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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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