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Tokuriki Tomikichirô (徳力富吉郞)

Inari no ningyô-ten (Inari doll store: 稲荷の人形店); Series: Kyôraku jûnidai no uchi (Twelve themes in the Capital [Kyoto]: 京洛十二題之内)
Artist's large red "Tomokichirô" (富吉郞) seal at lower left of image
(H x W)
Sôsaku hanga print
25.5 x 33.3 cm
Excellent color, unbacked; very lightly toned margins, mild trace of dog ear in UR corner, faint tape residue upper corners on verso
Price (USD/¥):
$425 / Contact us to pay in yen (¥)

Order/Inquiry(Ref #TKR05)


Tokuriki Tomikichirô (1902-2000 徳力富吉郞) was born in Kyoto. He graduated from the Kyoto City School of Fine Arts and Crafts and the Kyoto City Specialist School of Painting in 1924. He also studied nihonga (Japanese-style painting: 日本画) at the private school of Tsuchida Bakusen (1887-1936) and with Yamamoto Shunkyo (1871-1933). From 1929 Tokuriki focused on mokuhanga (block prints: 木版画), and he also actively promoted sôsaku hanga ("creative prints": 創作版画) in Kyoto. He published many sets and series before World War II, and afterwards established the Matsukyû Publishing Company to produce and distribute his prints and through its subdivision, Kôrokusha, to publish self-carved and self-printed hanga as well as works by other artists such as Kotozuka Eiichi (1906-1979), Takahashi Tasaburô (1904-1977), and Kamei Tôbei (1901-1977). For much of his long life Tokuriki taught many artisans and artists, some of them non-Japanese, and he traveled extensively, thus his influence was significant in the world of hanga. He is perhaps best known to Westerners through his many print designs in the shin hanga ("new prints": 新版画) manner for various series published by the three main Kyoto firms — Uchida, Unsôdô, and Kyoto Hanga-in. His self-carved, self-printed sôsaku hanga, such as the example we are offering here, are highly valued by collectors and curators. The artist recognized this dichotomy, saying, "I'd rather do nothing but creative prints, but after all, I sell maybe ten of them against two hundred for a publisher-artisan print."

For more about this artist, see Tokuriki Tomikichirô Biography.


Inari no ningyô-ten (Inari doll store: 稲荷の人形店) is a design from the self-carved, self-printed, and self-published series Kyôraku jûnidai no uchi (Twelve themes in the Capital [Kyoto]: 京洛十二題之内). An assortment of dolls is displayed in a Kyoto shop and on a bench placed just in front of the window. The dolls include animals (horses, dogs, birds) and figures, including many sizes for Hotei (布袋), the god of fortune and guardian of children. It is a charming scene that captures the enduring playfulness in Japanese culture despite the rising militarism and imminent start of the Pacific War.

Prints by Tokuriki are in the Aichi Prefectural Museum of Art, Nagoya; Art Gallery of Greater Victoria; Brooklyn Museum, NY; Carnegie Museum of Art;Fine Arts Museums of San Francisco; Five College Museums/Historic Deerfield Collections; Harvard Art Museum; Los Angeles County Museum of Art; Museum of Fine Arts, Boston; National Museum of Modern Art, Tokyo; Smart Museum of Art, University of Chicago; University of Alberta Art Collection; Weatherspoon Art Museum, Greensboro; and Yale University Art Gallery.

Note: First-edition prints from this series have a second red "first edition" (shôhan, 初版) seal. Our impression still appears to be vintage, possibly just after the Pacific War.


  • Fujikake, Shizuya: Japanese Woodblock Prints. Tokyo: Tourist Library 10, Japan Travel Bureau, enlarged and rev. ed., 1949.
  • Merritt, Helen: Modern Japanese Woodblock Prints: The Early Years. Honolulu: University of Hawaii Press, 1990, pp. 88-92.
  • Smith, Lawrence: Modern Japanese Prints 1912-1989: Woodblocks and Stencils. London: British Museum Press, 1994, p. 36 and no. 50.
  • Statler, Oliver: Modern Japanese Prints: An Art Reborn. Rutland: Tuttle, 1956, pp. 118-122, 126, 199; nos. 72-73.
  • Tokuriki, Tomikichirô: Woodblock Printing. (trans. Arimatsu Teruko) Osaka: Hoikusha Publishing Company, 1968
  • Zehnder, Amanda (intro.): Modern Japanese Prints: The Twentieth Century. Pittsburgh, PA: Carnegie Museum of Art, 2009, pp. 174-177.