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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NEWArtist: 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. -
NEWArtist: Utagawa Kunisada [歌川 国貞], a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786–1865) Signed: 五渡亭国貞画 (Gototei Kunisada ga) Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, fl. c. 1820–1850) Date: 1825 — date aratame seal: 酉改 – Year of the Rooster, Bunsei 8 Media: Aiban yoko-e uchiwa-e (団扇絵), color woodblock print, 230 x 270 mm Play: Sono uwasa sakura no irodoki (其噂桜色時), Nakamura-za, 3/1825 Actors and Roles: 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: Denbei (伝兵へ)
Iwai Kumesaburō II [岩井粂三郎] (Japanese, 1799 – 1836); other names: Iwai Hanshirō VI, Iwai Hisajirō I; poetry names Baiga, Shūka.Role: Oshun (おしゆん)
A dramatic encounter between Denbei and Oshun, set beneath a blooming cherry tree. The background features a fenced garden and a veranda, suggesting a domestic setting with a sliding fusuma (襖) screen on the right.
Denbei, dressed in a blue striped kimono adorned with cherry blossoms and chrysanthemums, sits on the floor (tatami?), gripping a length of cloth, the other end of which is held by Oshun. Oshun, wearing a plaid kimono (格子, kōshi pattern) with butterflies and a red and black obi featuring gold cloud brocade, leans forward with an assertive gesture, pulling at the cloth Denbei holds. Her hairstyle is highly ornamented with combs and pins.
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NEWArtist: Utagawa Kunisada [歌川 国貞], a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786–1865). Signed: 五渡亭国貞画 (Gototei Kunisada ga). Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, fl. c. 1820–1850). Date-Aratame Seal: 寅改, Tora-aratame, Tenpō 1 (1830). Media: Aiban yoko-e uchiwa-e (団扇絵), color woodblock print, 229 × 266 mm. Actors and Roles:- Bandō Minosuke II [坂東蓑助] (Japanese, 1802–1863); other names: Morita Kan'ya XI, Bandō Mitsugorō IV.
- Depicted as a goldfish vendor (kingyo-uri, 金魚売).
- Iwai Kumesaburō II (二代目 岩井 粂三郎) (Japanese, 1799–1836); other names: Iwai Hanshirō VI, Iwai Hisajirō I, Baiga (poetry name), Shūka (poetry name).
- Depicted as a geisha.
- Bandō Minosuke II [坂東蓑助] (Japanese, 1802–1863); other names: Morita Kan'ya XI, Bandō Mitsugorō IV.
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NEWArtist: 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).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].
Another fan print from the same series by Kunisada: {あつらへおり・弁慶好) Atsurae ori - Benkei gonomi
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NEWArtist: 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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NEWArtist: Utagawa Kunisada [歌川 国貞], a.k.a. Utagawa Toyokuni III [三代 歌川 豊国] (Japanese, 1786 – 1865) – lower part, fan Artist: Utagawa Sadafusa (歌川貞房) (fl. c. 1825 – 1850) – upper part, with the landscape Signatures: ōju Kunisada ga (應需國貞画) and Sadafusa ga (貞房画); Sadafusa's signature is at the bottom right edge of the upper part and mostly trimmed off Censor seal: kiwame (極) Publisher: Tsuruya Kiemon (鶴屋喜右衛門) (enterprise, c. 1620 – 1898) Media: Ōban tate-e (大判縦絵), color woodblock print, 364 x 247 mm Date: No date seal Series: Scenic views of Edo (Edo shōkei, 江戸勝景) Title: Akuji (あくぢ) The print is divided into two sections. The upper register, designed by Utagawa Sadafusa, presents a stylized bird’s-eye view of the hilltop temple complex at Kan’ei-ji (寛永寺) in Ueno, looking southeast toward Edo Bay. The title Akuji (あくぢ) refers to an Edo-period place name, written in kana, that designated the slope and surrounding district near the southern approach to Kan’ei-ji. Though the name is no longer in common use, Akuji (sometimes written as 悪路次) would have been a familiar geographic reference for contemporary viewers.The lower section, a fan-shaped uchiwa-e designed by Utagawa Kunisada, shows two women seated indoors on green tatami flooring. The woman in the foreground rests her chin on her hands and leans forward over a kotatsu (炬燵, heated table) draped with a red-and-yellow checked cloth. A kiseru (煙管) pipe leans against the kotatsu, and a small tobacco stand (tabako-dai, 煙草台) with a burner and pipe tray is placed nearby. A closed book lies on the floor at her side.
