Eastern Impressions: Western Printmakers and the Orient

Self-Portrait (1905) by Cadwallader Washburn

Finished State, Third Impression

Courtesy of the Fine Arts Museums of San Francisco

(etching)

In my prior post, I outlined Cadwallader Lincoln Washburn's artistic career and his 1917-1918 sojourn to Bangkok. Here, I'd like to backtrack to discuss his 1904 trip to Japan, which resulted in some of Washburn's earliest etchings, preceded only by a limited number of etchings of Venice and Cuba. In fact, Washburn was still in Cuba when war broke out between Russia and Japan. His brother Stanley sent him a cable from Vancouver suggesting that Cadwallader join him in Japan to cover the war for one of the Chicago papers. Japan was very much on Washburn's mind at the time, as he had recently read with interest Edwin Arnold's Japonica that had been serialized in Scribner's Magazine with illustrations by Robert Frederick Blum. He had also studied Whistler's work, and no doubt had acquired a taste for Japonisme. In the end, due to a Canadian blizzard and mislaid luggage, Washburn missed the next monthly boat from Vancouver to Japan and didn't arrive in Tokyo until late April 1904.

News of Russo-Japanese Battles: For the Fourth Time Our Destroyers Bravely Attack

Enemy Ships Outside the Harbor of Port Arthur (March 1904) by Migita Toshihide

Courtesy of the Boston Museum of Fine Arts

(woodblock print tryiptch)

Finding that his brother who had already departed on a dispatch boat to report upon the war, Washburn joined a gaggle of other war correspondents who were holed up at the Imperial Hotel waiting in vain for permission from the Japanese Government to go out to the front. While in Tokyo, Washburn met Helen Hyde and toured the Mikado's art advisor's important collection of Japanese screens. His earliest etchings of Tokyo are dated June 1904.

Self-Portrait (1905) by Cadwallader Washburn

Courtesy of the Fine Arts Museums of San Francisco

(drypoint)

By early July 1904, Washburn embarked on what would turn out to be a very productive trip spent sketching and scratching plates in Kyoto. Thanks to a letter of introduction to the Emperor of Japan from Sir William Van Horne, President of the Canadian Pacific Railway, the Emperor offered him quarters in a Buddhist Temple in Kyoto for three months with a priest in attendance, an honor never before accorded a foreigner. (The address on a September 12th letter reveals that it was the Hokoji Temple, Daibutsu.) There, he made his first drypoint using a ordinary sewing needle of the guardian priest. A born actor and pantomimist supreme, Washburn was invited to join the Emperor's Royal Players, where he learned Japanese dances and performed with masks, some of which he made himself. Later dated etchings reveal that Washburn took side trips to Nara and Uji in early September.

Buddhist Priest (1904) by Cadwallader Washburn

Courtesy of the Fine Art Museums of San Francisco

(drypoint)

Eventually, Washburn received word from his brother that he had left his dispatch boat and suggested that Cadwallader join him in Yokohama. Stanley was planning to join the Third Army under General Nogi, which was heading to Manchuria to capture Port Arthur, and he hoped to be the first to cable news of the fall of Port Arthur to his own paper, the Chicago Daily News. The plan was for Cadwallader to await word from Stanley in Newchwang, and then to relay news back to Chicago in an agreed upon code that would avoid the suspicion of the censors. Unable to secure passage from Japan to Newchwang directly, Washburn traveled to Shanghai in mid-October and spent a couple weeks trying to locate a ship carrying contraband that would be willing to take him through hostile territory fraught with mined waters. By late October, Washburn was ensconced at the American Consulate in Newchwang awaiting word from his brother.

Our Forces Advance Fiercely to Attack Port Arthur from the Rear (October 15, 1904)

by Toyokawa Yoshikuni

Courtesy of the Boston Museum of Fine Arts

(woodblock print triptych)

On November 5th, Stanley notified Cadwallader that General Nogi was getting ready to launch another offensive to capture Port Arthur. Cadwallader sailed immediately to Chefoo and chartered a boat there to take him to Rund Island, about 18 miles away from Danly, where a newspaper friend of Stanley's in Danly would relay Stanley's account of the battle to Cadwallader. This trip ended up being for nought and the plan scrapped when Stanley became temporarily blinded by some type of infectious disease and was shipped off to recuperate a military hospital in Japan. (As it turned out, after a series of Japanese offensives and Russian counterattacks, the Japanese did not succeed in occupying the strategic 203-Meter Hill, the highest point of elevation within Port Arthur until December 5th. From that hill, the Japanese army shelled and destroyed the Russian Pacific Fleet, forcing the Russians to eventually surrender control of Port Arthur on January 5, 1905.)

