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• 221. [Image] Lidded Brush Container, Writing Box (Suzuribako) with Design of Cranes and Pines by the Shore and Wagon Wheels and Poem Slips in the Water, Incense Tray with Design of Cranes, Pine, Bamboo, Peony, and Rock by the Water, Incense Tray, Scroll Box (Fubako) with Design of Rolled Blinds (Sudare), Peonies, and Clouds, Paper Box [and four unidentified pieces]

  	Japanese artworks from the Murray Warner Collection of Oriental Art. Lidded Brush Container (MWJ6:27) is undated. Writing Box (Suzuribako) with Design of Cranes and Pines by the Shore and Wagon Wheels ...
  	Citation × Citation Citation Abstract Copy Title: Lidded Brush Container, Writing Box (Suzuribako) with Design of Cranes and Pines by the Shore and Wagon Wheels and Poem Slips in the Water, Incense Tray with Design of Cranes, Pine, Bamboo, Peony, and Rock by the Water, Incense Tray, Scroll Box (Fubako) with Design of Rolled Blinds (Sudare), Peonies, and Clouds, Paper Box [and four unidentified pieces] Author: unknown Japanese Year: 1501 Japanese artworks from the Murray Warner Collection of Oriental Art. Lidded Brush Container (MWJ6:27) is undated. Writing Box (Suzuribako) with Design of Cranes and Pines by the Shore and Wagon Wheels and Poem Slips in the Water (MWJ8:55) is dated to the early 17th century. Incense Tray with Design of Cranes, Pine, Bamboo, Peony, and Rock by the Water (MWJ8:56) isa dated to the early 16th century. Incense Tray (MWJ8:57) and Paper Box (MWJ8:60) are from the Edo period. Scroll Box (Fubako) with Design of Rolled Blinds (Sudare), Peonies, and Clouds (MWJ8:58) is dated to the late 19th century.; default; Edo (Japanese Migration style or period) Title: Lidded Brush Container, Writing Box (Suzuribako) with Design of Cranes and Pines by the Shore and Wagon Wheels and Poem Slips in the Water, Incense Tray with Design of Cranes, Pine, Bamboo, Peony, and Rock by the Water, Incense Tray, Scroll Box (Fubako) with Design of Rolled Blinds (Sudare), Peonies, and Clouds, Paper Box [and four unidentified pieces] Author: unknown Japanese Year: 1501 Japanese artworks from the Murray Warner Collection of Oriental Art. Lidded Brush Container (MWJ6:27) is undated. Writing Box (Suzuribako) with Design of Cranes and Pines by the Shore and Wagon Wheels and Poem Slips in the Water (MWJ8:55) is dated to the early 17th century. Incense Tray with Design of Cranes, Pine, Bamboo, Peony, and Rock by the Water (MWJ8:56) isa dated to the early 16th century. Incense Tray (MWJ8:57) and Paper Box (MWJ8:60) are from the Edo period. Scroll Box (Fubako) with Design of Rolled Blinds (Sudare), Peonies, and Clouds (MWJ8:58) is dated to the late 19th century.; default; Edo (Japanese Migration style or period) Close

• 222. [Image] Kettle, Kettle, Pitcher, Pitcher, Teapot, Sake Pot, Covered Jar, Hand Warmer, Weight [and four unidentified pieces]

  	Japanese artworks from the Murray Warner Collection of Oriental Art. Kettle (MWJ6:3) and Kettle (MWJ6:5) are undated. Pitcher (MWJ6:7), Pitcher (MWJ6:8) and Weight (MWJ6:24) are from the 19th century. ...
  	Citation × Citation Citation Abstract Copy Title: Kettle, Kettle, Pitcher, Pitcher, Teapot, Sake Pot, Covered Jar, Hand Warmer, Weight [and four unidentified pieces] Author: unknown Japanese Year: 1601 Japanese artworks from the Murray Warner Collection of Oriental Art. Kettle (MWJ6:3) and Kettle (MWJ6:5) are undated. Pitcher (MWJ6:7), Pitcher (MWJ6:8) and Weight (MWJ6:24) are from the 19th century. Teapot (MWJ6:9) and Sake Pot (MWJ6:10) are dated ca. 1720. Covered Jar (MWJ6:11) and Hand Warmer (MWJ6:19) are dated ca. 1770.; default; Edo (Japanese Migration style or period) Title: Kettle, Kettle, Pitcher, Pitcher, Teapot, Sake Pot, Covered Jar, Hand Warmer, Weight [and four unidentified pieces] Author: unknown Japanese Year: 1601 Japanese artworks from the Murray Warner Collection of Oriental Art. Kettle (MWJ6:3) and Kettle (MWJ6:5) are undated. Pitcher (MWJ6:7), Pitcher (MWJ6:8) and Weight (MWJ6:24) are from the 19th century. Teapot (MWJ6:9) and Sake Pot (MWJ6:10) are dated ca. 1720. Covered Jar (MWJ6:11) and Hand Warmer (MWJ6:19) are dated ca. 1770.; default; Edo (Japanese Migration style or period) Close

