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House & Garden 
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New York Chicago 
Etmtuire 
of every notable epoch, 
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When You Build 
please bear in mind that there is still plenty of 
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St. PAUL, MINN. 
In Your Garden 
Consider how much ' 
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Why Is An Antique 
(Continued from page 66) 
ally it will be genuine Old Wool- 
worth. Perhaps you will not wait long. 
The other day I visited a depart¬ 
ment store’s “model house,” and—can 
you credit it ?—on a wall in the 
“model” living-room hung an em¬ 
broidered motto: “God Bless Our 
Home.” Adored, demoded, ridiculed, 
kicked out, and well-nigh forgotten, 
it is now an antique—and genuine! 
But how are we sure? How may 
a mere dabbler in antiques—or, for 
that matter, the collector—satisfy 
himself that mottoes, teacups, jewels. 
tables, chairs, and armoires are not 
invariably the shams a disillusioned 
M. Prevost would suggest?—fairly 
easily. Apply to an honest dealer. 
Dealers who pay good rent in good 
streets are not scamps. And take 
along an expert. Highly trained spe¬ 
cialists will attend you for a fee. 
Should you still get cheated, it will 
not be Mr. Carney’s fault or the ex¬ 
pert’s, but rather a vindication of a 
principle set down by the late Ter¬ 
rence O'Hara. “There’s many a slip 
’twixt the two mugs.” 
A snrimono by Sori. exquisite in its soft browns and delicacy of 
coloring. The lady of the house brings her master her New Year 
wishes 
Snrimono—the New Year Cards of Japan 
{Continued from page 21) 
reputable dealers of color-prints. 
From the writer’s point of view so 
great is the intrinsic, intellectual in¬ 
terest of these New Year’s and other 
snrimono of occasion that even those 
prints not by a supreme master are 
fully worth one’s attention and would 
form, in themselves, a worthy col¬ 
lection, heretical as this opinion might 
seem to a “supremest.” 
As to the introduction of snrimono 
we know but little. Edward Strange 
tells us of a print in the Victoria and 
Albert Museum, London, by Hokui 
bearing the title, “Adzuma Nishis- 
kiye Yurel,” (which, translated, is 
“History of Japanese Color Prints”), 
a print bearing a long inscription say¬ 
ing, among other things that “in the 
period of Genwa (A. D. 1616-1623) 
Katsushika Hokushi, a comic poet 
who lived in Musashi, ordered Chika- 
matsu Ryusai to engrave on cherry- 
wood a picture of a pine branch, and 
this was the beginning of Snrimono.”' 
But I very much doubt if this Japa¬ 
nese inscription is entitled to be taken 
as reliable, containing as it does ob¬ 
vious errors. However, we do know 
that the earliest snrimono by Hoku¬ 
sai (it was 'signed Alngiira Shunro) 
appeared in 1793. This snrimono an¬ 
nounced and was occasioned by the 
change of name by the musician 
Tokiwaszu, for whom Hokusai de¬ 
signed it and l)y whom it was issued 
as a complimentary concert ticket. 
Its design depicted a young water- 
seller, seated on his bucket yoke, 
while pots and pans were shown on 
a stand nearby. Whether or not this 
symbolized Mozitayu’s resting on his 
laurels and the pots and pans gave 
hint of his tonal prowess, I do not 
venture to suggest! This concert 
ticket snrimono reminds the collector 
that one writer says, “the snrimono 
resembled nothing so much in Eng¬ 
lish art as the ‘admission’ and ‘bene¬ 
fit’ tickets engraved by Bartolozzi, 
mostly after (Tepriani.” Hokusai’s 
pupils were famous for their match¬ 
less snrimono, although not one of 
them equalled that master in the field 
of landscape. 
The Occasion of Surimono 
Snrimono were often called forth 
by name changes. An additional in¬ 
stance is the surimono which Kumi- 
sada, when changing his name to 
Toyokuni, sent forth to his friends 
in 1844. This was decorated with a 
portrait of himself, signed Gototei 
Knmsada and concluding “Erom this 
year I take the name of Toyokuni 
the second, 7th day of the New 
Year.” 
The New Year’s festival in Japan 
extends over fifteen days, and many 
are the observances peculiar to it and 
the symbols and traditions with 
which these observances are invested. 
Naturally, the New Year’s surimono 
designs reflect, in infinite variety, all 
these things. The Aakara mono or 
good luck symbols play an important 
part,—the hat, hammer, key, straw 
coat, bag or purse, sacred gem or 
pearl, scrolls, clove, shippo or seven 
precious things and the weights, in 
designs. Then the customary New 
Year gifts are frequently pictured. 
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