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    Utagawa Kunisada (Toyokuni III). Kabuki Actor Ichikawa Danzō V Evoking the Poet Fun’ya Yasuhide, from the series ‘Tōsei rokkasen’ / Fan print, 1833.

    Artist: Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Signature: Kunisada ga [国貞画] in a red double-gourd cartouche. Publisher:  Ibaya Senzaburō [伊場屋仙三郎] (Japanese, fl. c. 1815 – 1869); seal: san (三) in a circle to verso. Date seal: Year of the Snake (巳, mi), Tenpō 4 , 1833, to verso. Censor seal: kiwame (極, approved), to verso. Media: Double-side fan print (uchiwa-e); 225 x 292 mm. Series: Tosei rok’kasen or Tosei rokkasen [當世六花撰]  – two translations: (1) by Sebastian Izzard: Six choice modern flowers, (2) by Horst Graebner: Modern Six [Immortal] Poets. Character: Ichikawa Danzō V [市川団蔵] (Japanese, 1788 – 1845); Ichikawa Shikō I, Ichikawa Danzaburō IV, Ichikawa Danjirō I, Ichikawa Morinosuke I. Poet: Fun'ya/Bunya Yasuhide [文屋康秀] (Japanese, ? – c.885) – one of Six Immortal Poets (六歌仙, rokkasen)

    A double-sheet uncut fan print with a half-length, three-quarter view, turned to the right, portrait of kabuki actor Ichikawa Danzō V holding a sensu (扇子, folding fan) with a yellow and red design in his right hand, gripping it close to his chest. He wears a blue kimono with circular floral motifs and a white undergarment with a purple geometric pattern; a white hexagonal crest with three stripes is visible on his sleeve. A red scroll with an inscription is hanging behind him. The inscription on a red background reads: Fun'ya (or Bunya) Yasuhide (文屋康秀). Ichikawa Danzō V (市川団蔵) is written with hentaigana and hiragana as Mikawaya Shikō (みかわやしこう), the guild and poetry names of Danzō. The series title Tōsei Rokkasen (当世六歌撰) appears in the red cartouche to the left, and the artist's signature is in the double-gourd red cartouche to the right. The background features a green and purple gradient decorated with floral roundels.

    The reverse side features a decorative design with floral roundels in blue and green. A paper slip (tanzaku, 短冊) with a red cloud-like gradient at the edges is positioned diagonally across the composition. The slip contains a calligraphic inscription in cursive script. Three standard seals, publisher, approval, and date, are in the bottom right quadrant of the print.

    Ref: (1) [LIB-2967.2022] Utagawa Kunisada (1786 – 1865): His world revisited / Catalogue № 17, Exhibition March 17-21, 2021. — NY: Sebastian Izzard, LLC., 2021; p. 130-1. (2) [LIB-1212.2017] Robert Schaap. Kunisada: Imaging, drama and beauty. — Leiden: Hotei Publishing, 2016, p. 58. [With tremendous help from Horst Graebner of Kunisada Project].
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    Utagawa Kunisada (Toyokuni III). Kabuki Actor Ichimura Kakitsu IV, from the series ‘Mitate Sangokushi’ / Fan print, 1865.

    Artist: Utagawa Kunisada (歌川国貞) / Toyokuni III (三代豊国) (1786–1865)

    Signed: 七十九歳豊国画 (Nanajūkyū-sai Toyokuni ga) – "Drawn by Toyokuni at the age of 79"

    Publisher: Unknown: 和泉屋 (Izumiya), active 1845–1870, Marks 02-053 | U101a

    Block Carver: Matsushima Daijirō (松嶋大次郎), active 1861–1865; seal: 松嶋彫大 (Matsushima hori-Dai)

    Censor/Date Seal: 丑極 – Year of the Ox (1865, Keiō 1), with 極 (Kiwame) approval seal

    Media: Aiban yoko-e uchiwa-e (団扇絵), color woodblock print, 218 × 270 mm

    Series: Mitate Sangokushi [見立三國志]

    Actor: Ichimura Kakitsu IV [市村家橘] (Japanese, 1844 – 1903); other names: Onoe Kikugorō V [五代目尾上菊五郎], Onoe Baikō V, Ichimura Uzaemon XIII, Ichimura Kurōemon.

    A half-length portrait, three-quarter view of the actor Ichimura Kakitsu IV in a female role. The character wears a richly decorated purple kimono adorned with mandarin orange flowers, maple, ginkgo, and oak leaves and holds a sake cup in her right hand. Under her left arm, we see a roll of hygienic paper (onkotogami, 御髪紙)—a detail that, combined with her hair decoration, suggests a geisha profession. The background features a gradient transitioning from red to green, with cherry blossoms framing the upper portion of the composition. Dishes with food are visible on the left.

    The cartouches indicate that this print belongs to the Mitate Sangokushi (見立三國志, Parody of the Romance of the Three Kingdoms) series, suggesting a kabuki-related or literary allusion. The three lines of inscription in the white cartouche remain unread.

    This print was produced posthumously. Kunisada passed away on January 12, 1865, according to the Western calendar. In the Japanese calendar, this corresponds to the 15th day of the 12th month in the year Genji 1. This date still falls within the Year of the Rat, which, according to the Western calendar, lasted until January 26, 1865. The Year of the Ox and the first year of the Keiō era (Keiō 1) began on January 27, 1865.

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    Utagawa Kunisada (Toyokuni III). Kabuki actor Matsumoto Kōshirō V as Hanakawado no Sukeroku / Fan print, 1822.

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

    Publisher: unknown (Ichi-To, 未詳); Marks 05-012 | U085a; seal (一、ト). Date-aratame seal: Bunsei 5 (文政五年, 1822). Media: Fan print (Aiban yoko-e uchiwa-e, 合別横絵団扇絵); 234 × 264 mm. Actor: Matsumoto Kōshirō V [五代相本幸四郎] (Japanese, 1764–1838); other names: Ichikawa Komazō III [市川高麻蔵], Ichikawa Sumizō I [市川寿美蔵]. Role: Hanakawado no Sukeroku [花川戸の助六]. Play: Sukeroku sakura no futae obi [助六桜の二重帯].
    This bust-length portrait depicts kabuki actor Matsumoto Kōshirō V in the role of Hanakawado no Sukeroku under a vast umbrella, in a three-quarter view, facing right, with his fist firmly clenched, and with an expression of intensity and determination. His protuberant nose is accentuated, a defining feature of Matsumoto Kōshirō V. The actor wears a black outer robe adorned with stylized peonies (牡丹, botan), a floral motif symbolizing strength, nobility, and elegance—qualities that define both the Sukeroku character and Kōshirō V’s acting style. The print belongs to the yakusha-e (役者絵, "actor print") genre, celebrating kabuki stars of the Edo period. The artist's signature, publisher’s seal, and censor’s seal are written on the umbrella. Play Sukeroku sakura no futae obi was staged in March 1822 (Bunsei 5) at Kawarazaki Theater (歌川戸室) in Edo (Tokyo). In this version of the Sukeroku narrative, the protagonist is revealed to be Jirō Suketoshi of Kyoto [京の次郎祐俊], a nobleman in disguise. Like other Sukeroku adaptations, the story centres on themes of chivalry, revenge, and romantic rivalry in Edo’s pleasure quarters. Another Kunisada's portraits of Matsumoto Kōshirō V as Sukeroku, in Ōban format:

