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Acknowledgments

Without the wonderful artists whose works and selves have enriched our lives in every possible way, we would have nothing to write about, so it seems natural to thank them first and we do so from the bottom of our hearts.

Our interest in contemporary Japanese prints was first captured by the writings of James Michener and Oliver Statler, both of whom were pioneers in introducing these wonders to the Western world. Naturally we were ecstatic when Mr. Michener kindly agreed to Write the foreword to our book. We extend profound thanks to him.

While compiling the factual information about the artists, exhibitions, and collections, we turned to several sources to whom we remain very grateful for their cooperation. For providing detailed information we are indebted first of all to the artists and their families. Also of particular help were staff members of the Yoseido, Franell, Kato, Nantenshi, Bancho, Print Art Center, and Akira Ikeda galleries in Tokyo; the Yamada Gallery in Kyoto; the M&Y Office of Masuo Ikeda and Sato Yoko in Tokyo; the Hiratsuka Museum in Suzaka City; and the Striped House Museum in Tokyo. We also wish to thank the magazines Hanga Geijutsu and 21 Seiki Hanga for special assistance in tracking down obscure information. Everyone provided cheerful and unstinting responses to our many phone calls concerning who did what when.

Very special thanks must be extended to Ushizawa Fujio of the Yoseido Gallery and Kato Tatsuo of the Kato Gallery. Both have been dear friends all along the way, first as helpful advisors when we began collecting, then as willing consultants when we started our business, and later as steadfast supporters when we became business associates and friendly competitors. Perhaps our first real feelings of success as gallerists can be traced to our first sales to Yoseido and Kato, from whom we had bought so many prints over the years. We must thank them both for serving as sounding boards as to which prints by which artists should be included in this book. We are truly sorry that we could not include every one, but the final choices were ours.

A special debt of gratitude is owed to Terajima Teruo, who is responsible for the photographs of the prints in the book and our photo on the back jacket. We have long appreciated his efficiency, speed, availability, and, of course, his talent. His many years of expertise in art photography will be obvious to everyone.

Our deepest gratitude goes to the two to whom this book is dedicated, Eiji and Taka, who have been indispensable in helping the Tolman Collection achieve the respected status it has today as a major purveyor of contemporary Japanese art throughout the world.

Nagao Eiji, our gallery manager, began on a part-time basis while he was finishing his studies at Meiji University. That was in 1980, and he has been our right-hand man ever since. The many difficulties we have faced as gallery operators have been greatly eased by Eiji, who has actually become a fixture at the Tolman Collection, Tokyo. Starting with virtually no knowledge of prints, under our tutelage Eiji has come to know more about the world of contemporary Japanese prints than anyone else his age because of the active role our gallery has played with the artists themselves.

Yamamoto Nobutaka, our gallery assistant manager, came a few years later, in 1984. Together Eiji and Taka have formed a warm working relationship that has been instrumental in the smooth operation of our gallery. They have endeared themselves to our many clients from all over the world, and when they accompany us on international trips they bring their charm with them. Everyone knows them as Eiji and Taka of the Tolman Collection.

Here we want to thank them for their many years of devotion to our aim of promoting contemporary Japanese prints and, in particular, for their extra hard work during the writing of this book. It is they we must thank for their diligent labor in compiling the biographical data on the artists, much of which was available only in Japanese. We are happy to say that we feel fortunate in having "two Japanese sons" to help our two American daughters in all our ventures.

The Charles E. Tuttle Publishing Company deserves a multitude of thanks, which we wholeheartedly give. Beginning with the books by Michener and Statler, Tuttle has consistently sought out authors who have held a special affection not only for the art but also for the artists who make prints. No words can describe our feeling when we were invited by Nicholas Ingleton, president of Tuttle, to write this book. By placing us in such company he has asserted his confidence in our ability in a most positive way, and we humbly hope that we have met his expectations. In addition, we are grateful to Nick and his staff for help in editing, designing, and laying out this book.