• 223. [Image] Incense Box, Gourd, Covered Bowl, Sake Pot, Lidded Sake Pot, Vase, Bell, Lantern, Coin Tray, Holder [and two unidentified pieces]

  	Japanese artworks from the Murray Warner Collection of Oriental Art. Incense Box (MWJ6:2) and Covered Bowl (MWJ6:14) are dated ca. 1800. Gourd (MWJ6:13) is dated to the 19th century. Sake Pot (MWJ6:15) ...
  	Citation × Citation Citation Abstract Copy Title: Incense Box, Gourd, Covered Bowl, Sake Pot, Lidded Sake Pot, Vase, Bell, Lantern, Coin Tray, Holder [and two unidentified pieces] Author: unknown Japanese Year: 1765 Japanese artworks from the Murray Warner Collection of Oriental Art. Incense Box (MWJ6:2) and Covered Bowl (MWJ6:14) are dated ca. 1800. Gourd (MWJ6:13) is dated to the 19th century. Sake Pot (MWJ6:15) and Vase (MWJ6:18) are dated to ca. 1770. Lidded Sake Pot (MWJ6:17) is dated late 19th-early 20th century. Bell (MWJ6:20), Lantern (MWJ6:21) and Coin Tray, Holder (MWJ6:23) are undated.; default; Edo (Japanese Migration style or period) Title: Incense Box, Gourd, Covered Bowl, Sake Pot, Lidded Sake Pot, Vase, Bell, Lantern, Coin Tray, Holder [and two unidentified pieces] Author: unknown Japanese Year: 1765 Japanese artworks from the Murray Warner Collection of Oriental Art. Incense Box (MWJ6:2) and Covered Bowl (MWJ6:14) are dated ca. 1800. Gourd (MWJ6:13) is dated to the 19th century. Sake Pot (MWJ6:15) and Vase (MWJ6:18) are dated to ca. 1770. Lidded Sake Pot (MWJ6:17) is dated late 19th-early 20th century. Bell (MWJ6:20), Lantern (MWJ6:21) and Coin Tray, Holder (MWJ6:23) are undated.; default; Edo (Japanese Migration style or period) Close

• 224. [Image] American Cross-bills

  	The Cross-bill belongs to the Finch family. It lives in the very high mountains. Only occasionally, during the fall and winter migrations, do we see it in the lower parts of the valley. Here in Eugene, ...
  	Citation × Citation Citation Abstract Copy Title: American Cross-bills Year: 1900 The Cross-bill belongs to the Finch family. It lives in the very high mountains. Only occasionally, during the fall and winter migrations, do we see it in the lower parts of the valley. Here in Eugene, which is practically at sea level, it sometimes appears during the early winter about the outskirts of town among the fir trees, or even around the farm buildings. The Cross-bill has many of the characteristics of the Purple Finch. The male is more or less reddish; the female is a greenish gold. Peculiarly characteristic is the fact that the lower and the upper bill do not meet as they do in ordinary birds, but cross each other, much like pruning shears. Its diet consists largely of seeds of pine cones, to the extracting of which this sort of bill is well-adapted. When feeding the bird gives out a sort of intermittent cry, sometimes called a titter; when in flight it emits a short clear whistle. A flock composed entirely of Cross-bills will make considerable noise as they fly by. It has no regular nesting time, but seems to nest whenever the whim takes it — sometimes in January or February, and sometimes as late as July. The communal instinct is very well developed among them. They live in large flocks. Occasionally, however, a few will leave the flock to take care of their nestlings. Title: American Cross-bills Year: 1900 The Cross-bill belongs to the Finch family. It lives in the very high mountains. Only occasionally, during the fall and winter migrations, do we see it in the lower parts of the valley. Here in Eugene, which is practically at sea level, it sometimes appears during the early winter about the outskirts of town among the fir trees, or even around the farm buildings. The Cross-bill has many of the characteristics of the Purple Finch. The male is more or less reddish; the female is a greenish gold. Peculiarly characteristic is the fact that the lower and the upper bill do not meet as they do in ordinary birds, but cross each other, much like pruning shears. Its diet consists largely of seeds of pine cones, to the extracting of which this sort of bill is well-adapted. When feeding the bird gives out a sort of intermittent cry, sometimes called a titter; when in flight it emits a short clear whistle. A flock composed entirely of Cross-bills will make considerable noise as they fly by. It has no regular nesting time, but seems to nest whenever the whim takes it — sometimes in January or February, and sometimes as late as July. The communal instinct is very well developed among them. They live in large flocks. Occasionally, however, a few will leave the flock to take care of their nestlings. Close

