who was constantly on the move:

Bitchu, Takahashi (Okayama): November 5, 1888

Bitchu, Minagi (Okayama): July 14, 1889

Bitchu, Tamashima: July 15, 1890

Bizen, Okayama: June 21, 1890

Settsu, Osaka: August 23, 1891

Settsu, Osaka: January 18, 1892

From the quiet towns of Okayama to the bustling streets of Osaka, Kobori left traces of his journey. But why was he traveling so much? Was he a merchant, an official, or something else? The postcards don’t give us all the answers, but they spark our imagination.

At the center of this story is Maeda Yoshihiko, an artist and teacher living in Kobe. Born in 1849 in Takahashi, Bitchu, Maeda came from a low-ranking samurai family. His upbringing taught him discipline and a love for the arts, which he carried into his work as Japan modernized.

Maeda and Kobori’s connection likely started in their hometown. Maybe they were childhood friends, or their families were close. Whatever the reason, their bond was strong enough for Kobori to turn to Maeda for help when he traveled. Maeda was more than just a friend; he was someone who understood the importance of keeping old connections alive in a changing world.

The postcards reveal bits and pieces about Kobori’s life. In July 1889, a card from Kumoi (雲井) was sent to Kobori, care of Maeda in Kobe. This shows that Kobori stayed with Maeda during his travels. Another postcard, sent in January 1889 from Bitchu, Takahashi, came from another Kobori, though their full name is unclear. Could this have been a relative? A brother, cousin, or even his father? It’s clear that the Kobori family and Maeda shared a close relationship.

These postcards were exchanged during a time when Japan was changing fast. The Meiji Restoration brought in Western ideas and technologies, but also the challenge of preserving traditional values. Kobori’s travels suggest he might have been working in trade or administration, roles that required navigating this new world. Meanwhile, Maeda used his art and teaching to help others appreciate both Japan’s traditions and its modern future.

Kobori Kazunosuke’s story remains incomplete, told only through fragments. Yet these fragments—the places he visited, the people he wrote to—show a man deeply tied to his roots, yet eager to explore the wider world. His friendship with Maeda Yoshihiko shows how trust and connections could thrive even in times of great change.

Newly Discovered Ink Drawing Dated 1890 by Kawai Shinzo

This photo and post were first shared on September 15, 2024, when we knew almost nothing about these postcards or how to interpret their contents. Since then, we’ve been piecing together the story, one fragment at a time. Progress has been slow—like assembling a 1,000-piece puzzle with only a few pieces in place. With continued effort and a little luck, we hope to uncover more. For now, we’re pleased to share that we’ve identified the sender of this postcard.

*From our review of the available correspondence, it appears that Kawai Shinzo preferred using the name 河合新造 rather than 河合新蔵, at least prior to his emergence as a prominent artist.

*This 1926 woodblock print by Yoshida Hiroshi (1876-1950) shows Kawai Shinzo's two daughters.

This postal card bears the postmark of Osaka, dated January 1, 1890. It was sent from Minami-Honmachi, Osaka (大阪 南本町１丁目) by  Kawai Shinzo (河合新蔵, 1867–1936) prior to his rise to prominence as a Western-style painter, while he was still studying under the guidance of Maeda Yoshihiko (前田吉彦) in Kobe.

There are many watercolor paintings by Kawai, with the majority featuring landscapes, making his works relatively accessible. However, we have not been able to locate any of his ink drawings online or find references to such works. As we are merely scratching the surface of Japanese art—a field in which our knowledge is very limited—our observations should be taken as preliminary. Our aim is simply to share previously unpublished material and provide readers with insights using the resources available to us.

Kawai Shinzō (1867–1936) was a distinguished Japanese painter whose career spanned a transformative era in Japanese art history. Born in Osaka, he demonstrated an early aptitude for painting and studied under Maeda Yoshihiko, a respected figure in Western-style art who taught pencil drawing at the Kobe School. Under Maeda’s tutelage, Kawai developed his skills in Western-style techniques, which influenced his artistic approach.