    The History of Sukeroku in Kabuki Theater

    The play Sukeroku (English title Sukeroku: Flower of Edo), originally titled Hana Yakata Aigo Zakura (花館愛護櫻), premiered in the 3rd lunar month of 1713 at Yamamuraza in Edo. The script was written by Tsuuchi Han'emon (津打半右衛門) under the guidance of Tsuuchi Jihē II (津打治兵衛, 1679–1760). The inaugural performance featured Ichikawa Danjūrō II as Sukeroku, Tamazawa Rin'ya as Agemaki, Ikushima Shingorô as the shirozake seller (白酒売り) Shinbē, and Yamanaka Heikurô I as Ikyū. Three years later, in 1716, Tsuuchi Jihē II revised the play, integrating it into the well-known Soga brothers' revenge tale. In this adaptation, Sukeroku, Agemaki, and Shinbē were revealed to be Soga Gorō Tokimune, the courtesan Kewaizaka no Shōshō, and Soga Jūrō Sukenari, respectively. This revised version was staged at Nakamuraza in the 2nd lunar month of 1716, with Ichikawa Danjūrō II reprising the role of Sukeroku, joined by Nakamura Takesaburô I (Agemaki), Mimasuya Sukejûrô I (Shinbē), Sodeoka Masanosuke II (Soga’s mother Mankō), and Ôtani Hiroemon I (Ikyū). Over time, Sukeroku became closely associated with the Ichikawa Danjūrō acting lineage, captivating Edo audiences and securing its place in the kabuki repertoire. Though traditionally performed by members of the Naritaya guild, the role of Sukeroku was occasionally played by actors from outside the Ichikawa family. The play was later staged under the title Sukeroku Yukari no Edo Zakura for the first time in the 4th lunar month of 1782 at Ichimuraza, with Ichimura Uzaemon IX portraying the titular role. Comparison to Toyokuni I’s 1816 Print Kunisada’s portrait can be viewed as a homage to his mentor, Utagawa Toyokuni I [初代歌川豊国] (1769–1825), whose earlier 1816 bust-length portrait of Iwai Hanshirō V [岩井半四郎] as Sukeroku (published by Ibaya Senzaburō [伊場屋仙三郎]) shares a similar composition and dramatic pose. While Matsumoto Kōshirō V’s portrayal (Kunisada, 1822) emphasizes power and masculinity through the peony motif, Iwai Hanshirō V’s 1816 version (Toyokuni I) reflects grace and refinement, featuring a kimono adorned with irises (菖蒲, shōbu)—a flower symbolizing purity and elegance. Additionally, the word shōbu (iris) is a homophone for 尚武, meaning "martial spirit", subtly reinforcing Sukeroku’s strength beneath his stylish exterior. These contrasts highlight the differences in kabuki acting styles—with Kōshirō V specializing in strong, heroic roles and Hanshirō V excelling in onnagata (female-role) performances.
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    Utagawa Kunisada (Toyokuni III). Kabuki Actor Nakamura Shikan II Evoking the Poet Kisen Hōshi, from the series ‘Tōsei rokkasen’ / Fan print, 1833.

    Artist: Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Signature: Kunisada ga [国貞画] in a red double-gourd cartouche. Publisher:  Ibaya Senzaburō [伊場屋仙三郎] (Japanese, fl. c. 1815 – 1869); seal: san (三) in a circle to verso. Date seal: Year of the Snake (巳, mi), Tenpō 4 , 1833, to verso. Censor seal: kiwame (極, approved), to verso. Media: Double-side fan print (uchiwa-e); 226 x 291 mm. Series: Tosei rok’kasen or Tosei rokkasen [當世六花撰]  – two translations: (1) by Sebastian Izzard: Six choice modern flowers, (2) by Horst Graebner: Modern Six [Immortal] Poets. Character: Nakamura Shikan II [中村芝翫] (Japanese, 1796 – 1852); other names: Nakamura Utaemon IV [中村歌右衛門], Nakamura Tsurusuke I, Nakamura Tōtarō, Nakamura Kanjaku I, Fujima Kamesaburô (dance), Hirano Kichitarō; nicknames: Narikomaya Utaemon, Shijaku Utaemon; Poetry names: Kanjaku, Shishô [芝賞]. Poet: Kisen Hōshi [喜撰法師] (Japanese, fl. 810-824 CE)  – one of Six Immortal Poets (六歌仙, rokkasen) A double-sheet uncut fan print featuring a half-length, three-quarter view, turned to the left portrait of Kabuki actor Nakamura Shikan II (中村芝翫 二代目) engaged in a tea ceremony (chanoyu, 茶の湯). He holds a chashaku (茶杓, tea scoop) in his right hand and a natsume (棗, tea caddy) in his left. The natsume is red lacquer, adorned with gilt karakusa (唐草, arabesque) and a meander motif. He wears a black robe with blue-patterned details, and a white mokkō-mon (木瓜紋, family crest) is visible on his sleeve. A red scroll with an inscription hangs behind him; the inscription reads: Kisen Hōshi (喜撰法師). The name of Nakamura Shikan II (中村芝翫) is written in hentaigana and hiragana as Narikomaya Shikan (なりこまやしかん), reflecting his guild name. The series title Tōsei Rokkasen (当世六歌撰) appears in the red cartouche to the left, and the artist’s signature is in the double-gourd red cartouche to the right. The background features a green and purple gradient decorated with floral roundels. The reverse side features a decorative design with floral roundels in blue and green. A paper slip (tanzaku, 短冊) with a red cloud-like gradient at the edges is positioned diagonally across the composition. It contains a calligraphic inscription in cursive script. Three standard seals—publisher, approval, and date—are in the bottom right quadrant of the print.  

    Mokko-mon of Narikomaya guild

    Ref: (1) [LIB-2967.2022] Utagawa Kunisada (1786 – 1865): His world revisited / Catalogue № 17, Exhibition March 17-21, 2021. — NY: Sebastian Izzard, LLC., 2021; p. 130-1. (2) [LIB-1212.2017] Robert Schaap. Kunisada: Imaging, drama and beauty. — Leiden: Hotei Publishing, 2016, p. 58. [With tremendous help from Horst Graebner of Kunisada Project].
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    Utagawa Kunisada (Toyokuni III). Kabuki Actor Onoe Kikugorō III / Fan print, 1828.

    Artist: Utagawa Kunisada [歌川 国貞], a.k.a. Utagawa Toyokuni III [三代 歌川 豊国] (Japanese, 1786 – 1865). Signed: Kunisada ga (國貞画) in a double tosidama cartouche Date: Year of the Rat (子, Ne); Bunsei 11, 文政十一年), 1828. Censor seal: kiwame (極) Publisher: Ibaya Kyūbei [伊場屋久兵衛] (enterprise, op. c.1804-69); Media: Aiban yoko-e uchiwa-e (団扇絵), color woodblock print, 222 x 293 mm.

    Actor (not stated): 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 (not stated): Nuregami Chōgorō (濡髪長五郎), a sumo wrestler.

    A half-length portrait of Onoe Kikugorō III (三代目尾上菊五郎), shown in a three-quarter view, turned slightly to the left. He wears an elaborate kimono with a geometric pattern adorned with round pine crests (matsu mon, 松紋). His under-kimono, visible at the sleeves and neckline, features red and black tones, strikingly contrasting. A white towel draped over his shoulder signifies his role as a sumo wrestler.

    The background consists of a checkerboard pattern in two shades of purple, filled with alternating butterflies (chō, 蝶), plovers (chidori, 千鳥), and melon flowers (mokko, 木瓜).

    In 1828, there is only one documented performance in which Onoe Kikugorō III played a male role:

    The role of Nuregami Chōgorō was played by the Third-Generation Onoe Kikugorō (濡髪の長五郎が 三代目尾上菊五郎,  Nuregami no Chōgorō ga Sandai-me Onoe Kikugorō.

    The play is mentioned as Chōchō no itohan (also Chōchō futago no kyōdai) (蝶々☆梅菊) by Kunisda Project. However, the paper accompaneying my print it is called  二番目「蝶蝶亀菊のちょうようふたまたさいかく」, Nibanme "Chōchōkyō Kiku no Chōyō Futamata Saikaku" (The second feature: "Butterflies, Turtles, and Chrysanthemums: A Tale of Dual Wisdom". It was performed at Kawarazaki-za in the 1st lunar month of Bunsei 11 (1828).

    Nuregami no Chōgorō was a composed sumo wrestler, in contrast to his counterpart Washi no Chōkichi (鷲の長吉), or Hanaregoma Chōkichi (放駒長吉), who was more hot-tempered. The play revolves around themes of duty, loyalty, and conflict between sumo wrestlers in the pleasure quarters (kuruwa, 廓). In one of the key moments of the drama, Chōgorō takes responsibility for a crime he did not commit, accepting blame out of a sense of duty. His role embodies bushidō-like loyalty and self-sacrifice, making him a compelling character in kabuki performance.

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    Utagawa Kunisada (Toyokuni III). Kabuki Actor Onoe Kikugorō III as Nagoya Sanza / Fan print, 1820-30s.

    Artist: Utagawa Kunisada [歌川 国貞], a.k.a. Utagawa Toyokuni III [三代 歌川 豊国] (Japanese, 1786 – 1865). Signed: ōju Kunisada ga (應需國貞画) – "Drawn by Kunisada on commission" Date: No date Censor seal: kiwame (極) Publisher: Nishimuraya Yohachi [西村屋与八] (enterprise, op. c. 1751 – 1860); Marks: 01-008 | 391a Media: Aiban yoko-e uchiwa-e (団扇絵), color woodblock print, 225 x 292 mm.