The second woman, seated behind, holds a lacquer tray with small yellow objects—possibly sweets, wax sticks, or slips of paper—whose precise function remains uncertain. Both women wear layered kimono with checked and floral patterns, and their hair is styled in the taka-shimada (高島田) coiffure decorated with ornamental kanzashi (簪).
A folding screen (byōbu, 屏風) painted with a pine and stream landscape partially encloses the setting, while a tall paper lantern with exposed flame rises behind it. A sliding shōji screen (障子) to the left completes the interior architecture.
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NEWArtist: 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, rightTitle: 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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NEWArtist: 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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NEWIchikawa 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): -
NEWRigid 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. -
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 [豊国 画] in a yellow double-gourd cartouche. Publisher unknown (privately printed?) Media: Rigid fan print (Aiban Yoko-e Uchiwa-e, 合判横絵 団扇絵), 228 x 298 mm. Series title: Six Jewel Faces (六玉颜, mu tama-gao), a pun on Six Jewel Rivers (六玉河, Mu Tamagawa). The date seal and censor seal are absent. Another print from the same series in the Metropolitan Museum of New York reads:The colorful background, with explosions of tie-dyed floral motifs, is a reminder of how Kunisada made all his thousands of Genji-print designs a visual record of different textile patterns of the day. The title Six Jewel Faces (Mu tama-gao), along with its allusion to the literary theme of Six Jewel Rivers, suggests that this set of fan prints captures the appearance of a half-dozen attractive individuals, and, indeed, the other five works in the set show images of beautiful women, mostly courtesans of the pleasure quarters.
Mitsuuji with Mountain Roses (Yamabuki), from the series “Six Jewel Faces” (Mu tama-gao).
MET Accession Number:2019.3
References:
1) [LIB-2967.2022] Utagawa Kunisada: His world revisited / Catalogue 17, Exhibition March 17-21, 2021. — NY: Sebastian Izzard, LLC., 2021.
2) [LIB-3428.2025] Christie’s, New York: Japanese Prints, Paintings, and Screens, Monday, 24 November 1997 / Sales Catalogue, №№ 84-89.
Description by the latter: "aiban uchiwa-e (22.7 × 29.8 cm.); a beauty against a background of tie-dyed fabric patterns holding a pipe looking at toy birds hanging from bamboo, from the series Mutamagao “Six jewel faces”, the bird decorations alluding to the Jewel River in Noda (Chidori no Tamagawa) in Rikuzen province, signed Kunisada ga".
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NEWArtist: After Utagawa Kuniteru II [歌川国輝] (Japanese, 1830 – 1876), possibly by Gyokuei [玉英]
Publisher: No seal
Date: No date; the original Kuniteru's print dated Meiji 2 (1869)
Media: Woodblock colour print, chūban uchiwa-e (fan print), 230 x 245 mm
This fan print reproduces, in miniature, Kuniteru’s 1869 triptych commemorating a sumo fundraising event at Sensō-ji Temple (浅草寺, Sensō-ji, also known as 金龍山, Kinryūzan) in Asakusa (浅草, Asakusa). The scene is framed as a hanging votive painting (ema, 絵馬) bordered in red and gold. Centred is the yokozuna Jinmaku Kyūgorō (陣幕久五郎, Jinmaku Kyūgorō) performing the shiko (四股) leg-stomping pose, flanked by two other wrestlers.Seated at left is gyoji (行司) Kimura Shōnosuke (木村庄之助, Kimura Shōnosuke) with his war fan, and at right are Shachi-no-umi Umekichi (鯱ノ海梅吉, Shachi-no-umi Umekichi) holding a sword, and stablemasters Aioi Matsugorō (相生松五郎, Aioi Matsugorō) and Tamagaki (玉垣, Tamagaki). Also present is the gunbai-holding referee, Shikimori Inosuke (式守伊之助, Shikimori Inosuke).
The background represents a stylized sumo danpatsu-shiki (断髪式) setting. This uchiwa-e version may have been distributed as a commemorative gift to donors who supported the temple.