• 225. [Image] Camas

  	Camassia Leichtlinii. Large Camas. The Indian name quamash or camass persists in this 1-2' tall perennial arising from deep-seated bulb. Flowers vary anywhere from white to deep blue or violet. Camassia ...
  	Citation × Citation Citation Abstract Copy Title: Camas Author: Hall, Bonnie Year: 1975 Camassia Leichtlinii. Large Camas. The Indian name quamash or camass persists in this 1-2' tall perennial arising from deep-seated bulb. Flowers vary anywhere from white to deep blue or violet. Camassia Leichlinii, the larger of our two common species, is distinguished by the withering petals twisting together above the seed capsule rather than falling separately. It ranges west of the Cascades from southern British Columbia to southern Oregon and into Sierran California. The starchy bulb of the camas was a prized staple for the native tribes in the Northwest. Care was required to avoid poisonous bulbs of another lily, the so-called death camas. Gathering camas root was the incentive for annual festivities, migrations to harvest ground where women dug and prepared bulbs (while the men engaged in sport and games). Handles of their digging sticks, fashioned from bone or antler, can be seen in museum collections. The sticks themselves, made of fire-hardened wood crooked and fattened at the end, have not survived so well. To prepare the root it was first cooked, either roasted elaborately in covered pits lined with hot stones, or boiled. It was then crushed in mortars and the gummy mass pressed into slabs for keeping. Hungry fur trapper Alexander Henry, in the Willamette Valley in 1814, tells in is diary of trading blue beads with the Kalapuyans for slabs of the nutritious food. As if to remind us of more meager times, each April and May the stately camas colors moist meadows and prairies, roadside ditches, or the vacant lot behind a supermarket, with handsome blue-violet blossoms. (provided by Oregon Arts Commission) Title: Camas Author: Hall, Bonnie Year: 1975 Camassia Leichtlinii. Large Camas. The Indian name quamash or camass persists in this 1-2' tall perennial arising from deep-seated bulb. Flowers vary anywhere from white to deep blue or violet. Camassia Leichlinii, the larger of our two common species, is distinguished by the withering petals twisting together above the seed capsule rather than falling separately. It ranges west of the Cascades from southern British Columbia to southern Oregon and into Sierran California. The starchy bulb of the camas was a prized staple for the native tribes in the Northwest. Care was required to avoid poisonous bulbs of another lily, the so-called death camas. Gathering camas root was the incentive for annual festivities, migrations to harvest ground where women dug and prepared bulbs (while the men engaged in sport and games). Handles of their digging sticks, fashioned from bone or antler, can be seen in museum collections. The sticks themselves, made of fire-hardened wood crooked and fattened at the end, have not survived so well. To prepare the root it was first cooked, either roasted elaborately in covered pits lined with hot stones, or boiled. It was then crushed in mortars and the gummy mass pressed into slabs for keeping. Hungry fur trapper Alexander Henry, in the Willamette Valley in 1814, tells in is diary of trading blue beads with the Kalapuyans for slabs of the nutritious food. As if to remind us of more meager times, each April and May the stately camas colors moist meadows and prairies, roadside ditches, or the vacant lot behind a supermarket, with handsome blue-violet blossoms. (provided by Oregon Arts Commission) Close

