Allen Hockley’s long-awaited monograph on Isoda Koryūsai (1735–90) is a welcome addition to the literature on Japan’s eighteenth-century print culture. Not only does he focus on one of the too-long neglected masters of the period, he also presents a fine analysis of some of Koryūsai’s major themes as well as his best-known series of single prints, Models for Fashion: New Designs as Fresh Young Leaves. That this study is, indeed, long overdue can be inferred from the fact that Koryūsai has received little scholarly attention in spite of the sheer number of designs for which he was responsible. As Hockley demonstrates, they total over 2,500, exclusive of illustrations to books. Others in the last decades of the eighteenth century with smaller outputs, such as Suzuki Harunobu (some 1,100), Torii Kiyonaga (1,180), and Kitagawa Utamaro (1,833), have been treated to close study. Most of Koryūsai’s designs were produced in a twelve-year period, from 1769 to 1781. Ironically, it was probably due to the circumstance that he was active in this specific period that Koryūsai may have never made it to the first rank of print designers. It must also be stated, however, that we do not know whether he was considered...