In 1891, Kawai moved to Tokyo, where he joined the Goseda school, a prominent art school for Western-style painting. This decision would prove pivotal to his artistic development. At the time, Tokyo was a vibrant hub of cultural and artistic innovation, attracting some of the most talented and ambitious artists in Japan. The city provided Kawai with access to new ideas, techniques, and artistic movements, including the growing influence of Western art. This exposure allowed him to expand his creative repertoire, blending traditional Japanese aesthetics with elements of Yōga (Western-style painting).

Throughout his career, Kawai's works often depicted natural landscapes, showcasing his exceptional skill in watercolor. He used the medium to capture subtle nuances of light and atmosphere, exemplifying his ability to blend Western techniques with Japanese sensibilities into harmonious and evocative compositions.

Below is what was published on September 15, 2024.

前田吉彦 神戸美術先生 1890年のオリジナルアート付き年賀状

この1890年の年賀状（明治23年1月1日）は、大阪から作者不明のアーティストによって送られました。作品には、凛々しい馬に乗って微笑む男が描かれており、彼は日の出の旗を掲げ、背景には城が見えます。描画のシンプルさがそのインパクトを高めています。1890年が午年であったため、この作品に描かれた勇ましい馬には象徴的な意味が込められているのでしょう。

よく見ると、男の服にいくつかの文字があり、城のすぐ下にはアーティストのサインらしきものがあります。これらの文字ははっきりとはしていません。その為、この芸術的なはがきの送信者は不明です。どなたかこの送信者を特定できる読者がいるかもしれません。

New Year's Card from 1890 with Original Artwork Addressed to Maeda Yoshihiko, Western-Style Painter

This New Year's card from 1890 (Meiji 23, January 1st) was sent from Osaka by an unknown artist. The artwork depicts a smiling man riding a gallant horse, holding a rising sun flag, with a castle visible in the background. The simplicity of the drawing enhances its impact. Since 1890 was the Year of the Horse, the brave horse depicted in the artwork likely holds symbolic meaning.

Upon closer inspection, there are some characters on the man's clothing, and what appears to be the artist's signature just below the castle. However, these characters are not clear, making it difficult to identify the sender of this artistic postcard. Perhaps a reader might be able to identify the sender.

Fukumaru Chikuzen (Fukuoka) 1891 & 1892 村尾憘太郎

These three postcards bear postmarks from Fukumaru, Chikuzen (筑前福丸), dated September 29, 1891, December 18, 1891, and January 12, 1892. The return address is listed as Fukumaru, Kurate-gun, Fukuoka-ken (福岡県鞍手郡福丸). The sender appears to have been someone with the surname Murao, though we are uncertain of his first name. Even the surname itself is questionable, as the first character of the red inked stamp is written in grass script "Mura" (村). 

We now believe this is 村尾憘太郎, an educator active in the late Meiji period, known primarily for his contributions to art education. He authored the 1891 textbook 『小学用画帖』 (Elementary School Drawing Textbook), one of the earliest Japanese manuals promoting Western-style observational drawing techniques over traditional copying methods. This work reflects the broader Meiji-era movement to modernize education by integrating Western pedagogical ideas, especially in art.

Postcards addressed to Maeda Yoshihiko from Kyushu dated 1891–1892 show Murao’s brief presence in Fukumaru, Fukuoka Prefecture. Given these few letters among hundreds mostly sent from the Kansai and Tokyo regions, it is likely Murao’s stay in Kyushu was temporary. His correspondence reveals a professional relationship with Maeda, alternating respectful terms of address such as 殿 and 先生.

Although little is documented about his later career or administrative roles, Murao’s early advocacy for art education reform places him among the educators helping Japan’s schools transition toward a modern curriculum that emphasized observation and practical skills in art. The rarity of the character 憘 in his name also makes him a distinctive figure for historical research.

