dated Taisho kyunen ichigatsu (Taisho 9 , January), followed by dark red title cartouche Kobe no yoizuki and signed Goyo ga with artist's double 'O' circular GY(Goyo) seal, with collector's name stamped in English on verso: Capt. C. L. Ball AO-764174 (military service number) and faintly pressed small red square-shaped 'deer' seal (of Goyo family); self-published ca. January 1920
11 1/2 by 18 7/8 in., 29.3 by 47.9 cm
Goyo was both a collector and scholar of ukyio-e. He contributed to two major ukiyo-e multi-volume reproduction sets, and wrote monographs on both Kitagawa Utamaro (1753-1806) and Utagawa Hiroshige (1797-1858). His affinity with these two artists in particular is evident; the lavish mica background bijin prints are reminiscent of Utamaro's okubi-e; and his few landscapes, such as this one, all employ compositions and palettes similar to the best of Hiroshige's atmospheric works.
The deer seal on verso was applied by the Goyo family to all of his works which were in the studio at the time of his death. Provenance:
Captain C.L. Ball, United States Air Corps, the 'AO' in his service number indicates that Captain Ball was an aviator who was issued his identification number some time between 1935 and 1942.
Kato, Junzo, comp., Kindai Nihon hanga taikei, 1975-76, Vol. I, pl. 99
Reigle Newland, Amy, gen. ed., Printed to Perfection: Twentieth-century Japanese Prints from the Robert O. Muller Collection, 2004, p. 65, no. 44
Ukiyo-e Modern, Machida Shiritsu Kokusai Hanga Bijyutsukan, 2005, p. 56, no. 142
Amand T. Zehnder, Modern Japanese Prints: The Twentieth Century, Carnegie Museum of Art, 2009, p. 36
Andreas Marks, Seven Masters: 20th Century Japanese Woodblock Prints from the Wells Collection, Minneapolis Institute of Arts, 2015, p. 41, cat. no. 3