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MAIN HOUSE
OSAKA
BRANCH HOUSES
TERAMACHI, KIOTO
NOBORIOJI, NARA

EXPERIMENTAL GARDEN
IKEDA, HIOGO
JAPAN

LONDON HOUSE
68 NEW BOND ST., LONDON, W.

YAMANAKA & CO.
Dealers in Japanese Art Objects
254 FIFTH AVENUE
Bet. 28th and 29th Sts.

[[right margin]] 2 [[/right margin]]

AMERICAN HOUSES
272 BOYLSTON STREET
BOSTON, MASS.

BOARD WALK
ATLANTIC CITY, N.J.

NURSERY DEPARTMENT
GREENHOUSES 
230-234 Columbia St.
Dorchester, Mass

New York,  190

The picture is not good enough to be in your final collection, but if you could sell it for ten or fifteen dollars, it might be worth possessing temporarily for purposes of study. 

The one really fine thing is Nos. 174 and 175. These are wide 6 panel screens, but low (as you will see), each making a continuous design about 12 feet x 3. They are painted in the nicest coloring over gold leaf and spangled gold [[?]], the subjects being Ukiyo-ye scenes of the 12 months, worked into continuous composition, full of small figures, in temple ground, courtyard, streets and fields. They are not only sealed, but signed in genuine signature of [[?]] [[?]], the great pupil of Kano Yasunobu who became [[?]], and was banished for lampooning the Shogun. You have, I think, an early work of his, painted before his banishment, from my collection. This pair of screens is in his finest, fullest manner of work made after return from banishment, say about 1715. They are in fine presentation and gorgeously handsome, though rather frankly [[Kanoish?]] in color than mysteriously muddy like [[?]]. You could not have a finer specimen of [[?]], and I advise you strongly to get them. They are very much like the large [[?]] screens, formerly mine, now at the museum in Boston, which I have always regarded as the high water mark of [[?]], but these, if possible, are finer. Mr. Kirby says that Mansfield and [[?]] (!) came in to look about, and quite passed them over. Moreover,