TWO COPIES OF THE EHON SUIKODEN, ‘The Illustrated Suikoden’, by Hokusai. Complete in one volume, one entirely hand-coloured, the other in black and white. Reprint circa 1840 of the first edition from the 12th year of the Bunsei era (1829). (Some wear and soiling; minor damage and losses in the second copy). DIM. 22.2 X 15.4 CM (8 3/4 X 6 1/16 IN.) Suikoden is the Japanese title of the Chinese novel *Shui hu zhuan*, ‘Water Margin’, a great classic of Chinese literature, which was very popular in Japan during the Edo period and tells the story of one hundred and eight outlaws fighting against a corrupt regime whilst remaining loyal to the emperor. This famous volume, comprising solely the portraits of the novel’s 108 heroes, was conceived as a standalone promotional album, heralding the publication of the complete 61-volume saga, which was published between 1829 and 1838. . The colourised copy bears the title *Chûgi Suikoden Ehon, zen* on the cover, meaning ‘The Illustrated Book of the Loyal Heroes of Suikoden’. The inside title page reads ‘Ehon Suikoden’. At the end of the book are the publisher’s name, address and trade name: Kawachiya Mohei, Gungyokudô Press, in Osaka. The reprint of the book by Kawachiya Mohei is thought to date from 1840. Judging by the pigments used, it is likely that the book was coloured during the Meiji period, in the late 19th to early 20th century. . The black-and-white copy is titled Ehon Suikoden, zen on the cover; the inside title page is missing, as are the illustrations on pages ff. 9v–10r (as compared with the copy held at the Metropolitan Museum). The dating of this copy is determined by its title. The title considered to be the original is *Hyakuhachi Seitan Shōzu*, ‘Portraits of the One Hundred and Eight Stars Born of the Sky’ (see the book held at the Metropolitan Museum). This title was abandoned for reprints from 1830 onwards, in favour of either the abbreviated title, Ehon Suikoden, or the more formal and complete title, Chûgi Suikoden Ehon. Note Bernard Rousseau, who kept them together, inserted handwritten sheets into the black-and-white copy, commenting on certain painted illustrations. In particular, he writes on a sheet entitled ‘General Remarks’: “Luxury pigments in abundance; surprising quality… barely visible highlights requiring an incredible amount of work; never a misinterpretation, even on complicated drawings.”