Artist: Yōshū Chikanobu [楊洲周延], a.k.a. Toyohara Chikanobu [豊原周延] (Japanese, 1838–1912)

Media: 団扇絵 (uchiwa-e, fan print), 185 x 170 mm

Play: No play, no performance/theatre identified.

Actors and Roles:

• Ichikawa Danjūrō IX [市川団十郎] (Japanese, 1838 – 1903); other names: Kawarasaki Sanshō, Kawarasaki Gonnosuke VII, Kawarasaki Gonjūrō I, Kawarasaki Chōjūrō III.
  • Role: Kuemon (九右衛門)
• Onoe Taganojō II 尾上多賀之丞 (Japanese, 1849-1899); other names: Onoe Kikumatsu [尾上菊松].
  • Role: Kojorō (小女郎)

Play: While the specific play isn't explicitly mentioned, the character names suggest it could be 恋湊博多諷 (Koi Minato Hakata no Hitofushi) or a related version such as 博多小女郎浪枕 (Hakata Kojorō Nami Makura) or 和訓水滸伝 (Yamato Kotoba Suikoden).

The print captures a dramatic scene featuring the pirate chief 毛剃九右衛門 (Kezori Kuemon) and the courtesan 博多小女郎 (Hakata Kojorō). Kuemon, portrayed by Ichikawa Danjūrō IX, is depicted with a commanding presence adorned in elaborate attire befitting a smuggler leader. Kojorō, played by Onoe Taganojō II, is shown in elegant courtesan garments, reflecting her status in the Hakata pleasure quarters. The background features maritime elements, hinting at the seafaring aspects of the narrative.

The story centres on 毛剃九右衛門 (Kezori Kuemon), a notorious smuggler, and 博多小女郎 (Hakata Kojorō), a courtesan of the Okudaya brothel in Hakata. A young merchant from Kyoto, 小松屋宗七 (Komatsuya Sōshichi), becomes entangled with Kuemon during a voyage. Unaware of the ship's illicit activities, Sōshichi refuses Kuemon's invitation to join the smuggling operations and is cast overboard. Surviving the ordeal but losing his funds intended to ransom Kojorō, Sōshichi faces despair. In a twist, Kuemon, recognizing the genuine affection between Sōshichi and Kojorō, decides to assist them. He offers to ransom Kojorō on the condition that Sōshichi joins his crew. Reluctantly, Sōshichi agrees, leading to a series of events where they amass wealth through smuggling. However, their activities draw the attention of authorities. As they attempt to escape, Sōshichi is apprehended and takes his own life. Kojorō, seeking to join him in death, is instead pardoned by imperial decree upon the emperor's accession, as she is deemed innocent of any crime.

Role: Hayano Kanpei (早野勘平)

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).

This uchiwa-e (fan print) by Utagawa Fusatane (房種画) depicts a scene from the kabuki dance-drama Kyō Ningyō (京人形), featuring the legendary sculptor Hidari Jingorō (左甚五郎) and his magically animated doll. In the scene, Nakamura Shikan (中村芝翫) portrays Hidari Jingorō, seated in a green kimono with a contemplative expression, possibly just after witnessing his doll come to life. He gently touches his face in a subtle gesture of astonishment. Standing behind him is Sawamura Tanosuke (沢村田之助) as Kyō Ningyō (京人形), dressed in a bright red kimono adorned with chrysanthemum motifs. The background features a screen with a woodgrain pattern on the left, inscribed with Kyō Ningyō (京人形), and a blossoming plum branch against a gradient sky.

Various kabuki plays based on this legend of Hidari Jingorō and the living doll were staged multiple times throughout the 19th century, with different adaptations and performances keeping the story alive on the Edo and Meiji-period stage. The popularity of this tale extended beyond the theatre, as it was also widely depicted in ukiyo-e prints by numerous artists, capturing both the kabuki productions and the legend itself in various visual interpretations.

Lyon Collection: Hidari Jingorō (左甚五郎) (role 1596 – 1644) Basil Hall Chamberlain called him "Japan's most famous sculptor... born in 1594."//"Hidari Jingorō (1596-1644), a master temple carpenter (miya-shi) by trade, who is reputed to have crafted life-sized ningyō on the side, is probably the earliest documented carver of what were later to be termed "iki ningyō." Legend has it that in order to accomplish all of the tasks assigned to him, Jingorō decided to create his own assis tants. [sic] To this end, he crafted a group of ningyō that were so realistic they actually came to life and helped him in all of his labors. When he was done with them, however, he threw them all into the river where they became kappa (water demons)." Quoted from: Ningyō: The Art of the Japanese Doll by Alan Scott Pate. The MET: “The Famous, Unrivaled Sculptor Hidari ‘Left-Handed’ Jingorō” (Meiyo: Migi ni teki nashi Hidari Jingorō) by Utagawa Kuniyoshi (1848) // “At the center of this complex triptych composition is the famous sculptor Hidari “Left-Handed” Jingorō at work in his studio, carving a statue of Shōtoku Taishi (574–622), one of the great proponents of Buddhism in ancient Japan”. Wikipedia: “Hidari Jingorō (左 甚五郎) was a possibly fictitious Japanese artist. Some people and sources state his real name was Itami Toshikatsu. A Renaissance man, he worked as a sculptor, carpenter, painter, architect, comedian, actor, kōdanshi (rhythmical storyteller) and professor of art. Although various studies suggest he was active in the early Edo period (around 1596–1644), there are controversies about the historical existence of the person. Jingorō is believed to have created many famous deity sculptures located throughout Japan, and many legends have been told about him”.

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]

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.

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.