    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.

    This uchiwa-e likely dates to the late Bunsei era (c. 1820s–1830s). Onoe Kikugorō III played this role in 1823, 1827, 1831, and 1836, with the closest match in kimono design traced to 1827. That year, the play Ōichiza Soga no shimadai (群曽我島台) was staged at Kawarazaki-za in the 1st lunar month, suggesting this print may be associated with that performance.
    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.

    [Thanks to Horst Graebner of Kunisada Project]
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    Utagawa Kunisada (Toyokuni III). Kabuki Actor Sawamura Tosshō I Evoking the Poet Ariwara Narihira, from the series ‘Tōsei rokkasen’ / Fan print, 1833.

    Artist: Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Signature: Kunisada ga [国貞画] in a red double-gourd cartouche. Publisher:  Ibaya Senzaburō [伊場屋仙三郎] (Japanese, fl. c. 1815 – 1869); seal: san (三) in a circle to verso. Date seal: Year of the Snake (巳, mi), Tenpō 4 , 1833, to verso. Censor seal: kiwame (極, approved), to verso. Media: Double-side fan print (uchiwa-e); 225 x 283 mm. Series: Tosei rok’kasen or Tosei rokkasen [當世六花撰]  – two translations: (1) by Sebastian Izzard: Six choice modern flowers, (2) by Horst Graebner: Modern Six [Immortal] Poets. Character: Sawamura Tosshō I [沢村訥升] (Japanese, 1802 – 1853); other names: Sawamura Gennosuke II, Suketakaya Takasuke III, Sawamura Chōjūrō V, Sawamura Sōjūrō V, Sawamura Genpei I, Sawamura Tosshi V; Poetry names: Kōga, Tosshi V, Tosshō; Guild: Kinokuniya. Poet: Ariwara Narihira [在原業平] (Japanese, 825 – 9 July 880) – one of Six Immortal Poets (六歌仙, rokkasen) A double-sheet uncut fan print featuring a half-length, three-quarter view, turned to the right portrait of Kabuki actor Sawamura Tosshō I. He holds a bow (yumi, 弓) and an arrow (ya, 矢) in his left hand, while his right hand grasps the collar of his under-kimono, with his thumb tucked inside. He wears a blue outer kimono patterned with a woven lattice motif, lined with red and yellow on the sleeves. Beneath it, his red under-kimono with a black collar is visible. A white towel (tenugui, 手拭い) is draped around his neck and shoulder. A red scroll with an inscription hangs behind him, reading: Ariwara Narihira (在原業平); Sawamura Tosshō I (沢村訥升). His name is written with kanji, hentaigana, and hiragana: Kinokuniya Tosshō (きの國やとし志ょう)—his guild and poetry names. The series title Tōsei Rokkasen (当世六歌撰) appears in the red cartouche to the left, and the artist’s signature is in the double-gourd red cartouche to the right. The background features a blue and yellow gradient decorated with floral roundels. The reverse side features a decorative design with floral roundels in blue and green. A paper slip (tanzaku, 短冊) with a red cloud-like gradient at the edges is positioned diagonally across the composition. It contains a calligraphic inscription in cursive script. Three standard seals—publisher, approval, and date—are in the bottom right quadrant of the print. Ref: (1) [LIB-2967.2022] Utagawa Kunisada (1786 – 1865): His world revisited / Catalogue № 17, Exhibition March 17-21, 2021. — NY: Sebastian Izzard, LLC., 2021; p. 130-1. (2) [LIB-1212.2017] Robert Schaap. Kunisada: Imaging, drama and beauty. — Leiden: Hotei Publishing, 2016, p. 58. [With tremendous help from Horst Graebner of Kunisada Project].
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    Utagawa Kunisada (Toyokuni III). Kabuki Actor Segawa Rokō / Fan print, 1827.

    Artist: Utagawa Kunisada [歌川 国貞], a.k.a. Utagawa Toyokuni III [三代 歌川 豊国] (Japanese, 1786 – 1865). Signed: Gototei Kunisada ga (五渡亭國貞画) Date seal: Year of the Boar (亥), Bunsei 10, 1827. Censor seal: kiwame (極) Publisher: Unknown; seal ト本 (to, hon); not in Marks. Media: Aiban yoko-e uchiwa-e (団扇絵), color woodblock print, 225 x 292 mm.

    Kabuki Actor: Segawa Rokō (瀬川路考), a.k.a. Segawa Kikunojō V [瀬川菊之丞] (Japanese, 1802 – 1832); other names: Segawa Tamon I.

    A half-length portrait of the actor Segawa Rokō (瀬川路考) in a three-quarter view, turned slightly to the left. He is depicted in a female role (onnagata), dressed in a vibrant green kimono with a subtle wave-like pattern and scattered floral motifs. The red under-kimono features a white design of waves and a waterwheel (suisha, 水車). A blue towel draped over his shoulder is adorned with white chrysanthemums and pine needles, possibly alluding to The Seven Grasses of Winter (Fuyugusa Nana-kusa, 冬草七草). His hair is styled with a decorative ribbon and a gilt kanzashi hairpin.

    The background consists of bold diagonal stripes in alternating shades of black, blue, and lavender, strikingly contrasting the figure. A red and gold toshidama cartouche in the upper right contains the actor’s name, 瀬川路考.

    [Thanks to Horst Graebner of Kunisada Project]

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    Utagawa Kunisada (Toyokuni III). New Types of Dyeing (Shingata Atsurae Zome) / Fan print, 1849.

    Artist: Utagawa Kunisada [歌川 国貞], a.k.a. Utagawa Toyokuni III [三代 歌川 豊国] (Japanese, 1786 – 1865) Signed: Kōchō Toyokuni ga (香蝶豊國画) in a red toshidama cartouche Censor seal: Kinugasa (衣笠) & Yoshimura (吉村) Date: 1849 (Kaei 2) – according to Marks, the only year Kinigasa and Yoshimura sealed jointly Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, fl. c. 1815 – 1869), san (三)  in a circle, in a 'boar eye' shape. Block carver: Matsushima Fusajirō [松島房次郎], seal: hori kō Fusajirō (彫工房次郎) Media: Aiban yoko-e uchiwa-e (団扇絵), color woodblock print, 228 x 293 mm. A half-length portrait of a woman in a three-quarter view facing left. She delicately holds a blue-blossomed flower, possibly sumire (菫, violet), in her right hand, using its stem to fish clams from a pot of water. In her left hand, she holds a small, dark object—likely a freshly retrieved clam. Rather than referencing textile dyeing, this action appears to illustrate a playful or symbolic act, possibly related to traditional customs or metaphors in Japanese culture. Her black hair is styled in an elaborate updo, adorned with gilt hairpins (簪, kanzashi) and a brown ribbon with a tie-dye pattern (絞り, shibori). She wears a multi-layered kimono featuring a blue floral-patterned outer robe (花模様, hanamoyō) with a red and white kawari-eri (変り衿) and a blue and black inner collar. The obi (帯) is purple and black, with subtle decorative elements. The background is divided into three decorative panels: — Left: Orange with a swastika-based geometric pattern (紗綾形, sayagata). — Middle: Deep purple. — Right: Dark grey with a yellow interlocking circles pattern (七宝, shippō). The title, in a red cartouche with gilt framing in the upper right, reads “New Types of Dyeing” (Shingata Atsurae Zome, 新形誂染). While the title suggests a reference to textile techniques, the imagery instead depicts a whimsical or metaphorical scene of clam-fishing using a flower stem. The artist’s signature appears in the lower right within a toshidama cartouche (年玉枠), with the publisher’s seal below and the censor seals above. The block carver’s yellow seal is placed near the flowers in the lower left.

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

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    Utagawa Kunisada (Toyokuni III). Woman holding a fan, from the series ‘Atsuraeori Benkei Konomi’ / Fan print, 1849-51.

