EDITORIAL: Many readers will be unfamiliar with Baidō Hōsai but that may be about to change. During her research on Kunichika Amy Newland discovered, in the Tokyo newspaper Yomiuri shinbun from 1898, a series of interviews with men active in the final decades of the Edo period. One of them was tlne ukiyo-e artist Hōsai (1844-1920). We are pleased Amy is sharing some interesting details of his social and artistic life in this issue. Baidō Hōsai was one of the last artists working in the traditional ukiyo-e style and he may have known Tsuchiya Kōitsu (1870-1949), a fellow print artist who also worked in Tokyo. Kōitsu became a representative of the shin hanga landscape style and in their article Ross Walker and Toshikazu Doi, offer us an insight into Kōitsu's public life and artistic achievements through several fine examples of his works. The last two articles in this issue illustrate the strong relationship between kyōka (wltty verse) circles and print artists. John Carpenter takes a closer look at kabuki actor surimono by Hiroshige and Daan Kok examines portraits of kyōka poets in illustrated books.

The editorial board hopes you find great pleasure in reading this issue of Andon and wishes you a happy, healthy and prosperous Year of the Hare.