• 226. [Image] Pencil Box, Writing Box (Suzuribako) with Design of Cranes and Pines by the Shore and Wagon Wheels and Poem Slips in the Water, Incense Tray with Design of Cranes, Pine, Bamboo, Peony, and Rock by the Water, Incense Tray, Scroll Box (Fubako) with Design of Rolled Blinds (Sudare), Peonies, and Clouds, Letter Box (Fubako) with Design of Pine, Plum and Rocks, Paper Box, Box [and four unidentified pieces]

  	Japanese artworks from the Murray Warner Collection of Oriental Art. Pencil Box (MWJ8:54) is dated ca. 1728. Writing Box (Suzuribako) with Design of Cranes and Pines by the Shore and Wagon Wheels and Poem ...
  	Citation × Citation Citation Abstract Copy Title: Pencil Box, Writing Box (Suzuribako) with Design of Cranes and Pines by the Shore and Wagon Wheels and Poem Slips in the Water, Incense Tray with Design of Cranes, Pine, Bamboo, Peony, and Rock by the Water, Incense Tray, Scroll Box (Fubako) with Design of Rolled Blinds (Sudare), Peonies, and Clouds, Letter Box (Fubako) with Design of Pine, Plum and Rocks, Paper Box, Box [and four unidentified pieces] Author: unknown Japanese Year: 1501 Japanese artworks from the Murray Warner Collection of Oriental Art. Pencil Box (MWJ8:54) is dated ca. 1728. Writing Box (Suzuribako) with Design of Cranes and Pines by the Shore and Wagon Wheels and Poem Slips in the Water (MWJ8:55) is dated to the early 17th century. Incense Tray with Design of Cranes, Pine, Bamboo, Peony, and Rock by the Water (MWJ8:56) isa dated to the early 16th century. Incense Tray (MWJ8:57), Paper Box (MWJ8:60) and Box (MWJ8:64) are from the Edo period. Scroll Box (Fubako) with Design of Rolled Blinds (Sudare), Peonies, and Clouds (MWJ8:58) is dated to the late 19th century. Letter Box (Fubako) with Design of Pine, Plum and Rocks (MWJ8:59) is dated to the late 17th century.; default; Edo (Japanese Migration style or period) Title: Pencil Box, Writing Box (Suzuribako) with Design of Cranes and Pines by the Shore and Wagon Wheels and Poem Slips in the Water, Incense Tray with Design of Cranes, Pine, Bamboo, Peony, and Rock by the Water, Incense Tray, Scroll Box (Fubako) with Design of Rolled Blinds (Sudare), Peonies, and Clouds, Letter Box (Fubako) with Design of Pine, Plum and Rocks, Paper Box, Box [and four unidentified pieces] Author: unknown Japanese Year: 1501 Japanese artworks from the Murray Warner Collection of Oriental Art. Pencil Box (MWJ8:54) is dated ca. 1728. Writing Box (Suzuribako) with Design of Cranes and Pines by the Shore and Wagon Wheels and Poem Slips in the Water (MWJ8:55) is dated to the early 17th century. Incense Tray with Design of Cranes, Pine, Bamboo, Peony, and Rock by the Water (MWJ8:56) isa dated to the early 16th century. Incense Tray (MWJ8:57), Paper Box (MWJ8:60) and Box (MWJ8:64) are from the Edo period. Scroll Box (Fubako) with Design of Rolled Blinds (Sudare), Peonies, and Clouds (MWJ8:58) is dated to the late 19th century. Letter Box (Fubako) with Design of Pine, Plum and Rocks (MWJ8:59) is dated to the late 17th century.; default; Edo (Japanese Migration style or period) Close