Great Battle for the Occupation of the 203-Meter Hill (1905) by Kobayashi Kiyochika

Courtesy of the Boston Museum of Fine Arts

(woodblock print triptych)

By Thanksgiving Day, a new plan had been devised by the Washburn brothers. Russia's Baltic Fleet had been dispatched to provide support to its Pacific Fleet, but its present whereabouts were unknown. Stanley received directions from his paper to travel to the Indian Ocean to try to locate it. The plan was for the pair to split up after Singapore to double their chances, with Stanley going to Madagascar and Cadwallader to Borneo to begin their search. However, a rumor of mysterious vessel sent the Washburns towards Sumatra, where they encountered and reported the presence of two Japanese cruisers, part of Admiral Togo's fleet that also had been secretly dispatched to locate the missing Baltic Fleet, their first real "scoop." The Singapore Times sent Washburn lithograph paper and pencil for him to draw from a memory a sketch of one of the cruisers and its commander.

Picture of the Imperial Army Landing from the Rear and

Capturing Port Arthur (1904) by Ohara Koson

Courtesy of the Boston Museum of Fine Arts

(woodblock print triptych)

From there, the Washburns left on a German steamer for Port Said. As they finally entered the Suez Canal they saw Admiral Nabogaiof's Russian squadron emerging, intending to join up with Admiral Rodjestvenski's ships which had sailed around the Cape of Good good. This was the Washburn's second journalistic "scoop." (The two Russian fleets would eventually combine and be soundly beaten by Togo's fleet in late May 1905 in the Battle of Tsushima.) Thereafter, the pair split up in Naples, with Stanley going to Sebastopol to report on a revolution going on there and Cadwallader heading to Paris. At this point in time, Washburn was still employing a professional to pull his prints. He used a man named Post who had pulled for Whistler to print etchings from his Japanese plates. As can be seen below, many of Washburn's Japanese etchings show a definite Whistlerian influence.

Naval Battle in the Japan Sea (c. May 27, 1905) by Getsuzô

Courtesy of the Boston Museum of Fine Arts

(woodblock print triptych)

Compiling a list of Washburn's Japanese etchings has not been an easy task, as there is not as yet any authoritative catalog raisonné of Washburn’s 975 prints. The whereabouts of many designs are not currently known (no doubt due to Washburn's tiny editions) and, with the notable exception of the Achenbach Foundation's extensive Washburn collection at the Fine Art Museums of San Francisco, few museums have digitized images of their Washburn prints. Virtually the only publication on the subject appears to be an Albert Roullier's Art Galleries' 1913 catalogue that lists the titles and plate sizes of 26 prints in Washburn's "Japanese Series." (Prices for Washburn's Japanese prints in that catalogue ranged from $14.00 to $50.00.) Unfortunately, none of Washburn's Japanese prints are illustrated in that catalogue. Among the Washburn papers at Gallaudet University is a typed page listing the titles and plate sizes of 28 Japanese etchings, as well as the number of "prints listed" and "prints pulled" for each design. There is no indication who authored the list, whether it was by some Washburn print collector who consulted with Washburn or by Washburn himself. The collector could have been Dr. Thomas Sprinkle, an engineering professor at CSUN, whose collection of Washburn material was given to the Gallaudet University Archives via Dr. I. King Jordan in 1996. The Gallaudet University Archives also include a typed sheet of unknown authorship that actually describes the specific scenes depicted in 14 prints from the Japanese Series, as well as several typed pages containing information about Washburn's prints found in a handful of museum collections.

Unfortunately, the information found in these materials is occasionally inconsistent and sometimes erroneous, and it appears that some of the titles are entirely descriptive and unofficial because they are frequently contradicted by Washburn's own inscriptions on known prints. The following list is my best attempt to synthesize this material into a cohesive whole, but some errors no doubt remain. Where alternate titles or plate sizes have been reported, they are listed in brackets. (I have no idea what "Prints Listed" is intended to represent. It could mean the number of copies found in museum collections, but that is just a guess.)

01 Iris Garden, Honkiri [Iris Gardens, Honkiki], 4-5/8” x 6¾” [4½” x 6¾”], 1 print listed; 4 prints pulled; Roullier’s #17.