1890 and 1891 Postal Cards from Maruyama of Sanuki Province

Postmarked May 28, 1890, and November 22, 1891, from Marugame, Sanuki (讃岐丸亀)—now Kagawa Prefecture—are two intriguing postal cards. They were sent by someone named Maruyama (full name unclear) of Marugame Street (讃岐丸亀通~内外) and addressed to Maeda Yoshihiko. Both cards have unreadable messages, leaving their purpose unknown.

One unusual detail is Maruyama’s description of Maeda’s address as "West Railroad Crossing" (踏切西~入). This precise phrasing is unlike anything we’ve encountered before in Maeda’s correspondence. It raises the possibility that he lived near a railroad crossing, though we can only speculate based on a Google Maps image of Maeda’s block today.

neighborhood of Shimo-Yamate-Dori (Kobe) where Maeda Yoshihiko lived

These small details, while puzzling, offer a glimpse into the practical and localized way people addressed mail during the Meiji era. They suggest a time when familiar landmarks guided deliveries instead of formalized street names. It’s a reminder of how differently communication and daily life were organized back then.

Roommate of Watanabe Bunzaburō at Goseda School Yamana Ukai (山名迂介)

The postmarks on this postal card indicate it was sent from Shitaya, Tokyo (東京下谷) on April 17, 1889, and delivered to Maeda Yoshihiko (前田吉彦) in Kobe on April 19. The return address is particularly noteworthy—it belonged to Watanabe Bunzaburō (渡辺文三郎), a western-style painter and pupil of Goseda Hōryū (五姓田芳柳). From our other postal card holdings, we know that Bunzaburō resided at #68 Naka-Okachimachi, Shitaya, Tokyo (東京下谷中御徒町68番) in 1889.

The sender is Yamana Ukai (山名迂介). Was he a short-term guest of Bunzaburō, or someone who lived there for an extended period? His message is unreadable, leaving us without further clues. Given that the card is addressed to Maeda Yoshihiko, another western-style painter, and was sent from Bunzaburō's address, it is plausible that the sender was also an artist.

Bunzaburō lived with his wife, Yūkō (幽香), the daughter of Goseda Hōryū, making it unlikely that the sender was a long-term resident—unless he was a member of their extended family. I also wonder if Bunzaburō and Yūkō had any children. Married in 1876, it’s reasonable to imagine the possibility of children in their home. However, there is no mention of their offspring in any available online sources, leaving their family life a mystery.

The absence of information about their children—or even confirmation of whether they had any—leaves a significant gap in understanding their household dynamic. Given Bunzaburō and Yūkō’s connection to prominent figures like Goseda Hōryū, one might expect traces of their private lives to have surfaced in historical records. Did history simply overlook them? Without these details, the context of their home life remains open to speculation.

Shukichi Kamiya: A Pioneer in Meiji Japan's Educational Reforms

These two postcards were sent by Kamiya Shukichi (神矢粛一) on January 5, 1889, and January 1, 1890, respectively. Both were postmarked at Toyo Oka in Tajima (但馬豊岡) and addressed to Maeda Yoshihiko in Kobe. Given that both men were regional educators, it is likely that Kamiya and Maeda knew each other personally and professionally.

Shukichi Kamiya (1849–1919) was an important figure in Japanese education, especially in the development of elementary schools during the Meiji period. Born in Oiso Village, in what is now Hyogo Prefecture, Kamiya dedicated his life to improving education and giving children the tools they needed to succeed in a rapidly changing world.

Kamiya began his career after graduating from Tokyo Normal School, one of Japan’s early institutions for training teachers. In 1878, he briefly served as the acting principal of Hyogo Normal School before taking on a key role as the first principal of Toyo-oka Elementary School. This school became a model for education in the area, thanks to Kamiya’s leadership and forward-thinking ideas.