    Artist: Utagawa Kunisada [歌川 国貞], a.k.a. Utagawa Toyokuni III [三代 歌川 豊国] (Japanese, 1786 – 1865) Signed: Toyokuni ga (豊國画) in a red toshidama cartouche Censor seal: Fuku (福) & Muramatsu (村松), sealed together from 3/1849 to 11/1851 Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, fl. c. 1815 – 1869), san (三)  in a circle, in a 'boar eye' shape Media: Aiban yoko-e uchiwa-e (団扇絵), color woodblock print, 222 x 285 mm Series: Benkei-chequered fabrics woven to order (Atsuraeori Benkei Konomi, 誂織弁慶好) or Fabric woven in Benkei taste (atsurae ori benkei gonomi, 誂織弁慶好) A bijin (美人, beautiful woman) is depicted in a refined setting, holding an unadorned uchiwa (団扇, flat fan) in her left hand while delicately raising a writing brush (筆, fude) in her right, "poised as if she is about to write something, perhaps on the fan" (LIB-1212.2017. Robert Schaap, Kunisada: Imaging Drama and Beauty). Her attire is elaborate, featuring a kimono (着物) with bold purple curves complemented by an underlayer with red geometric motifs. The background is dominated by a chequered fabric pattern, referencing the Benkei-checkered cloth (弁慶縞, Benkei-jima), traditionally associated with the twelfth-century warrior monk Musashibō Benkei (武蔵坊弁慶). This pattern holds historical and cultural significance, often symbolizing strength and resilience. The woman's elaborate hairstyle (日本髪, nihongami) is adorned with large decorative hairpins (簪, kanzashi), further emphasizing her status and elegance. The print belongs to a series that incorporates this distinctive checkered motif, connecting it to the visual traditions established by Kunisada (国貞) and his contemporary Utagawa Kuniyoshi (歌川国芳), who also produced a series of beauties wearing Benkei-checkered kimono, such as Women in Benkei-Checkered Cloth (島揃女弁慶, Shimazōroi onna Benkei, c. 1844).

    Another fan print from the same series by Kunisada: {あつらへおり・弁慶好) Atsurae ori - Benkei gonomi

    Reference: Robert Schaap. Kunisada: Imaging Drama and Beauty / Introduction by Sebastian Izzard, contributions by Paul Griffith and Henk. J. Herwig. — Leiden: Hotei Publishing, ©2016, p. 68, pl. 42. [With special thanks to Horst Graebner of Kunisada Project].
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    Utagawa Kunisada (Toyokuni III). Woman holding a scroll, from the series ‘The taste of the new type of woman’ / Fan print, c. 1835.

    Artist: Utagawa Kunisada [歌川 国貞], a.k.a. Utagawa Toyokuni III [三代 歌川 豊国] (Japanese, 1786 – 1865). Signed: Kōchōrō Kunisada ga [香朝楼國貞画] in a red double-gourd cartouche. Date: No censor/date seal. Publisher: No seal. Media: Aiban yoko-e uchiwa-e (団扇絵), color woodblock print, 217 x 283 mm. Series: The taste of the new type of woman (Shingata bijin konomi) [新形美人好].

    A half-length portrait of a young woman in three-quarter view, turned slightly to the right. She is elegantly dressed in a blue kimono adorned with floral motifs, worn over a red under-kimono with a blue collar featuring a lattice pattern. Her elaborately styled hair is adorned with kanzashi hairpins and a comb, indicative of her status, possibly as a courtesan or geisha. The background is filled with intricate textile patterns, including a central pink scroll embellished with golden embroidery of waves and plovers. She holds a rolled scroll featuring a snowflake-like pattern, possibly a stencil used for dyeing fabrics. The blue cartouche on the right reads: 新形美人好 (Shingata bijin konomi) – the series title.

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    Utagawa Kunisada II. Hana Chiru Sato (The Village of Falling Flowers), from the series ‘Genji Karuta’ / Fan print, 1867.

    Artist: Utagawa Kunisada II (歌川国貞) (1823–1880), also known as Kunimasa III (国政三代) or Toyokuni IV (四代歌川豊国)

    Signed: 国貞画 (Kunisada ga) with red toshidama

    Series: Genji Karuta (げんじかるた, Genji cards), in blue cartouche, right

    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.

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    Utagawa Kunisada, Utagawa Hiroshige. Muronotsu in Harima Province, from the series ‘A Set of Ports in the Provinces’ / Fan print, 1858.

    Artist: Utagawa Kunisada [歌川 国貞], a.k.a. Utagawa Toyokuni III [三代 歌川 豊国] (Japanese, 1786 – 1865) Signature: Toyokuni ga (豊國画) in a red toshidama cartouche Artist: Utagawa Hiroshige [歌川 広重] a.k.a. Andō Hiroshige [安藤 広重] (Japanese, 1797 – 1858). Signature: Hiroshige ga (廣重画) in a red rectangular cartouche Date and Censor Seal: 1858 — Ansei 5 (午, Year of the Horse) plus Approved (kiwame, 極) Publisher: Iseya Sōemon [伊勢屋惣右衛門] (Japanese, 1776 – 1862); seal: hanmoto Ue (板元上) Media: Aiban yoko-e uchiwa-e (団扇絵), color woodblock print, 232 x 298 mm Title: Muronotsu in Harima Province (Harima Muronotsu, 播磨室ノ津) Series: A Set of Ports in the Provinces (Shokoku minato tsukushi, 諸国湊尽) A half-length portrait of a woman in a three-quarter view facing right, seated in a boat, gazing toward the Muronotsu harbour. She extends her right hand as if pointing toward the merchant ships anchored near the shore. Her black hair is arranged in an elaborate updo, adorned with gilt hairpins (簪 kanzashi) and a decorative comb. She wears a multi-layered kimono featuring a purple outer robe with delicate butterfly and floral embroidery, a blue-patterned collar, and a red underlayer with a geometric motif. The background landscape, designed by Hiroshige, depicts Muronotsu in Harima Province, an important Edo-period port along the Inland Sea. Several merchant ships with masts loaded with goods are docked near the tree-covered coastline while a smaller sailing vessel moves across the bay. The sky transitions into a soft pink and purple gradient, suggesting sunrise or sunset.
    In Kunisada: Imaging, Drama and Beauty by Robert Schaap [LIB-1212.2017], we see the following description: In this composition, Kunisada was responsible for the female figure seated in a boat and Utagawa Hiroshige for the background landscape. The setting is Muronotsu in Harima province, which was known at the time as an important harbour catering to traffic along the Inland Sea to Kyoto. It also had the reputation for its female entertainers and prostitutes. They feature in the no play Courtesans of Muro (Murogimi) in which the deity at Muro performs a dance, lured in by the singing of these women.
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    Utagawa Kunisada. Ichikawa Danjūrō VII as Kinugawa Iemon and Iwai Kumesaburō II as Tōfuya Kasane in kabuki play ‘Banzei okuni kabuki’ / Fan print, 1827.

    Ichikawa Danjūrō VII [市川団十郎] and Iwai Kumesaburō II [岩井粂三郎] as Kinugawa Iemon [絹川伊右衛門] and Tōfuya Kasane [とうふやヶさね], resp., in kabuki play Banzei okuni kabuki [万歳阿国歌舞妓], performed at Ichimura Theatre [市村座] on March, 21, 1827. References: Kunisada Project; Waseda University. Ichikawa Danjūrō VII [市川団十郎] (Japanese, 1791 – 1859); other names: Ichikawa Ebizō V, Ichikawa Hakuen II, Ichikawa Shinnosuke I. Iwai Hanshirō VI [[岩井半四郎] (Japanese, 1799 – 1836); other names: Iwai Hanshirō VI, Iwai Kumesaburō II, Iwai Hisajirō I, Baiga (poetry name), Shūka (poetry name). Artist: Utagawa Kunisada [歌川 国貞], a.k.a. Utagawa Toyokuni III [三代 歌川 豊国] (Japanese, 1786 – 1865). Signed: Gototei Kunisada ga [五渡亭國貞画]. Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, fl. 1790s-1860s). Date seal and aratame seal: boar (亥), Bunsei 10 – 1827. Untrimmed fan print (aiban yoko-e uchiwa-e), 235 x 270 mm. Ichimura-za Kabuki Playbill (Tsuji banzuke):    
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    Utagawa Kunisada. Ichikawa Danjūrō VIII at an Announcement Ceremony / Fan drawing, c. 1850.