金龍山浅草寺奉額縮図 (Kinryūzan Sensōji Hōgaku Shukuzu)
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NEWArtist: Utagawa Kuniyoshi (歌川国芳) (1797–1861) Signature: Ichiyûsai Kuniyoshi ga (一勇斎 國芳 画) in a red double gourd cartouche with kiri seal Publisher: Ibaya Kyūbei [伊場屋久兵衛] (enterprise, op. c. 1804-69); seal: hanmoto, Kyū (板元, 久) Censors: Mera & Murata, 2/1847 – 11/1850; Kōka 4 (弘化四年) – Kaei 3 (嘉永三年) Media: Rigid fan print (Aiban Yoko-e Uchiwa-e, 合判横絵 団扇絵), 237 x 303 mm Series: Aisho kagami [逢性鏡] — translated as Perfect Matches or Mirror of Compatibility or Meeting in a Looking Glass (Kuniyoshi Project) A bijin (beautiful woman) is shown in half-length, turned three-quarter to the left, shielding her forehead with her right hand while her left rests on her knee. She wears an over-robe with vertical stripes in shades of blue and grey, trimmed with a purple collar, and a red under-kimono featuring a saya-gata (紗綾形) lattice and floral design on the collar. Her voluminous shimada hairstyle is tied with a red ribbon and adorned with two long ornamental hairpins (kanzashi). She smiles while reading a letter that lies open in her lap. The background is filled with stylized swirling waves and white koi fish (carp). In the upper left, a circular inset resembling a mirror or medallion shows a kabuki actor (likely Sawamura Sōjūrō V) wearing a white cloth headdress and a purple robe decorated with a 井 (i) crest—representing a 'well frame' (i-zutsu or i-geta) on the shoulders. He is identified as Gonpachi (権八). The mirrored format reflects the series theme: imagined romantic compatibility between Edo beauties and kabuki actors. A red cartouche on the right reads: 逢性鏡 (Aishō kagami) – Mirror of Compatibility. Provenance: Nelkin Collection Reference: [LIB-3428.2025] Christie’s, New York: Japanese Prints, Paintings, and Screens, Monday, 24 November 1997 / Sales Catalogue; p. 64, lot. 135....Aishō kagami “Mirror of compatibility”, a beauty against a stylized wave-and-fish-patterned background reading a letter, below a round mirror cartouche enclosing a bust portrait of Shirai Gonpachi, signed Ichiyusai Kuniyoshi ga and published by Ibaya Kyūbei...
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NEWArtist: Utagawa Kuniyoshi (歌川国芳) (1797–1861) Signed: 一勇斎 (Ichiyūsai) in a yellow cartouche, 國芳画 (Kuniyoshi ga) in a red cartouche Publisher: 未詳 (Yama-Ta), seal [板元, 太] – Hanmoto, Ta; Marks 19-044 | U421b Censor Seal: Aratame + Ansei 3 (3rd lunar month, 1856) Block Carver: 彫竹 (Hori Take), identified as Yokokawa Takejirō (横川竹二郎) (fl. 1845–1863) Media: Rigid fan print (Aiban Yoko-e Uchiwa-e, 合判横絵 団扇絵), 227 × 286 mm Half-length portrait of a high-ranking courtesan (oiran, 花魁) seated in a three-quarter view, holding a porcelain sake cup decorated with a blue mon of stylized oak leaves (kashiwa, 柏). She gazes downward at a partially unrolled letter resting on her lap. Her elaborate hairstyle, adorned with multiple kogai (ornamental hairpins) featuring golden floral motifs, signifies her elevated status within her profession. Her layered kimono displays a combination of red, blue, and black geometric patterns, emphasizing the luxurious textiles associated with courtesans of her rank. The stylized oak leaves on the sake cup may allude to the family mon of Onoe family of kabuki actors, evoking the overlap between theatre and the pleasure quarters. The background portrays a night scene in the Yoshiwara Pleasure District (吉原), where figures move beneath lantern-lit buildings, showing the vibrant nightlife of Edo. -
NEWA 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] -
NEWArtist: 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)
[Thanks to Horst Graebner of Kunisada Project]
Fukagawa (深川); 1st month of 1856
Miyatogawa (宮戸川) ; 2nd month of 1856
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NEWArtist: 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. -
NEWPeonies (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.
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.
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:- 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.
Morning Glory (Asagao, 朝顔)
Clematis (Tessen, 鉄線)
