Title: Kabuki Actor Ichikawa Sadanji I as Mannenya Kamei Tarō
Artist: Utagawa Kunisada III (Baido Kunimasa) [Japanese, 1848–1920]
Signature: Baidō Kunimasa hitsu (梅堂國政筆)
Actor: Ichikawa Sadanji I (市川左団次, also known as Ichikawa Shōjaku I, Ichikawa Koyone, Ichikawa Tatsuzō) [Japanese, 1842–1904]
Role: Mannenya Kamei Tarō (万年屋家名太郎)
Play: Unidentified
Publisher: Shimōsaya Masukichi (下総屋升吉)
Publisher’s Address: Asakusa, Kurofune-chō (浅草 黒舩)
Date: [明治十三年三月] Meiji 13 (1880), 3rd month
Medium: Uchiwa-e (団扇絵, fan print), ink and colour on paper, 245 × 282 mm

This uchiwa-e (fan print) by Utagawa Kunisada III (also known as Utagawa Kunimasa IV) portrays the kabuki actor Ichikawa Sadanji I in the role of Mannenya Kamei Tarō. The figure is depicted in a dramatic stance, dressed in a striking blue kimono adorned with fish and wave motifs, suggesting a maritime or festival connection. He carries a large basket supported by a fabric strap around his neck, filled with small toy fish attached to sticks, along with round objects that could be festival sweets or miniature decorations. He holds one of these toy fish-on-a-stick items in his right hand, possibly demonstrating it as part of a vendor's performance.

The background is a bold, deep red, contrasting with the detailed rendering of the actor’s expression and costume. The print was published in 1897 (Meiji 30) by Shimōsaya Masukichi, a publisher based in Asakusa, Kurofune-chō. Though the exact play remains unidentified, the composition captures a moment from a kabuki performance where street vendors and festival sellers were often featured as comic or supporting characters in Edo-period narratives.

This work exemplifies the continuation of traditional kabuki actor portraiture into the Meiji period, reflecting both theatrical culture and popular printmaking traditions at the time.

Date: 1832 — Tenpō 3 (辰, Year of the Dragon), plus Approved (kiwame, 極).

Publisher: Ebiya Rinnosuke [海老屋林之助] (Japanese, c. 1832–1895), seal 'to' (ト) Marks: 07-021 | 040a; a.k.a. Ueki Rinnosuke [植木林之助], seal name: 海老林 (Ebirin)

Media: Aiban yoko-e uchiwa-e (団扇絵), color woodblock print, 222 x 285 mm.

The seller, however, citing Ukiyoe Bijin to Tokaidō. Japan Ukiyo-e Association, 1987) no. 68, states that: The woman wearing a blue kosode, a black hood, and walking in the snow can be identified as Osono from the drama Chūshingura, a popular play recounting the story of the Forty-Seven Rōnin. Osono is the wife of the rōnin's arms supplier, who reluctantly expelled her from their home for fear that she might be drawn into the conspiracy. [La femme portant un kosode bleu, une capuche noire et marchant dans la neige est identifiable à Osono du drame Chushingura, pièce populaire reprenant l'histoire des quarante-sept ronin, Osono est l'épouse du fournisseur d'armes des ronin, qui l'a chassée à contrecœur de chez lui de crainte qu'elle ne soit entraînée dans le complot.]

Provenance: René Scholten (Dutch, 1943 – 2001)

Artist: Utagawa Toyokuni III (歌川豊国, 1786–1865)
Signed: 豊国 (Toyokuni) [Toshidama cartouche, with "画" (ga) absent after repair]
Publisher: Ibaya Senzaburō (伊場屋仙三郎)
Censor Seals: 福・村松 (Fuku, Muramatsu) – 1849–1851
Block Carver: Yokokawa Takejirō (横川竹二郎, fl. 1845–1863) [彫竹 (Hori Take) seal trimmed away]
Media: Uchiwa-e (fan print), color woodblock print, 213 × 265 mm

Title: [Unclear, in red cartouche]

Half-length portrait of a woman, turned to the left, wearing an outer garment with olive, brown, and yellow stripes. The inner kimono collar features a wisteria (fuji 藤) pattern, and her obi is decorated with scalloped roundels. She holds an object under her arm, wrapped in yellow and purple covers. Behind her, a possible folding fan adorned with chrysanthemums is visible. A container with flowing water and pink and white flowers, possibly daisies, is also present.

Her hair is styled traditionally, secured with a blue ribbon and an ornamental hairpin. The censor seals are faint but identifiable to the right of the title cartouche. The print has been heavily over-trimmed on the left side, cutting into the carver’s seal. A repair in the bottom left corner has removed the "画" (ga) character from the toshidama cartouche containing the artist’s signature.

Full image:

Date: no date seal, no censor seal.

Publisher: Jōshūya Jūzō [上州屋重蔵] (Japanese, 1812 – 1876); seal jū (重)  under roof; Marks 01-065 | 191a; Seal name: Jōjū (上重)

Media: Aiban yoko-e uchiwa-e (団扇絵), color woodblock print, 227 x 297 mm.