    Rigid uchiwa fan, ink and colour on paper. Kabuki actor Ichikawa Danjūrō VIII in a crimson red robe, on his knees in a ceremonial bowing position to the audience during a formal stage announcement before the performance (Kojo, 口上). The fan has been used, dismounted from the frame, and laid onto Japanese paper, hence the rib marks. Painted c. 1850. Ichikawa Danjūrō VIII [市川団十郎] (Japanese, 1823 – 1854); other names: Ichikawa Ebizō VI, Ichikawa Shinnosuke II. Artist: Utagawa Kunisada [歌川 国貞], a.k.a. Utagawa Toyokuni III [三代 歌川 豊国] (Japanese, 1786 – 1865). Signed: Toyokuni hitsu [豊国筆] with red toshidama seal. Dimensions: 280 x 325 mm Reference: Ichikawa Danjūrō VIII by Utagawa Kuniyoshi 歌川国芳, 1855.  
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    Utagawa Kunisada. Woman arranging the hairpins, from the series ‘The taste of the new type of woman’ / Fan print, c. 1835.

    Half-length portrait of a beautiful young woman wearing a chrysanthemum-patterned green kimono, face directed 3/4 to the right, holding her hands together and fingers spread, arranging the hairpins in her elaborate hairdo; garments of different colours and pattern designs on the background. Series: The taste of the new type of woman (Shingata bijin konomi) [新形美人好]. Artist: Utagawa Kunisada [歌川 国貞], a.k.a. Utagawa Toyokuni III [三代 歌川 豊国] (Japanese, 1786 – 1865). Signed: Kōchōrō Kunisada ga [香朝楼國貞画] in a yellow double-gourd cartouche. No publisher seal. No censor/date seal. Media: Untrimmed fan print (Aiban yoko-e uchiwa-e), 228 x 305 mm.
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    Utagawa Kunisada. Woman holding a wine bottle, from the series ‘The taste of the new type of woman’ / Fan print, c. 1835.

    Series: The taste of the new type of woman (Shingata bijin konomi) [志んかた美人好]. Artist: Utagawa Kunisada [歌川 国貞], a.k.a. Utagawa Toyokuni III [三代 歌川 豊国] (Japanese, 1786 – 1865). Signed: Kōchōrō Kunisada ga [香朝楼國貞画] in a red double-gourd cartouche. No publisher seal. No censor/date seal. Media: Untrimmed fan print (Aiban yoko-e uchiwa-e), 228 x 302 mm.
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    Utagawa Kuniyoshi. Beautiful woman appearing from beneath an awning, from the series ‘Moon and sun shells for tomobiki’ / Fan print, c. 1845.

    Series: Moon and sun shells for tomobiki (Tsukihigai ataru tomobiki) [月日貝あたるともびき] – hiragana inscription in the red cartouche. According to Kuniyoshi Project, Tomobiki (友引) is a fortuitous day for conducting business. There are also other meanings of the same notion of 友引. Artist: Utagawa Kuniyoshi [歌川 國芳] (1798 – 1861). Signed: Ichiyûsai Kuniyoshi ga [一勇斎 國芳戯画] (drawn by Ichiyūsai Kuniyoshi) in a red double-gourd cartouche with a kiri-mon seal beneath. Publisher: Ibaya Kyūbei [伊場屋久兵衛] (Japanese, 1804 – 1851); seal [板元,久] – Hanmoto, Kyū; Marks 19-040|126e. Single nanushi censor seal: Mura [村] = Murata Sahei [村田佐右衛] (VI/1842 – V/1846). This series has five more known prints; some have Tanaka [田中] censor seal (I/1844–II/1845). Media: Fan print (uchiwa-e, 団扇絵), 230 x 297 mm.
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    Utagawa Kuniyoshi. Good tailoring, from the series ‘It’s an auspicious day to…’ / Fan print, 1842-46.

    A half-length portrait of a woman seated in an interior, winding red thread, dressed in a richly decorated kimono featuring intricate floral motifs in blue, green, and brown hues with a red underlayer. Her elaborately styled hair is adorned with a yellow comb and multiple hairpins. To her left is a partially visible wooden chest of drawers, to which a piece of red paper bearing calligraphy is affixed. A puppet or doll dressed in a patterned kimono with a striking red-painted face rests on her lap or a surface before her.

    An uncut fan print (aiban yoko-e uchiwa-e) entitled “Good tailoring” or “Good sewing [仕立ものよし] (shitate monoyoshi)” from the series "It’s an Auspicious Day to…" [最上吉日つくし] (Saijō [no] kichijitsu tsukushi).

    Artist: Utagawa Kuniyoshi [歌川 國芳] (Japanese, 1798 – 1861).

    Signature: Ichiyûsai Kuniyoshi giga (一勇斎 國芳戯画, playfully drawn by Ichiyûsai Kuniyoshi).

    Publisher: Enshūya Matabei [遠州屋又兵衛] (Enterprise, active c. 1768 – 1881); seal: "to" (ト) under roof (Marks 01-031 | 057a). Nanushi seal Watari (渡) for Watanabe Shōemon, VI/1842-V 1c/1846. Media: Fan print (uchiwa-e, 団扇絵), 224 x 290 mm. Reference: (1) Kuniyoshi project; (2) Tokyo Museum Digital Archive [Thanks to Horst Greabner]
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    Utagawa Kuniyoshi. Images of Sansen: Tate River / Fan print, 1856.

    Artist: Utagawa Kuniyoshi (歌川国芳) (1797–1861) Signed: Ichiyūsai Kuniyoshi ga (一勇齋國芳画) with kiri seal Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, fl. c. 1815 – 1869); seal san (三) in a circle Censor Seal: aratame (改) Date Seal: tatsu, ni (辰 弍) — 2nd month of the Year of the Dragon, Ansei 3 (2/1856) Block Carver: Yokokawa Takejirō (横川竹二郎) (fl. 1845–1863); seal: 彫竹 (hori Take) Media: Rigid fan print (Aiban Yoko-e Uchiwa-e, 合判横絵 団扇絵), 227 × 286 mm Series: Images of Sansen (三川圖會, Sansen zue), or The Three Rivers Illustrated The print depicts a summer scene along Tatekawa, or Takegawa (竪川), a canal running east-west along the east bank of the Sumida River (隅田川) in Edo (Tokyo). In the background, boats are seen floating on the Sumida River, likely engaged in yūsuzumi (夕涼み, evening cool-off), a popular summer pastime during the Edo period. In the foreground, a woman dressed in a deep blue kimono with red underlayers and a red obi sits inside a riverside establishment. A towel rests on her arms as she reaches for a sliced watermelon. Her hair is styled with decorative hairpins, a comb, and a red ribbon. She is positioned against a bamboo railing that opens onto the river, framing the distant bridge and water traffic. Inscription in the red cartouche to the left of the woman's head: Sansen zue, Tate kawa; 三川圖會 竪川 [reformed writing: 三川図会] [furigana: さんせん づゑ] The print belongs to the series Images of Sansen (三川圖會, Sansen zue), which depicts scenes along three Edo waterways: Fukagawa (深川), Tatekawa (竪川), and Miyatogawa (宮戸川) (see Kuniyoshi Project):
    "This series of uchiwa (non-folding fan prints) is listed in Kuniyoshi by Basil William Robinson (Victoria and Albert Museum, London, 1961) as number 99". On p. 45 it is listed as: Sansen dzuye (Tategawa). The Three Rivers Illustrated. Women's heads. Fan Prints. (3)

    Fukagawa (深川); 1st month of 1856

    Miyatogawa (宮戸川) ; 2nd month of 1856
    [Thanks to Horst Graebner of Kunisada Project]
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    Utagawa Kuniyoshi. Ise Ondo Dancers with Folding Fans on a Terrace / Fan print, 1854.

    Artist: Utagawa Kuniyoshi [歌川 國芳] (Japanese, 1798 – 1861) Signature: Kuniyoshi ga [国芳画] with a paulownia seal. Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, c. 1815 – 1869). Date seal: (寅西) Year of the Tiger plus (改) Aratame — 4th month, Kaei 7 = 4/1854 Media: Aiban yoko-e uchiwa-e (団扇絵), color woodblock print, 229 x 289 mm Description by Kunisada Project: Two Ise Ondo dancers in identical costumes on a terrace with folding fans. The print depicts two Ise Ondo dancers performing on a terrace, wearing matching costumes and holding folding fans (sensu, 扇子). Their layered kimonos are grey, red, and black, featuring a wave motif (seigaiha, 青海波) on the black fabric and large, bold kanji characters on the grey fabric—静 (shizu, "calm, quiet") and 連 (ren, "group, association, troupe"). Their obi (sashes) are red, secured with a yellow obi-jime (cord). They dance with open folding fans decorated with yellow clouds and Genji-mon (源氏紋). Their distinctive costume elements and synchronized movement identify them as Ise Ondo performers, a dance tradition rooted in festival celebrations and kabuki adaptations. The kanji 静 (shizu) references Shizuka Gozen (静御前), a legendary shirabyōshi dancer linked to the Minamoto clan, further reinforcing the connection to classical dance heritage. The dancers’ detailed hair ornaments (kanzashi, 簪) and layered clothing emphasize their elegance and status as skilled performers. The background transitions from green at the bottom to deep blue at the top, with three large paper lanterns hanging above, enhancing the festive setting.
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    Utagawa Kuniyoshi. Peony, from the series Flower-colored papers / Fan print, 1843-46.

