The Baltimore Museum of Art, by purchase, 2021; Kaikodo, Honolulu, Hawaii, by purchase, June 1988; [unidentified source] Tokyo

Lisa Rotondo-McCord, https://noma.org/okuhara-seiko/

Wakamatsu, Yurika. 2016. Painting in Between: Gender and Modernity in the Japanese Literati Art of Okuhara Seiko (1837-1913). Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences.

McClintock, Martha J., and Victoria Weston. “Okuhara Seiko: A Case of Funpon Training in Late Edo Literati Painting.” In Copying the Master and Stealing His Secrets: Talent and Training in Japanese Painting, ed. Brenda G. Jordan and Victoria Weston, 116–146. Honolulu: University of Hawaii Press, 2003.

McClintock, Martha Jane. 1991. Okuhara Seiko (1837-1913): The life and arts of a Meiji Period literati artist. (Volumes I-III). Doctoral dissertation, University of Michigan

Fister, Patricia, and Fumiko Y. Yamamoto. Japanese Women Artists, 1600–1900. Lawrence, KS: Spencer Museum of Art, 1988.

Inscribed: FACE: inscribed, ink, UL: “During this Spring in Luoyang, how are the colors (of the peonies)? After one night in the east wind blossoms fill the branches; Naturally the palace ladies and famous concubines wear (Imperial) purple, Concerned with neither rouge nor powder they are jealous of seductive beauty. During Autumn of the year 1912, Seiko.”

Markings: Artist’s seals: Seiko Azana iwaku Seiko (“Seiko’s azana is called Seiko-written with different kanji”); Heizei suichiku yu shinen (“In my lifetime toward green bamboo I have had a deep affinity”)