Note: "Several irises are seen near foreground, serving to suggest hundred other scattered in garden, by means of generalization." In a letter dated June 7, 1904, Washburn said he "[t]ook a drive to Horikiki yesterday to witness the marvelous iris gardens. I cannot express my enthusiasm over the general coloring of the place. What wonderful flowers. I am going to paint there in a few days when the gardens and flowers reach the height of their glory."

02 By The Sumida River, Kyoto; inscribed Aug. 31, 1904; 3½” x 5½” [3½” x 5¼”; 3” x 5 7/16” (7.62 x 13.81 cm); 3-3/8" x 5-5/8"]; 2 prints listed; 10 prints pulled; Roullier’s #5; Portland Art Museum has a copy.

By the Sumida River, Kyoto (1904) by Cadwallader Washburn
Courtesy of the Portland Art Museum
(etching)

Note: Although the inscription date of this etching is consistent with Washburn being in Kyoto, the Sumida River is in Tokyo, causing confusion as to what river is actually depicted in this etching. Some materials refer to this print as "By the Sunida River, Kyoto" or "By the Serrida River, Kyoto."

03 Bridge at Ujii [Bridge at Uji], 2-15/16” x 5½” [3” x 5¼”]; 2 prints listed; 12 prints pulled; Roullier’s #21.

04 Steps Leading to a Temple [Steps Leading to Temple]; inscribed NARA Sept. 4, 1904; 3½” x 5½” [3-5/16 x 5-5/16]; 1 print listed; 5 prints pulled; printed in brownish ink; New York Public Library (NYPL) has a copy.

05 Native Restaurant [Native Restaurant, Kyoto], 3½” x 5½” [3-7/16” x 5½”; 3½ " x 5-3/8"]; 2 prints listed; 5 prints pulled; Roullier’s #1; Gallaudet and the Metropolitan Museum of New York have copies.

Native Restaurant (1904) by Cadwallader Washburn

Courtesy of Gallaudet University Archives
(etching)

Note: Two other documents in the Gallaudet University Archives says that there were 12 proofs made. It is also possible that the various references confuse this design with #44 (or that they refer to the very same print).

06 Temple in Kitano [Temple at Kitano; Temple of Kitano; A Temple at Kitano, Kyoto], inscribed Kitano Aug. 20[?}th, 1904; 9¾” x 6¾” [9¾” x 6½”; 24.7 cm x 16.9 cm; 9-5/8” x 6-11/16” (24.45 x 16.99 cm)]; 1 print listed; 12 prints pulled; Roullier’s #19; Fine Arts Museum of San Francisco (FAMSF) has a copy.

Temple at Kitano (1904) by Cadwallader Washburn
Courtesy of the Fine Art Museums of San Francisco
(etching)

Note: First proof printed by M. Fort in Paris.

07 Riverside, Kyoto; inscribed Kyoto, July 1904; 2-15/16” x 5-17/16”; 1 print listed; 10 prints pulled; Gallaudet has a copy.

Riverside, Kyoto (1904) by Cadwallader Washburn
Courtesy of Gallaudet University Archives
(etching)

08 Stone Buddha, 4-7/16” x 6”; 1 print listed.
Note: "'Stone Buddha' resting on lotus wrought in bronze. Very beautiful small print."

09 By the River Ujii [By the River Uji; By the River of Ujii]; inscribed Uji, Sept. 10th, 1904; 3¾” x 5-1/8” [9.5 cm x 13.2 cm; 9.4 cm x 13.2 cm; 3-5/8" x 5-1/8"]; 1 print listed; edition of 12; Roullier’s #20; FAMSF and the Library of Congress have copies.

By the River, Uji (1904) by Cadwallader Washburn
Courtesy of the Fine Arts Museums of San Francisco
(etching)

10 Creek in Woods, Kyoto [Creek in the Woods, Kyoto]; 5-1/8” x 3-5/8” [5¼” x 3-5/8”]; 1 print listed; 6 prints pulled; Roullier’s #4.

11 Temple in Kyoto, 4-3/8” x 5-15/16”; 1 print listed; 5 prints pulled.

12 Decorated Street, Kyoto; 5¼" x 3-3/8"; 1 print listed.

13 Buddhist Temple [Buddhist Temple, Kyoto]; 6-11/16” x 9-11/16” [6-5/8” x 9-5/8”]; 1 print listed; 4 prints pulled; Roullier’s #7

Note: Printed from a zinc plate.