    Peonies (Shakuyaku) [芍薬] Series: Flower-Colored Papers (Hana Shikishi) [花色紙] Artist: Utagawa Kuniyoshi [歌川 國芳] (Japanese, 1798–1861) Signature: Chō-ō-rō Kuniyoshi ga (朝櫻楼 國芳 画) Publisher: Kojimaya Jūbei [小島屋 十兵衛] (Japanese, 1797 – 1869); seal 十, Marks 06-014 | 264a Date/Censorship Approval: Nanushi seal Yoshimura (吉村) for Yoshimura Gentarō (吉村 源太郎), VI/1843–XI/1846. Medium: Rigid fan print (Aiban Yoko-e Uchiwa-e, 合判横絵 団扇絵), 222 x 284 mm.

    Interpretation of the Inscription in the Floral Cartouche

    • 花色紙 (Hana Shikishi) – "Flower-Colored Paper" or "Decorative Shikishi Paper with Floral Motifs"
    • 芍薬 (Shakuyaku) – "Peony", a flower symbolizing prosperity, beauty, and romance in Japanese culture
    • 団扇絵 (Uchiwa-e) – "Round Fan Illustration" or "Picture on an Uchiwa (rigid fan)"

    Description & Symbolic Analysis

    This print, part of the Hana Shikishi (Flower-Colored Papers) series, depicts a woman washing a basin after brushing her teeth. She is positioned behind an indigo-colored folding screen, adorned with a repeating pattern of distant pines, presented in reverse printing technique (wyabori, 捺ぼり). The screen is a visual separator, adding depth and an intimate atmosphere to the scene. The woman is portrayed in a three-quarter view, facing left, her face delicately contoured. She is dressed in a safflower-dyed kimono (furisode, 振袖) featuring an asanoha (麻の葉, hemp leaf) shibori pattern, a motif often associated with purity and protection. Over this, she wears an outer garment decorated with an indigo bamboo motif, symbolizing strength and resilience. Additionally, the garment features:
    • Double gourd (瓢箪, hyōtan) symbolises longevity, fertility, and good fortune.
    • Strips of paper resembling “next-morning letters” (kinuginu no fumi, 衣衣の文) – These evoke romantic correspondence or the written wishes of the Tanabata festival.
    • Spools or reels of thread (chikiri, 糸巻き) – A motif reminiscent of Tanabata festival themes, often linked to the celestial lovers Orihime and Hikoboshi. The phonetic pun with chigiri (契り, vow or romantic promise) reinforces themes of marriage, fate, and lifelong bonds.
    This alludes to the famous poem from the Ogura Hyakunin Isshu: 契りきな かたみに袖を しぼりつつ 末の松山 波越さじとは (Chigiriki na, katami ni sode o, shibori tsutsu, Sue no Matsuyama, nami koso sashi to wa) “Did we not vow, through tears, our sleeves wet with grief, that the waves would never break over the tip of Matsuyama?” This poem by Minamoto no Toshiyori (c. 1055–1129) expresses a promise of eternal love, comparing it to the unshakable Matsuyama mountain, which remains firm despite the waves.

    Adornment & Hairstyling

    Her elaborate hairstyle features a red hair tie (musubi, 結び), signifying youth and romantic allure. It is further adorned with:
    • Golden kogai (笄) – A decorative hairpin, often used by courtesans or high-ranking women.
    • Tama kanzashi (玉簪) – A ball-tipped ornamental hairpin, reinforcing her refined status.
    These elements suggest she could be either a courtesan (oiran, 花魁) or an upper-class woman.

    Objects in the Scene & Their Symbolism

    The woman is holding a traditional Japanese toothbrush (fusa-yōji, ふさ楊枝) in her right hand, while pouring out water from the basin after brushing her teeth. This act symbolizes purity and preparation for intimacy. To her right, an ornate lacquered writing box (suzuribako, 硯箱) is placed near an inkstone (硯, suzuri). This object could also be interpreted as a dreamstone (梦石, mèng shí), a scholar’s object associated with nostalgia, love, or secret communication.

    Context in Ukiyo-e Tradition

    Tooth brushing was uncommon in bijin-ga (美人画, "beautiful woman prints"). Ukiyo-e frequently depicted women engaging in personal grooming rituals, reflecting ideals of elegance and self-care in Edo-period culture.
    Two additional fan prints from the Hana Shikishi series have been identified and can be found at the Kuniyoshi Project website:
    1. Morning Glory (Asagao, 朝顔)
    2. Clematis (Tessen, 鉄線)

    Morning Glory (Asagao, 朝顔)

    Clematis (Tessen, 鉄線)
    These prints, like Peonies (Shakuyaku), emphasize seasonal beauty and feminine refinement, themes central to Kuniyoshi’s bijin-ga oeuvre.
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    Utagawa Kuniyoshi. Woman dedicating a hand towel at a washing trough in a shrine / Fan print, 1842-46.

    Artist: Utagawa Kuniyoshi (歌川国芳) (1797–1861) Signed: Ichiyūsai Kuniyoshi ga [一勇斎 國芳画] in red cartouche Date: VI/1842 – V ic/1846, single nanushi censor seal Murata (村) for censor Murata Sahei [村田佐兵衛]. Publisher: Unknown, Izuzen (Bei, 米); Marks 06-028 | U103a Media: Rigid fan print (Aiban Yoko-e Uchiwa-e, 合判横絵 団扇絵), 224 x 290 mm

    Half-length portrait of a woman facing slightly to the right. She wears a patterned kimono with multiple floral and seasonal motifs, including uchiwa (round fans), plum blossoms, maple leaves, chrysanthemums, snow-covered bamboo, pine branches, and peonies. Her obi is tied in front, and a red collar is visible beneath the layers. Her hair is arranged in an elaborate updo and is adorned with a hairpin featuring a rabbit and a crescent moon, referencing lunar symbolism. She dedicates a hand towel at a washing trough (手水舎, temizuya) in a shrine. Inscriptions on the towels.

    In the background, several towels are hanging, featuring various mon (family crests) and symbols:

    • Three oak leaves
    • Crossed or intersecting hawk feathers
    • Kiri-mon (Paulownia crest, associated with Kuniyoshi)
    • Toshidama (seal of the Utagawa school)
    • Masu (枡, measuring box) motif – a square with diagonal lines
    1. Kuniyoshi Project
    2. [LIB-3428.2025] Christie’s, New York: Japanese Prints, Paintings, and Screens, Monday, 24 November 1997 / Sales Catalogue, № 130, p. 63.
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    Utagawa Sadahide. Matsukaze and Murasame: Brine-Gathering Maidens of Suma Bay / Fan print, 1840s.

    Artist: Utagawa Sadahide [歌川貞秀] or Gountei Sadahide [五雲亭貞秀] (Japanese, 1807 – c. 1879) Signed: Gountei Sadahide ga [五雲亭貞秀画] in a beige 'bark' cartouche Publisher: Tsuruya Kiemon (鶴屋喜右衛門) (enterprise, c. 1620 – 1898); Marks 22-066 | 553m Date: early 1840s – no date seal, no censor seal Media: Aiban yoko-e uchiwa-e (団扇絵), color woodblock print, 233 x 304 mm The composition is set against a coastal landscape, featuring a large pine tree and the two maidens carrying brine buckets on shoulder yokes, dressed in layered red and patterned robes. The background includes stylized waves, flying plovers, two sailing vessels, and a pink-hued sky. Matsukaze and Murasame were sisters who lived as brine-gatherers along the shores of Suma Bay. Their story is immortalized in the Noh play Matsukaze (松風):
    The exiled nobleman Ariwara no Yukihira (在原行平) stayed in Suma and fell in love with them. After his departure, the sisters mourned his absence, with Matsukaze in particular losing herself in longing and madness. The pine tree (松, matsu) symbolizes her unfulfilled love, as matsu also means "to wait" in Japanese.
    Suma Bay (須磨浦, Suma-ura) is a coastal area in Kobe, Hyōgo Prefecture, Japan, located along the Seto Inland Sea (瀬戸内海, Seto Naikai). It is historically significant and a prominent setting in classical Japanese literature, particularly in The Tale of Genji and The Tale of the Heike.
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    Utagawa Sadahide. Thirty-Two Aspects of Female Manners (女風俗三十弐相之内, Onna Fūzoku Sanjūni-sō no Uchi) / Fan print, 1830s.

