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| Taian (大安) – The most lucky day | Senshō (先勝) – Lucky in the morning |
A half-length portrait of a woman in a three-quarter view facing left. She holds a paper scroll with the saaya pattern along the edges in both hands. Her black hair is styled in an elaborate updo with a gilt hairpin and a comb. She wears a multi-layered kimono featuring blue clematis (鉄線, tessen) on a brown outer garment and white plum blossoms on a red collar. The green and brown checkered obi has gilt flowers and tendrils brocade. The background is deep blue with two red circular cartouches—the left containing a peony, the right featuring winged insects alongside the artist's signature. A third cartouche, shaped like a red lacquer sake cup, bears gold lettering reading Bijin kyokusui no utage (en) [美人曲水宴].
Provenance: René Scholten (Dutch, 1943 – 2001)
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.
A half-length portrait of a woman in a three-quarter view facing slightly left. She is pruning a flowering plum branch (梅, ume) for an ikebana (生け花) arrangement, holding a branch in her left hand and scissors in her right. Her black hair is styled in an elaborate updo with a gilt hairpin (簪, kanzashi) and a red ribbon. She wears a multi-layered kimono: a striped outer garment with white igeta kamon (井桁, well crib pattern), a black kawari-eri (変り衿) collar decorated with flying birds and stylized golden waves, and a red and green under-kimono with a blue-and-white patterned collar. The background features a wooden house with blue-tiled roofs overlooking a landscape with a winding stream, pines, and distant hills. The artist's signature, censor seal, date seal, and publisher's seal are placed in the lower left.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)
Provenance: René Scholten (Dutch, 1943 – 2001)
Actor: Bandō Minosuke II [坂東蓑助] (Japanese, 1802 – 1863); other names: Morita Kan'ya XI, Bandô Mitsugorō IV.
Role: Momonoi Wakasanosuke (桃の井わかさ之助)
Play: Kanadehon Chūshingura, performed at Ichimura-za in the 4th lunar month of 1830
This uchiwa-e (団扇絵, fan print) by Utagawa Kunisada (歌川国貞), also known as Toyokuni III (三代歌川豊国), depicts the actor Bandō Minosuke II (坂東蓑助) in the role of Momonoi Wakasanosuke (桃の井若狭之助) from Kanadehon Chūshingura (仮名手本忠臣蔵), performed at Ichimura-za in the fourth lunar month of 1830 (Bunsei 13, Year of the Tiger, 文政十三年寅). The actor is shown in a half-length portrait, three-quarter view, facing right, with his hand lifting the hilt of his sword (刀, katana), signalling a moment of restrained fury. His narrowed eyes and pursed lips suggest inner turmoil, reflecting Wakasanosuke’s frustration with Kō no Moronao in Act 1 of the play. He wears a black kimono richly decorated with chrysanthemums (菊, kiku) over a lattice motif. On his sleeve, a heraldic crest (家紋, kamon) features a standing mulberry leaf (梶の葉, kaji no ha) enclosed in an octagon, the emblem of Tsuruoka Hachiman Shrine in Kamakura, where his historical counterpart, Wakisaka Yasumasa, had his residence. Beneath the black outer garment, he wears a red under-kimono with floral designs and a blue collar. In his right hand, he grips the hilt of his sword, adorned with gold menuki. A red cartouche framed with golden mulberry leaves in the upper left contains the inscription — right: Momonoi Wakasanosuke (桃の井わかさ之助), left: Bandō Minosuke (坂東蓑助).
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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:
Role: Hayano Kanpei (早野勘平)
Segawa Tamon II [瀬川多門)] (Japanese, 1815-1857); other names: Nakamura Daikichi III, Nakamura Matsue 4.5, Sawamura Kitō, Nakamura Keishi, Nakamura Naruo.Role: Okaru (おかる), Kanpei's wife or lover
This print depicts a dramatic moment from Chūshingura, Act VI, where Kanpei and Okaru are living in seclusion at the home of Okaru's parents in the countryside. Kanpei, wearing a plaid kimono (格子, kōshi pattern) with a yellow sash, sits cross-armed, gazing at his lover with a tense expression. Okaru, dressed in a blue kimono adorned with butterflies and a diaper motif, with black and red accents, leans toward Kanpei in a pleading gesture. The background landscape, enclosed within a decorative cloud frame, suggests a possible mitate (thematic reinterpretation) of the scene. We were unable to confirm these actors in these roles in either 1834 or 1833. The red cartouche on the right reads 忠臣蔵 六段目 (Chūshingura, Act VI).
An elegant moonlit conversation unfolds between a man and woman beneath blossoming cherry branches. The full moon and falling petals create a romantic yet fleeting atmosphere, reminiscent of courtly themes in The Tale of Genji (源氏物語).
The woman on the left wears a multi-layered kimono featuring pinwheel floral motifs and geometric patterns in red, blue, and gold. She lifts a hairpin (kanzashi, 簪) to adjust her hair, suggesting modesty, refinement, or quiet engagement in conversation.