One of Kamiya’s standout contributions was his focus on physical education. He believed that children needed to be strong and healthy to succeed in life. To support this, he introduced swimming lessons at schools and even helped set up swimming facilities, which was an innovative move at the time.

Kamiya also cared deeply about sharing knowledge in ways that children and teachers could easily understand. He wrote books like Shogaku Jintai Mondo (Questions and Answers on the Human Body for Elementary Students), which made science accessible and fun for young learners.

Beyond the classroom, Kamiya worked to improve the education system as a whole. He helped establish the Hyogo Educational Association and the Kobe Educational Society, bringing teachers together to share ideas and improve schools across the region. His efforts laid the groundwork for many of the advancements in education during that time.

Meiji Bijyutsu Kai (明治美術会) 1890 Address Change Notice

This postal card, addressed to Maeda Yoshihiko, is from the office of the Meiji Art Association (明治美術会事務所) and postmarked January 27, 1890, in Tokyo. It appears to notify members of the Association's change of address to: 2-1 Sanjikkenbori, Kyobashi-ku, Tokyo (東京市京橋区三十間堀二丁目一番地). From an older card in our possession, also sent by the Meiji Bijyutsu Kai (refer to the post dated September 26, 2024), we know the previous address was: 22 Kitaoka-cho, Hongo-ku, Tokyo (東京市本郷区北岡町二十二番地).

Meiji Bijyutsu Kai (明治美術会)

The Meiji Art Society, founded in 1889 in Tokyo, was a key institution in the development of modern Japanese art. Its primary goal was to promote Western-style painting (yōga) and integrate it with traditional Japanese artistic traditions. This came at a time when Japan was rapidly modernizing, and there was a strong desire to incorporate Western influences into many aspects of Japanese life, including art. The society provided a platform for artists to experiment with Western techniques and subjects, which had a profound impact on Japan’s artistic landscape.

However, over time, differences in artistic philosophy began to emerge within the society. Many members felt that the Meiji Art Society was becoming too focused on fully embracing Western styles, leaving behind Japan's traditional artistic heritage. This led to a divide among the members, and in 1896, a group of artists, dissatisfied with the direction the society was taking, formed a new organization called the Hakuba-kai, or White Horse Society.

The Hakuba-kai was founded by artists who believed in blending Western techniques with traditional Japanese methods, rather than adopting Western styles wholesale. They were committed to creating a distinctly Japanese art form that could modernize without completely abandoning the country’s artistic roots. This split marked a significant moment in the evolution of modern Japanese art, with Hakuba-kai members striving to find a balance between the new and the traditional.

Although the Meiji Art Society continued to influence the development of Western-style painting in Japan, the formation of the Hakuba-kai led to the rise of a new artistic movement known as Nihonga. Nihonga combined Western techniques with Japanese materials and aesthetics, becoming an important force in Japanese art during the late 19th and early 20th centuries. The Hakuba-kai, though short-lived, played a pivotal role in the creation of a new, uniquely Japanese art form that could be appreciated both within Japan and abroad.

The legacy of the Meiji Art Society and the subsequent formation of the Hakuba-kai helped shape the future of Japanese painting. The society’s efforts to promote Western influences laid the foundation for the development of modern Japanese art, while the Hakuba-kai’s insistence on preserving Japanese traditions ensured that the country’s artistic identity remained intact as it adapted to the changing times.

Ōgusa Genkichi 1891 Message to Maeda Yoshihiko

These two postcards were sent by Ōgusa Genkichi (大草愿吉) to Maeda Yoshihiko (前田吉彦). The first, dated January 1, 1891, bears a Kobe postmark and informs Maeda of Ōgusa's new address. The second postcard, postmarked Tokyo on August 2, 1891, lists his address as 3-1 Yurakucho, Koujimachi-ku, Tokyo (東京麹町区有楽町三丁目一番地).

No information about Ōgusa Genkichi could be found online. While speculative, it is possible that Ōgusa was a student of Maeda in Kobe and later moved to Tokyo to pursue further studies.