• 227. [Image] Typical salmon stream

  	This slide represents a typical salmon stream in which a few salmon may be observed ascending the river. A very interesting controversy has arisen over what is known as the "parent stream" theory. In years ...
  	Citation × Citation Citation Abstract Copy Title: Typical salmon stream Year: 1925 This slide represents a typical salmon stream in which a few salmon may be observed ascending the river. A very interesting controversy has arisen over what is known as the "parent stream" theory. In years past it has been debated pro and con in a lively fashion. There are those who have contended that adult salmon ascend the stream in which they were hatched and which their parents ascended. According to this idea, some instinct is supposed to have a directive influence upon the fish as they approach maturity, drawing them into the river which they descended a few years before. For support of this contention it is pointed out that marked fish released as fry in a certain river have been taken in the same stream when adult. There is no denial on the part of those who oppose the "parent stream" theory that salmon are often taken as adults in the same stream in which they were hatched. In fact, this is only to be expected. Our knowledge concerning the salmon during their existence in the ocean is necessarily very limited. It is believed, however, that salmon do not go very far distant from the mouths of rivers which they descended, or that they confine their migrations during the period of growth to near-shore waters up and down the coast. When the period of maturity nears after a few years in the ocean, the salmon being near the mouths of rivers come in contact with the fresh waters of the streams that flow into the ocean with considerable force. The salmon are attracted by this current and make their way into the mouths of the rivers and begin the ascent of the streams. It is only natural that some may find their way into the same rivers which they descended three or four years before. It is believed by the better authorities that the "parent stream" phenomenon is explained as a natural result of the habits of the fish while in the sea. Salmon are taken for commercial purposes in many ways. It is only to be expected that in the case of fish so valuable as the salmon many devices would be employed for their capture. One of the methods of taking the salmon is by the fish wheel, as is illustrated by slides. Title: Typical salmon stream Year: 1925 This slide represents a typical salmon stream in which a few salmon may be observed ascending the river. A very interesting controversy has arisen over what is known as the "parent stream" theory. In years past it has been debated pro and con in a lively fashion. There are those who have contended that adult salmon ascend the stream in which they were hatched and which their parents ascended. According to this idea, some instinct is supposed to have a directive influence upon the fish as they approach maturity, drawing them into the river which they descended a few years before. For support of this contention it is pointed out that marked fish released as fry in a certain river have been taken in the same stream when adult. There is no denial on the part of those who oppose the "parent stream" theory that salmon are often taken as adults in the same stream in which they were hatched. In fact, this is only to be expected. Our knowledge concerning the salmon during their existence in the ocean is necessarily very limited. It is believed, however, that salmon do not go very far distant from the mouths of rivers which they descended, or that they confine their migrations during the period of growth to near-shore waters up and down the coast. When the period of maturity nears after a few years in the ocean, the salmon being near the mouths of rivers come in contact with the fresh waters of the streams that flow into the ocean with considerable force. The salmon are attracted by this current and make their way into the mouths of the rivers and begin the ascent of the streams. It is only natural that some may find their way into the same rivers which they descended three or four years before. It is believed by the better authorities that the "parent stream" phenomenon is explained as a natural result of the habits of the fish while in the sea. Salmon are taken for commercial purposes in many ways. It is only to be expected that in the case of fish so valuable as the salmon many devices would be employed for their capture. One of the methods of taking the salmon is by the fish wheel, as is illustrated by slides. Close

• 228. [Image] High Quality Female Mannequin, Emperor Doll, Archer Doll, Archer Doll, Serving Girl Doll, Serving Girl Doll, Serving Girl Doll, Serving Girl Doll, Serving Girl Doll, Serving Girl Doll, Serving Girl Doll, Uchide no Kozuchi Hammer, Flame Drum, Musician Doll, Musician Doll, Musician Doll, Musician Doll, Musician Doll, Musician Doll, Musician Doll, Chest, Hasamibako (Scissor Box), Chest, Trunk, Chest, Basin, Basin, Dressing Stand, Table, Table, Brush Box, Writing Box, Pair of Hasamibako (Scissor Boxes) and Nagamochi