14 Temple In Shiba - Tokyo - 1^st State; 6-11/16” x 9-5/8”;1 print listed; 1 print pulled (only impression).

15 Temple Steps - Kyoto, 5½” x 3½”;1 print listed; 5 prints pulled.

16 Bridge in Kyoto; 3” x 5½”; 1 print listed; 3 prints pulled.

17 Twin Idols, Tokyo [Twin Idols in the Outskirts of Tokyo]; inscribed Tokio June 9, 1904; 3½” x 5¾” [3½” x 5-11/16”; 3½” x 5½”; 8.8 cm x 14 cm]; 1 print listed; 12 prints pulled; Roullier’s #13; FAMSF and Gallaudet have copies.

Twin Idols in the Outskirts of Tokyo (1904) by Cadwallader Washburn

Courtesy of the Fine Art Museums of San Francisco

(etching)

18 Lotus Fountain - Higashi - Otarii; 6-11/16” x 9-15/16”; 2 prints listed.

Note: Plate cut to half size afterwards.

19 Study of Bronze Dragon, Kyoto [Preliminary Study of the Bronze Dragon of Kiyomisu-dera Temple; Study of (Bronze) Dragon]; 4½” x 6-1/8” [4½” x 6”; 4½” x 6-1/16” (11.43 cm x 15.4 cm)]; 1 print listed; 12 prints pulled; printed in brownish ink; Roullier’s #18; NYPL has a copy.

20 Steps Near Kiyomisu-dera Temple [Winding Stone Steps Near Kiyomizu-dera Temple; Winding Steps; Winding Steps, Kyoto; Steps in Kiyomi-zu-dera]; inscribed July 5, 1904; 3” x 5½” [3” x 5-3/8”; 2-15/16” x 5-7/16” (7.46 cm x 13.81 cm)]; 1 print listed; 5 prints pulled; Roullier’s #8.

Note: Beautifully wrought lattice fence is seen on top landing.

21 Kyoto Shops; 2-7/8” x 5½”; 1 print listed; 5 prints pulled.

Note: "Shops, crowds, temple and pagoda are depicted. Mountains are also seen at distance. Pedestrians under parasols are strolling along - nice tiny print."

22 Bronze Lamps, Kyoto [Stone Lamps, Kyoto]; inscribed Kyoto Aug. 12, 1904; 3-3/8” x 5¼” [3½" x 5½”]; 1 print listed; 12 prints pulled; printed in brownish ink; NYPL has a copy.

23 Buddhist Priest; 6” x 4½” [15.7 cm x 11.6 cm (also marked 6-1/8” x 4-5/8”); 15.5 cm x 11.3 cm (also marked 6-1/8” x 4-5/8”); 6¼” x 4-5/8” (15.9 cm x 11.7 cm); 6-3/16” x 4-9/16”; 6¾” x 4½” (17.14 cm x 11.43 cm); 5-1/8” x 3-5/8”]; 1 print listed; 1 print pulled; Roullier’s #22; FAMSF, Honolulu Museum of Art, Bowdoin College Museum, Minnesota State Art Society, and NYPL have copies.

[See image above.]

Note: A proof in the New York Public Library is printed on greyish yellow paper with this comment from Washburn: "Drypoint printed on rice paper that I tore from a window of a temple in Kyoto; the tone is produced by 150 years' exposure." One of the FAMSF copies has a similar inscription, but copies were also printed on ordinary Japan paper.

24 Ujii [Uji, Japan]; inscribed Uji, Sept. 10^th 1904; 3¾” x 5-1/8”; 1 print listed; 1 print pulled; printed in brownish ink; NYPL has a copy.

Note: While this print is different from #09, it is possible that the NYPL copy is actually "By the River, Uji."

25 Dragon in Front of Kiyomisu-dera [Famous Dragon Font of Kiyomisu-dera Temple Kyoto; Famous Dragon Font of Kiyomisu-Dera Temple, Kyoto; Famous Dragon Font at Kyoto; Famous Font of Kyomizu dera Temple, Kyoto]; inscribed Kyoto July 14, 1904; 11-7/8” x 8-15/16” [11-7/8” x 9”; 11-3/4” x 9”; 29.8 cm x 22.6 cm;11-7/8” x 8-7/8” (30.16 cm x 22.54 cm)]; 6 prints pulled; Roullier’s #12; FAMSF has a copy.

Famous Dragon Font at Kyoto (1904) by Cadwallader Washburn
Courtesy of the Fine Art Museums of San Francisco
(etching)

Note: Exhibited at the Chicago Society of Etchers Exhibition, March 5-27, 1912, and the Panama-Pacific International Exhibition, San Francisco, California, 1915.