    Artist: Utagawa Sadahide [歌川貞秀] (Japanese, 1807 – 1879). Signed: Gountei Sadahide ga [五雲亭貞秀画] (Picture by Gountei Sadahide). Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, c. 1815 – 1869); seal 三 in a circle Published: 1830s – no date seal, no censor seal (privately printed?) Media: Fan print (uchiwa-e, 団扇絵), 235 x 298 mm Inscriptions in kanji with furigana readings: Top right: "The Handy Type" (手があり相, te ga ari sō) – A composed woman adjusting her clothing. Bottom right: "Images of Manners" (風ぞくが, fūzokuga) – Possibly referring to depictions of etiquette or courtesan behaviour. The additional phrase 宵闇 (yoyami) 相 (sō) suggests a connection to nighttime activities. Centre: "The Proper Type" (きまり相, kimari sō) – A well-dressed woman seated elegantly, signifying a composed demeanour. Top left: Unclear reading (ほう☆し そう or ☆ほし そう) – Possibly related to 奉仕 (hōshi, "service" or "devotion"), implying attentiveness or subservience. Bottom left: "The Popular Type" (はやり相, hayari sō) – A fashionable woman wearing a partially veiled head covering, reflecting contemporary trends. Thanks to Horst Graebner.
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    Utagawa Toyokuni I. Actor Iwai Hanshiro V in the role of Shirai Gonpachi / Fan print, 1823.

    Kabuki actor Iwai Hanshiro V, in the role of Shirai Gonpachi, stands under a willow tree (yanagi, 柳) to read a letter from the courtesan Komurasaki of the Miuraya [三浦屋小紫]. In this letter, Komurasaki laments their unfortunate love. This is a scene from the kabuki play The Floating World's Pattern and Matching Lightning Bolts (Ukiyozuka hiyoku no inazuma) [浮世柄比翼稲妻] written by Tsurya Namboku IV [鶴屋南北]; it was played for the first time in March 1823 at Ichimura Theatre [市村座] in Edo. This play was later divided into two individual pieces: Saya-ate [鞘当] and Fuwa [不破]. On the shoulders of the actor's garment is a character 井 in a circle — both names, Iwai 岩井 and Shirai 白井, use this character.

    "Ukiyozuka Hiyoku no Inazuma" is a kabuki play in nine acts, written by Tsuruya Nanboku IV. It premiered in Bunsei 6 (1823) at the Ichimura-za theatre in Edo.

    The play includes two particularly famous scenes:

    • "Suzugamori no ba" (The Scene at Suzugamori), which portrays the episode of Banzuiin Chōbei and Shirai Gonpachi
    • "Yoshiwara Nakanochō no ba" (The Scene at Yoshiwara Nakanochō), which depicts the story of Nagoya Sanza and Fuwa Banzaemon

    These scenes have been frequently performed under the well-known titles "Gozonji Suzugamori" (A Well-Known Suzugamori) and "Sayaate" (The Scabbard Clash).

    More information about the play and the real story behind it can be found at Lyon Collection. Actor: Iwai Hanshirō V [岩井半四郎] (Japanese, 1776 – 1847); other names: Iwai Tojaku, Iwai Kumesaburō I. Role: Shirai Gonpachi [白井権八] Artist: Utagawa Toyokuni I [歌川豊国] (1769–1825). Signed: Toyokuni ga [豊国画]. Publisher: Enshūya Matabei [遠州屋又兵衛] (Enterprise, active c. 1768 – 1881); seal: “to” (ト) under roof (Marks 01-031 | 057a). Date-aratame censor seal: 未改, Bunsei 6 (1823). Media: Aiban yoko-e uchiwa-e 団扇絵), 233 x 260 mm.
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    Utagawa Toyokuni I. Kabuki actor Bandō Mitsugorō III as Anno Heibei / Fan print, 1818.

    Artist: Utagawa Toyokuni I [初代豊国] (Japanese, 1769–1825)

    Publisher: Iseya Sōemon [伊勢屋惣右衛門] (c. 1776 – November 1862); Marks 02-041 | 156a

    Date-Aratame Seal: Bunsei 1 (文政元年, 1818)

    Media: Print (Yakusha-e, 役者絵); 223 x 250 mm

    Actor: Bandō Mitsugorō III [三代目 坂東 三津五郎] (Japanese, 1775–1831); also known as Bandō Minosuke I, Morita Kanjirō II, Bandō Mitahachi I, Bandō Minosuke I, Bandō Mitahachi I.

    Role: Anno Heiemon [安の平右衛門], also known as Anno Heibei [安の平兵衛].

    Play: Shiire Zome Karigane Gomon [仕入染雁金五紋] (しいれぞめかりがねごもん), staged in May 1818 at Nakamuraza Theatre in Edo (modern-day Tokyo).

    Bust-length, three-quarter-view portrait of actor Bandō Mitsugorō III as Anno Heibei, one of the gonin otoko [五人男]—a group of five chivalrous thieves. The actor is dressed in a red and purple robe, with a golden mon (family crest) on the shoulders, displaying the character 安 (An), which, in this case, represents the first ideogram in the name of his role. A shakuhachi (尺八), a traditional Japanese end-blown bamboo flute, is secured on his back.

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    Utagawa Toyokuni I. Kabuki actor Ichikawa Danjūrō VII as Yushima no Sankichi / Fan print, 1819.

    Artist: Utagawa Toyokuni I [初代豊国] (Japanese, 1769–1825) Signed: Toyokuni ga [豊国画]. Publisher: Iseya Sōemon [伊勢屋惣右衛門] (c. 1776 – November 1862); Marks 02-041 | 156a Date-Aratame Seal: 1819 (Bunsei 2, 文政二年) Media: Print (Yakusha-e, 役者絵); 221 x 253 mm

    Actor: Ichikawa Danjūrō VII [七代目市川團十郎] (Japanese, 1791–1859); Other names: Ichikawa Ebizō V (五代目市川海老蔵), Ichikawa Hakuen II (二代目市川白猿), Ichikawa Shinnosuke I (初代市川新之助).

    Role: Yushima no Sankichi (ゆしまの三吉) Play: Ume Yanagi Wakaba no Kagazome (梅柳若葉加賀染) Theater: Tamagawa-za (玉川座), Edo, May 1819 Bust-length, three-quarter-view portrait of Ichikawa Danjūrō VII as Yushima no Sankichi, in the play Ume Yanagi Wakaba no Kagazome, staged at Tamagawa-za in May 1819. The actor is depicted with his arms crossed over his chest, holding a pipe (kiseru, 煙管) in his right hand. The upper half of the background features a giant golden carp (鯉, koi), symbolizing Boys' Day (Tango no Sekku) (端午の節句), celebrated on May 5th each year. This print forms a pair with the portrait of Kabuki actor Segawa Kikunojō V as Kurenaiya Okan [SVJP-0440.2025], but no conclusive information is available regarding the relationship between their characters.
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    Utagawa Toyokuni I. Kabuki actor Onoe Baikō III as Konjin Chōgorō / Fan print, 1815.

    Artist: Utagawa Toyokuni I [初代豊国] (Japanese, 1769–1825) Signed: Toyokuni ga [豊国画] Publisher: Iseya Sōemon [伊勢屋惣右衛門] (c. 1776 – November 1862); Marks 02-041 | 156a Gyōji Aratame Censor Seal: 行事改, 1810-18151 Media: Print (Uchiwa-e, うちわ絵, fan print), kira-zuri (きら摺り, mica printing); 222 × 250 mm

    Actor: Onoe Baikō III [三代目尾上梅幸] (Japanese, 1784–1849); Other names: Onoe Kikugorō III (尾上菊五郎), Ōkawa Hashizō I (大川橋蔵初代), Onoe Matsusuke II (二代目尾上松助), Onoe Eizaburō I (初代尾上栄三郎)

    Role: Konjin Chōgorō (金神長五郎) Play: Ku Kyōdai Shōbu Katabira (句兄弟菖蒲帷子) Theater: Nakamura-za (中村座), Edo, 1815 Half-length, three-quarter-view, facing to the left portrait of Onoe Baikō III as Konjin Chōgorō, in the play Ku Kyōdai Shōbu Katabira, staged at Nakamura-za in 1815. The actor wears a purple kimono with a plum blossom motif (梅, ume).