  	Japanese artworks from the Murray Warner Collection of Oriental Art. High Quality Female Mannequin (MWJ67:1) is from the Meiji period. Emperor Doll (MWJ67:2) is from ca. 1770. Archer Doll (MWJ67:3), Archer ...
  	Citation × Citation Citation Abstract Copy Title: High Quality Female Mannequin, Emperor Doll, Archer Doll, Archer Doll, Serving Girl Doll, Serving Girl Doll, Serving Girl Doll, Serving Girl Doll, Serving Girl Doll, Serving Girl Doll, Serving Girl Doll, Uchide no Kozuchi Hammer, Flame Drum, Musician Doll, Musician Doll, Musician Doll, Musician Doll, Musician Doll, Musician Doll, Musician Doll, Chest, Hasamibako (Scissor Box), Chest, Trunk, Chest, Basin, Basin, Dressing Stand, Table, Table, Brush Box, Writing Box, Pair of Hasamibako (Scissor Boxes) and Nagamochi Author: unknown Japanese Year: 1600 Japanese artworks from the Murray Warner Collection of Oriental Art. High Quality Female Mannequin (MWJ67:1) is from the Meiji period. Emperor Doll (MWJ67:2) is from ca. 1770. Archer Doll (MWJ67:3), Archer Doll (MWJ67:4), Musician Doll (MWJ67:15) and Musician Doll (MWJ67:16) are from the 18th century. Serving Girl Doll (MWJ67:5), Serving Girl Doll (MWJ67:6), Serving Girl Doll (MWJ67:7), Serving Girl Doll (MWJ67:8), Serving Girl Doll (MWJ67:9), Serving Girl Doll (MWJ67:10), Serving Girl Doll (MWJ67:11), Musician Doll (MWJ67:14), Musician Doll (MWJ67:17), Musician Doll (MWJ67:18), Musician Doll (MWJ67:19), Musician Doll (MWJ67:20), Chest (MWJ67:21), Musician Doll (MWJ67:20), Chest (MWJ67:21), Chest (MWJ67:23), Trunk (MWJ67:24), Chest (MWJ67:25), Basin (MWJ67:26), Basin (MWJ67:27), Dressing Stand (MWJ67:28), Table (MWJ67:29), Table (MWJ67:30), Brush Box (MWJ67:31) and Writing Box (MWJ67:32) are ca. 18th century. Uchide no Kozuchi Hammer (MWJ67:12) is from the Edo period. Flame Drum (MWJ67:13), Pair of Hasamibako (Scissor Boxes) (MWJ67:33) and Nagamochi (MWJ67:34) are from the early 20th century. Hasamibako (Scissor Box) (MWJ67:22) is from ca. early 20th century.; default; Edo (Japanese Migration style or period); Meiji; Taisho Title: High Quality Female Mannequin, Emperor Doll, Archer Doll, Archer Doll, Serving Girl Doll, Serving Girl Doll, Serving Girl Doll, Serving Girl Doll, Serving Girl Doll, Serving Girl Doll, Serving Girl Doll, Uchide no Kozuchi Hammer, Flame Drum, Musician Doll, Musician Doll, Musician Doll, Musician Doll, Musician Doll, Musician Doll, Musician Doll, Chest, Hasamibako (Scissor Box), Chest, Trunk, Chest, Basin, Basin, Dressing Stand, Table, Table, Brush Box, Writing Box, Pair of Hasamibako (Scissor Boxes) and Nagamochi Author: unknown Japanese Year: 1600 Japanese artworks from the Murray Warner Collection of Oriental Art. High Quality Female Mannequin (MWJ67:1) is from the Meiji period. Emperor Doll (MWJ67:2) is from ca. 1770. Archer Doll (MWJ67:3), Archer Doll (MWJ67:4), Musician Doll (MWJ67:15) and Musician Doll (MWJ67:16) are from the 18th century. Serving Girl Doll (MWJ67:5), Serving Girl Doll (MWJ67:6), Serving Girl Doll (MWJ67:7), Serving Girl Doll (MWJ67:8), Serving Girl Doll (MWJ67:9), Serving Girl Doll (MWJ67:10), Serving Girl Doll (MWJ67:11), Musician Doll (MWJ67:14), Musician Doll (MWJ67:17), Musician Doll (MWJ67:18), Musician Doll (MWJ67:19), Musician Doll (MWJ67:20), Chest (MWJ67:21), Musician Doll (MWJ67:20), Chest (MWJ67:21), Chest (MWJ67:23), Trunk (MWJ67:24), Chest (MWJ67:25), Basin (MWJ67:26), Basin (MWJ67:27), Dressing Stand (MWJ67:28), Table (MWJ67:29), Table (MWJ67:30), Brush Box (MWJ67:31) and Writing Box (MWJ67:32) are ca. 18th century. Uchide no Kozuchi Hammer (MWJ67:12) is from the Edo period. Flame Drum (MWJ67:13), Pair of Hasamibako (Scissor Boxes) (MWJ67:33) and Nagamochi (MWJ67:34) are from the early 20th century. Hasamibako (Scissor Box) (MWJ67:22) is from ca. early 20th century.; default; Edo (Japanese Migration style or period); Meiji; Taisho Close