26 By the River Ujii; 5¼” x 3-6/8”.

27 Riverside [River-side, Sumida River, Kyoto]; inscribed Aug. 14, 1904; 3” x 5½” [3½” x 5-7/16” (8.89 cm x 13.81 cm)]; 10 prints pulled.
Note: See note to #02.

28 Lotus Fountain at Higashi Otani; 5¾” x 7¼”.

Note: Cut down version of #18 above.

29 Shiba Temple [Bronze Lamps of the Shiba Temple, Tokyo; Bronze Lamps of [the] Shiba Temple]; 9-11/16" x 6-11/16" [9¾” x 6½"; 9¾” x 6-11/16” (24.77 x 16.99 cm)]; 10 proofs; Roullier's #6.

Note: "Three immense Bronze Lamps of the Shiba Temple in a row, highly ornamental. To appreciate size, note man standing in front of Temple. Foreground shows interesting treatment of shadows." This description would appear to also apply to print #54, except the plate size for that design is smaller. It is possible that these two entries in fact relate to the very same print, or perhaps Washburn cut the plate down at some point.

30 Cemetery at Higashi Otani, Kyoto [Burial Place of Shinran Shonin at Higashi Otani, Kyoto]; 7-3/8” x 12” [19.3 cm x 30.7 cm; 7-5/8" x 12¼"; 19.3675 x 31.115 cm]; 3 proofs; FAMSF and Smith College Museum of Art have copies.

Burial Place of Shiran Shomin at Higashi Otani, Kyoto (1904) by Cadwallader Washburn
Courtesy of the Fine Arts Museums of San Francisco
(etching)

31 Bronze Lamps of the Shiba Temple; 3-3/8” x 5¼”; 12 proofs.

Note: “Many bronze lamps are scattered in wooded park.” Either this print or #29 is inscribed "June 2, 1904."

32 Park, Kyoto; 4 ½ x 6”; Roullier’s #2.

33 Bridge in Park, Kyoto; inscribed Kyoto Sept. 6, 1904; 4” x 5” [4” x 5-1/8”]; printed in brownish ink; Roullier’s #3; NYPL has a copy.

34 Sketch of Burial Place of Shiran Shomin, Kyoto [A Sketch of Burial Place; Entrance to Burial Grounds of Shinran-Shonin, Kyoto; Burial Place of Shinran Shonin at Higashiotani, Kyoto]; 4½” x 5¾” [4½” x 6”; 11.5 cm x 15.1 cm]; edition of 10; printed in brownish ink; Roullier’s #9; Library of Congress and NYPL have copies.

35 Temple Entrance Kiyomizu-dera, Kyoto [Temple Entrance of Kiyomizu-dera; Temple Entrance Kiyomizu-dera; Temple Entrance No. 1, Keyomi-za-dera Kyoto]; inscribed Kyoto July 6, 1904; 6” x 4½” [15.5 cm x 11.6 cm]; 12 proofs; Roullier’s #10; FAMSF has a copy.

Temple Entrance Kiyomizu-dera, Kyoto (1904) by Cadwallader Washbrun

Courtesy of the Fine Arts Museums of San Francisco
(etching)

36 Exterior of Temple at Kiyomizu-dera, Kyoto [Exterior of Temple of Kiyomizu-dera, Kyoto; Exterior of Temple Kiyomizu-dera]; inscribed Kyoto July 13, 1904; 4½” x 6” [11.6 cm x 15.3 cm]; 12 proofs; Roullier’s #11; FAMSF and Gallaudet have copies.

Exterior of Temple of Kiyomizu-dera, Kyoto (1904) by Cadwallader Washburn
Courtesy of the Fine Arts Museums of San Francisco
(etching)

37 Stone Steps, Nara [Stone Steps, Nara - Japan; Stone Steps]; inscribed NARA Sept. 4^th, 1904, 3¼” x 5¼” [8.6 cm x 13.7 cm]; 12 proofs; Roullier’s #14; FAMSF has a copy.

Stone Steps, Nara - Japan (1904) by Cadwallader Wasburn

Courtesy of the Fine Arts Museums of San Francisco

(etching)

38 Bronze Lamps, Nara; 3½” x 5¼”; Roullier’s #15.
Note: There is a reference in the Gallaudet University Archives to the print “Bronze Lamps” having 12 proofs which, if not referring to #22, could be referring to this print.