The man on the right wears a dark purple haori (羽織, outer robe) adorned with gentian (rindō, 竜胆) mon, a crest associated with nobility and refinement. His red and white obi features Genji-mon, further reinforcing the aesthetic and symbolic ties to Genji Monogatari.
The gentian mon and purple hues evoke Heian-era literary aesthetics, aligning with Genji Monogatari's visual traditions. Though the characters in this fan print are not explicitly named, the composition closely resembles the scene "At moon-viewing night, Genji visits Yūgao," presented below.
A woman is depicted in half-length, facing right, with her mouth modestly covered by her raised right sleeve. She wears a deep purple kimono decorated with spiderwebs and large butterflies—some rendered in fine detail, while others appear worn or damaged, with yellow wings mottled by black spots. A red under-kimono is visible beneath, along with a blue collar featuring a repeating saya-gata (紗綾形) lattice pattern.
Scrolls tied with blue ribbon are tucked beneath her left arm. Her red obi is adorned with gold cloud motifs and blue floral designs, possibly peonies. Her hair is styled in the taka-shimada fashion and is fastened with a simple white cord (shiro ito), without kanzashi or additional ornamentation. Behind her is a low bamboo fence. The background presents large blooming chrysanthemums (菊, kiku) and what may be roses or peonies, set against a sky that transitions in gradient from blue to purple.
A companion uchiwa-e print with the same title, catalogued by the Kunisada Project and depicting a kabuki actor Ichikawa Danjūrō VIII [市川団十郎] (Japanese, 1823 – 1854), was likely intended to serve as the reverse side of the present print when mounted as a complete fan.
[With special thanks to Horst Graebner of Kunisada Project].
Provenance: René Scholten (Dutch, 1943 – 2001) 
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.
A half-length portrait of a woman in a three-quarter view facing right. She holds a glass vessel with water and a goldfish in her left hand, while her right hand delicately grasps a small black folding fan with a red circle, possibly symbolizing the sun (日, hi). Her black hair is arranged in an elaborate updo, adorned with a red fabric bow and hairpins. She wears a layered kimono of blue gradient fabric with floral motifs, a red under-kimono (襦袢, juban) with white plum blossoms (梅, ume) on the collar and a hemp leaf motif (麻の葉, asanoha) on the sleeves, and a black obi with red lining, decorated with peonies (牡丹, botan). To the left, wisteria flowers (藤, fuji) and umbrellas (傘, kasa) hang above a ritual display stand (祭壇, saitan), which holds a miniature portable shrine (神輿, mikoshi) and a tengu Noh mask (天狗能面, tengu nōmen). The artist's signature is in the lower right, and the publisher's seal appears in the lower left quadrant. The title in the upper right corner reads: "Flower-Comparing Contest, Artificial Flower Making at the Festival" (Hanakura Sairei no Zōka - 花競 祭礼乃造花).
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.
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].
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.
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. |
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| MFA Accession Number 11.43447a-c | Waseda 100-9683 |
[Thanks to Horst Graebner of Kunisada Project]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.
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]
Artist: Utagawa Kunisada (Toyokuni III) (歌川国貞) (1786–1865)
Signed: By the brush of the old Toyokuni (Toyokuni rō hitsu, 豊国老筆)
Publisher: Iseya Sōemon (伊勢屋惣右衛門), Marks reference 19-047 | 156d, seal Hanmoto, Ue (板元, 上)
Date/Kiwame Seal: 丑 極 (Year of the Ox & kiwame, Kieō 1, 1865)
Media: Uchiwa-e (fan print), color woodblock print, 218 × 280 mm
Title: Musashi (むさし)
Series: Collection of the Dinner Plates of Enchanting Appearances (艶色 さら づくし, Enshoku sara tsukushi), figuratively meaning "Collection of the Dinner Plates of Charming Looking Women."
Half-length portrait of a woman seated indoors, facing slightly right. She wears an elaborate hairstyle adorned with multiple kanzashi hairpins. Her kimono is red with a white tie-dye (shibori) pattern, similar to examples in museum collections. A deep purple background features cherry blossoms and flowing water motifs. The sleeves are adorned with embroidered gourd or squash flowers over green fabric. She rests her cheek on her left hand while frying tempura on a small stove with a wire mesh, using chopsticks in her right hand. A lacquered tray to her left holds a blue-and-white porcelain bowl and several pieces of cooked tempura. A candle on a stick stand burns to her left.
Musashi refers to the Musashiya restaurant in Susaki, a well-known establishment depicted by Hiroshige.
The print is trimmed on the left, partially cutting off the publisher and date/kiwame seals. It is possible that this print was published posthumously.
Provenance: Ruth Sylvia Nelkin (American,1927 – 2022); Christie's NY: Nov 24, 1997, lot 98; Heritage Auctions Jun. 27, 2024 (Ruth Nelkin Collection)