    A print from the Waseda University Tsubouchi Memorial Theatre Museum also depicts Onoe Baikō III as Konjin Chōgorō, showing him holding a box inscribed with 神金 (Kane no Kami). The name Konjin consists of the same kanji reading right to left (金神).

    Konjin Chōgorō is a legendary figure in Japanese folklore, renowned as a formidable sumo wrestler. His tales often depict him engaging in supernatural feats, such as vanquishing demons and showcasing extraordinary strength.

    In the realm of kabuki theatre, Konjin Chōgorō's character has been portrayed in various plays, though specific details about Ku Kyōdai Shōbu Katabira (句兄弟菖蒲帷子) remain unknown.

    Notes

    1. A certain confusion regarding the attribution of this print arises from the statement by Andreas Marks (Publishers, 2011, p. 488), which asserts that the gyōji aratame seal was used exclusively for fan prints between 1810 and 1814. However, it is known that Onoe Baikō III performed the role of Konjin Chōgorō at Nakamura-za in the 5th month of 1815. Marks also notes that the earliest known fan print bearing this seal dates to 1810; based on this new evidence, we may now consider the latest known instance to be the 5th month of 1815.

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    Utagawa Toyokuni I. Kabuki actor Segawa Kikunojō V as Kurenaiya Okan / Fan print, 1819.

    Artist: Utagawa Toyokuni I [初代豊国] (Japanese, 1769–1825) Signed: Toyokuni ga [豊国画]. Publisher: Iseya Sōemon [伊勢屋惣右衛門] (c. 1776 – November 1862); Marks 02-041 | 156a Date-Aratame Seal: 1819 (Bunsei 2, 文政二年) Media: Print (Yakusha-e, 役者絵); 221 × 253 mm Play: Ume Yanagi Wakaba no Kagazome (梅柳若葉加賀染) Theater: Tamagawa-za (玉川座), Edo, May 1819 Role: Kurenaiya Okan (紅屋おかん) Actor: Segawa Kikunojō V [瀬川菊之丞] (Japanese, 1802–1832); Other name: Segawa Tamon I (瀬川多聞初代) Bust-length, three-quarter-view portrait of Segawa Kikunojō V as Kurenaiya Okan in the play Ume Yanagi Wakaba no Kagazome, staged at Tamagawa-za in May 1819. The male actor Segawa Kikunojō V performs an onnagata role, portraying a courtesan. She is depicted adjusting her elaborate shimadamage-style coiffure, fixing a kanzashi (簪, hairpin) while holding onkotogami (御懲紙, tissue paper) in her mouth. The onkotogami was traditionally used for intimate hygiene, suggesting that the scene represents a moment after encountering a client. Her inner kimono is safflower-dyed and has a hemp leaf pattern (麻の葉, asa no ha). The top half of the background features a giant golden carp (鯉, koi), a recurring motif in this pair of prints often associated with strength, perseverance, and kabuki’s aragoto style. This print forms a pair with the portrait of Ichikawa Danjūrō VII as Yushima no Sankichi [SVJP-0439.2025], but no conclusive information is available regarding the relationship between their characters. The carp also alludes to Boys' Day (Tango no Sekku, 端午の節句), celebrated on May 5th each year.
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    Utagawa Toyokuni I. Portrait of Onoe Kikugorō III without Stage Makeup / Fan print, 1822.

    Artist: Utagawa Toyokuni I [初代豊国] (Japanese, 1769–1825)

    Signed: Toyokuni ga [豊国画]

    Publisher: Kojimaya Jūbei [小嶋屋重兵衛] (Japanese, c. 1797–1869); seal [十]; Marks 06-014 | 264a

    Date-Aratame Seal: 1822 (Bunsei 5, 文政五年)

    Media: Print (Uchiwa-e, うちわ絵, fan print); 223 × 250 mm

    Actor: Onoe Kikugorō III [三代目 尾上菊五郎] (Japanese, 1784–1849); other names: Onoe Baikō III (尾上梅幸), Ōkawa Hashizō I (大川橋蔵初代), Onoe Matsusuke II (二代目尾上松助), Onoe Eizaburō I (初代尾上栄三郎)

    Half-length, three-quarter-view portrait of Onoe Kikugorō III, depicted without stage makeup. The actor wears a kimono patterned with plum blossoms (梅, ume), symbolising perseverance and longevity. A neck scarf with a 格子 (kōshi) pattern is visible, and he holds a folding fan (扇, ōgi) decorated with chrysanthemums (菊, kiku).

    Above his head is the Onoe family crest (mon), embracing oak leaves on layered fans. This emblem, known as the crest of the Otowaya line, commemorates a shogunal gift of rice cakes wrapped in oak leaves, placed on a fan, and presented to Onoe Kikugorō I.

    The background features a radiating red-line pattern, possibly representing the bamboo structure of an uchiwa fan. The absence of kumadori (歌舞伎隈取, kabuki makeup) suggests that the actor is not portrayed in a specific role.

    In 1822, Onoe Kikugorō III performed at Kawarazaki-za before month 11 and at Ichimura-za and Nakamura-za afterwards.

    The print has been backed for preservation with a sheet of paper featuring calligraphy, likely contemporary to the print itself. The backing paper appears to have been repurposed, a common historical practice in the Edo period, where discarded documents or manuscripts were reused to reinforce delicate prints.

    Kunisada portrayed the same actor in 1815 as Rokusaburō, the Carpenter (Daiku Rokusaburō).

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    Utagawa Toyokuni II (Toyoshige). Iwai Kumesaburō II as Osono in Kanadehon Chūshingura / Fan print, 1830.

    Artist: Utagawa Toyokuni II [歌川豊国二代] a.k.a. Toyoshige [豊重] (Japanese, (1777 – 1835) Signed: Toyokuni ga (豊國画) Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, fl. c.1815–1869); seal: san (三) in circle. Additional publisher red stamp in the form of a double gourd. Date and Censor Seal: 1830 / Aratame seal (改) plus (tora, 寅) = Year of the Tiger, Bunsei 13 (文政十三年) Media: Uchiwa-e (fan print), color woodblock print, 227 x 267 mm Actor: Iwai Kumesaburō II [岩井粂三郎] (Japanese, 1799 – 1836); other names: Iwai Hanshirō VI, Iwai Hisajirō I, Baiga (poetry name), Shūka (poetry name). Role: Osono (おその), wife of Amakawaya Gihei (天川屋義平) Play: Kanadehon Chūshingura, performed at Ichimura-za in the 4th lunar month  of 1830

    This uchiwa-e (団扇絵) depicts Iwai Kumesaburō II (岩井粂三郎) as Nyōbō Osono (女房おその), the wife of Amakawaya Gihei (天川屋義平), in Act 10 of Kanadehon Chūshingura (仮名手本忠臣蔵). Osono is shown in a half-length portrait, three-quarter view, turned to her left. Behind her, an arrow (矢, ya) has pierced a target (的, mato) in the bullseye. In her hand, she holds a severed lock of her own hair. She wears a green-spotted kimono patterned with white plum blossoms (梅, ume), with a red under-kimono featuring a blue lattice-decorated collar (襟, eri). Her hair is adorned with a gilt comb (櫛, kushi) and hairpins (簪, kanzashi).

    In Act 10, Gihei (義平), recognizing that the rōnin’s attack on Moronao is imminent, sends Osono (おその) back to her parents, an act equivalent to divorcing her. Since a divorced woman would typically be remarried by her family, Ōboshi Yuranosuke (大星由良之助) orders Ōwashi Bungo (大鷲文吾) to cut her hair, ensuring that this does not happen, leaving her unmarriageable and still tied to her husband during their separation. "Once we finish our business of killing the enemy, you can celebrate your reunion," said Ōboshi Yuranosuke.

    A red slip of paper (短冊, tanzaku) with the actor’s name and role is placed near the upper right.

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