Artist: Utagawa Kunisada [歌川 国貴] a.k.a. Utagawa Toyokuni III [三代歌川豐国] (Japanese, 1786–1865)

Waseda 201-0720

Waseda 100-2496

The History of Sukeroku in Kabuki Theater

Minneapolis Institute of Art: P.75.51.133

Kabuki Actor: Onoe Kikugorō III [尾上菊五郎] (Japanese, 1784 – 1849); other names: Ōkawa Hashizō I, Onoe Baikō III, Onoe Matsusuke II, Onoe Eizaburō I

Role: Nagoya Sanza (名古屋山三)

A half-length portrait of Onoe Kikugorō III (尾上菊五郎) in the role of Nagoya Sanza (名古屋山三), depicted in a three-quarter view, turned slightly to the right. His chonmage (丁髷) hairstyle, with a neatly tied topknot and wrapped hair cords, reflects his status as a samurai.

He wears a purple kimono decorated with swallows (燕, tsubame), bamboo umbrellas (唐傘, karakasa), and streaks of rain—a dynamic and symbolic pattern. Swallows are often associated with change, travel, and perseverance; the umbrellas and rain may evoke a sense of wandering and hardship, themes relevant to the character of Nagoya Sanza, a disgraced samurai seeking revenge. The inner collar features green and gold-striped layers, contrasting the outer robe.

The background is a muted yellow-green monochrome, highlighting the rich details of the actor’s costume and facial expression. To the left of the figure, the inscriptions identify the character’s name (名古屋山三, Nagoya Sanza) and the actor (尾上菊五郎, Onoe Kikugorō III). The artist’s signature, 應需國貞画 (Ōju Kunisada ga), appears in the lower left, indicating that the print was created on commission.

MFA Accession Number 11.43447a-c	Waseda 100-9683

Nagoya Sanza (名古屋山三) is a legendary samurai and a central figure in the classic kabuki and bunraku play Meiboku Sendai Hagi (伽羅先代萩). His story is rooted in historical events from the Date clan of Sendai, although it has been highly dramatized in Edo-period theatre.

Sanza is a loyal retainer falsely accused of stealing a valuable sword and subsequently banished. Stripped of his honour, he takes on the appearance of a wandering samurai dressed in a distinct kimono with a cloud and dragonfly pattern. Meanwhile, his rival, Fuwa Banzaemon (不破伴左衛門), flaunts the stolen sword and openly taunts him. Their encounters, particularly the famous rainy night duel scene, are among kabuki's most visually striking moments. Sanza’s story is of perseverance and revenge, as he ultimately seeks to restore his name and expose the true culprit behind the theft.

Provenance: Ruth Sylvia Nelkin (American,1927 – 2022); Christie's NY: Nov 24, 1997, lot 98;  Heritage Auctions Jun. 27, 2024 (Ruth Nelkin Collection)

Signed: 国貞画 (Kunisada ga) with red toshidama

Title: Hana Chiru Sato (花ちる里, The Village of Falling Flowers – Chapter 11 of The Tale of Genji), in yellow-green cartouche, left

Publisher: Enshūya Matabei (遠州屋又兵衛); Marks reference 22-009 | 057c; seal To, Hori Ni Enmata (ト堀貳遠又) (active 1845–1860s)

Block Carver: Matsushima Fusajirō (松島房次郎), seal Matsushima Hori Fusa (松嶋彫房) (Gordon Friese, 2009, № 137)

Censor Seal: Combined date and kiwame (極) seal; 1867 (Keiō 3, 慶応三年)

Media: Aiban yoko-e uchiwa-e (団扇絵), color woodblock print, 233 × 294 mm

The composition is inspired by Chapter 11, Hana Chiru Sato (花散里, The Village of Falling Flowers) from The Tale of Genji. The title cartouche (花ちる里, Hanachirusato) confirms this reference. The series title, Genji Karuta (げんじかるた, Genji Cards), refers to a traditional matching game based on Genji Monogatari. Genji Karuta sets were used for literary and poetic matching games, where players paired cards featuring text, poetry, or symbolic motifs from The Tale of Genji. These games were part of aristocratic culture, reinforcing familiarity with the novel and classical poetry. Genji Cards feature Genji-mon (源氏紋), stylized crests representing each chapter of The Tale of Genji, which were historically associated with the incense-matching game Genji-kō (源氏香).

The elegantly dressed woman, likely the younger sister of Nyōgo Reikeiden (女御麗景殿), holds a blue double-gourd-shaped sake bottle. Her indigo black (藍黒, Aiguro) haori (羽織) is adorned with white wisteria mon and hollyhock leaves and blossoms (葵, Aoi)—the latter motif being closely associated with Chapter 11.

The man, likely Genji himself, referenced in Chapter 11 as Daishō (大将), wears a red under-kimono with hexagons enclosing blossoms, a blue outer garment with large tsuba motifs, and an obi featuring waves and wheels. He offers the woman a red lacquered sake cup.

A delicate pink tint between the man’s and woman’s eyes and eyebrows hints at mutual tender emotions.

The background features a pink fabric design incorporating Genji-mon (源氏紋, stylized crests representing chapters of The Tale of Genji, historically associated with Genji-kō) and asanoha (麻の葉, hemp-leaf motifs), reinforcing the Heian court aesthetic. At the lower right, a black lacquer hexagonal container holds an assortment of unknown items, possibly sweets or ritual objects.