A SET OF ELEVEN SHITA-E, SOME BY HOKUSAI ALONE, OTHERS WITH A PUPIL Preparatory drawings for various works, some unidentified Ink on usugami. DIM. 19.3 × 27.4 cm (7 5/8 × 10 13/16 in.) – 19.3 × 27.3 cm (7 5/8 × 10 3/4 in.) CHINSETSU YUMIHARIZUKI, “Strange Tales of the Crescent Moon”, published in 5 parts and 30 volumes between 1807 and 1811. A famous yomihon-style novel (a book for reading), written by Kyokutei Bakin, published between 1807 and 1811, comprising 68 chapters in 5 series and around thirty volumes. It recounts the fictionalised biography of the famous archer Minamoto no Tametomo (1139–1170). This shita-e illustrates the scene in which, on the island of Hamashima, Tametomo meets the young servant of an Immortal. (Series 5, Chapter 57, ff. 15v–16r) CHINSETSU YUMIHARIZUKI, ‘Strange Tales of the Crescent Moon Bow’, vol. zoku-hen (sequel), ff. 14v–15r. Tametomo’s ship, caught in a violent storm, is attacked by karasu-tengu. The caption on the printed illustration reads: “Thanks to the invisible protection of the Exile of Sanuki [Emperor Sutoku], Tametomo’s ship was able to continue on its way”. Two shita-e on a single page, intended for two different works Published in: Orientations, ill. 1, p. 86 BAFJ, ill. 5, pp. 34–35 . Tamenaka, a warrior monk; shita-e for CHINSETSU YUMIHARIZUKI, “Strange Tales of the Crescent Moon Bow”, 1807–1811, 5th series, vol. 1, p. 1B . Ichiji shita-e for KANADEHON GONISHI NO BUNSHÔ, “The Tale of the Forty-Seven Ronin”, 1809, vol. 1, ff. 22v–23r and 16v–17r. Bernard Rousseau notes that the small monks at the top of the sketch were ultimately removed from the scene and incorporated into another illustration in the book. Several ichiji shita-e on a single sheet: The group on the right, a shita-e for CHINSETSU YUMIHARIZUKI, ‘Strange Tales of the Crescent Moon Bow’, 1807–1811, final vol., chapt. 57, f. 2v. ICHIJI SHITA-E Juxtaposing six varied characters. Top left: the crouching warrior is reproduced in BAFJ, ill. 2, p. 33, to illustrate a technical point. In the bottom row, the second and fourth figures from the left are Kesa Gozen and Endô Moritô. They appear in the work *Mongaku shônin hosshin no ki Hashi Kuyô* (‘The Account of Monk Mongaku’s Vocation: The Bridge Rite’), 1815, vol. 1, ff. 4v–5r. (The samurai Morito, who was preparing to kill Kesa’s husband by surprise at night whilst he lay in bed in order to take her captive, killed her by mistake, as she had voluntarily taken his place. Out of remorse, he became a monk under the name Mongaku).