39 A Font in Nara [A Font - Nara; A Font in Nara, Japan; A Font at Nara]; inscribed Nara Sept. 1904; 5-3/8” x 3-3/8”; [5-7/16” x 3-7/16” (13.81 cm x 8.73 cm); 13.6 cm x 8.9 cm; 5¼" x 3½"]; 12 proofs; Roullier’s #16; Library of Congress has a copy.

A Font in Nara (1904) by Cadwallader Washburn

(etching)

40 Toy Merchant [Toy Mendicant]; 6” x 4¼”; 3 proofs; Roullier’s #23.

41 Tokyo Beauty [A Tokio Beauty]; lithograph; inscribed Tokio June 1904; 9¾” x 7¾” [23.4 x 21.1 cm]; 4 pulled; Roullier’s #24; FAMSF, Gallaudet, and the Honolulu Museum of Art have copies.

Tokyo Beauty (1904) by Cadwallader Washburn

Courtesy of the Fine Arts Museums of San Francisco

(lithograph)

Note: Exhibited at the First International Print Makers Exhibition, Print Makers Society of California, March 1-31, 1920.

42 Head of a Native; lithograph; 6½” x 5”; 4 proofs; Roullier’s #25.

43 Head of a Mendicant; 6” x 4½”; 4 proofs; Roullier’s #26.

44 A Low Class Restaurant in Tokyo; 3-5/16" x 5¼"; printed in brownish ink; NYPL has a copy.

45 Hut of Japanese Fisherman, inscription unclear; 12.5 cm x 20 cm; edition of 15; Library of Congress has a copy.

46 Temple Entrance in Distance; inscribed Kyoto Sept. 5^th, 1904; 11.5 cm x 15.6 cm; 6 proofs; FAMSF has a copy.

Temple Entrance in Distance (1904) by Cadwallader Washburn
Courtesy of the Fine Arts Museums of San Francisco
(etching)

Note: This is possibly #32 above.

47 Ueno Park, Tokyo [Ueno Park]; lithograph, 24.6 x 19.3 cm; 3 proofs; FAMSF has a copy.

Ueno Park, Tokyo (1904) by Cadwallader Washburn
Courtesy of the Fine Arts Museums of San Francisco
(etching)

48 Untitled, inscribed Kyoto July 11, 1904; sight: 6" x 4-3/4".

Untitled by Cadwallader Washburn
(etching)

Note: This is possibly #15 above.

49 My Japanese Servant [Japanese Servant], lithograph; 8.6 cm x 8.6 cm; 1 proof; FAMSF has a copy.

My Japanese Servant (1904) by Cadwallader Washburn
Courtesy of the Fine Art Museums of San Francisco
(lithograph)

50 Bronze Lamp [Bronze Lantern]; inscribed Tokio undecipherable 1904; 24.6 cm x 19.3 cm [9¾” x 7¾”]; 3 impressions before destruction in red ink; 3 proofs; FAMSF has a copy.

Bronze Lantern (1904) by Cadwallader Washburn

Courtesy of the Fine Arts Museums of San Francisco

(etching)

51 Bronze Buddha; inscribed Kyoto Aug. 4, 1904; 15.5 cm x 11.5 cm; 12 proofs; FAMSF has a copy.

Bronze Buddha (1904) by Cadwallader Washburn

Courtesy of the Fine Art Museums of San Francisco

(etching)

Note: A document in the Gallaudet University Archives contains two separate entries for a "Bronze Buddha," one of which is said to have 12 proofs and the other of which is said to have 4 proofs. Consequently, it is possible that only 4 proofs of this print were made, and 12 proofs of a different "Bronze Buddha" design exist.

52 Bridge in Sunlight, Kyoto [Bridge in Sunlight]; 24.7 cm x 17 cm; 3 proofs; FAMSF has a copy.

Bridge in Sunlight, Kyoto (1904) by Cadwallader Washburn

Courtesy of the Fine Art Museums of San Francisco

(etching)

53 Buddhist Temple, Tokyo; 16.7 cm x 24.6 cm; 4 proofs; FAMSF has a copy.

Buddhist Temple, Tokyo (1904) by Cadwallader Washburn

Courtesy of the Fine Art Museums of San Francisco
(etching)

54 Bronze Lamps of the Shiba [Bronze Lamps of the Shiba Temple, Tokyo; Bronze Lamps of [the] Shiba Temple]; inscribed Tokio June 10, 1904; 13.8 cm x 8.7 cm [5-7/16" x 3-27/64"]; 10 proofs; FAMSF has a copy.