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    Tsuba with sukashi design of a gourd. Momoyama Period (1574-1603).

    Iron tsuba of diamond form with rounded corners with the design of a double gourd on a branch in openwork. Dark brown patina. Ko-Shōami school. Custom kiri-wood box with hakogaki of Sasano Masayuki.

    Momoyama Period (1574-1603)

    Size: 77.1 x 75.7 x 4.6 mm; weight: 75.3 g.

    Provenance: Sasano Masayuki
    Hakogaki lid outside: 古正阿弥鐔 Ko-Shōami tsuba Hakogaki lid inside: 
    瓢簞透
 無銘 桃山期作
 鉄地透

    古撲惻之佳作
平成二年 素心鑑
水無月
    Hyōtan-sukashi Mumei, Momoyama-ki saku Tetsu, ji-sukashi Koboku-aware no kasaku Heisei ninen Soshinkan Minazuki Openwork design of gourd Unsigned, Momoyama era work Iron, large openwork Masterwork full of classical charm. June of 1990, Soshinkan [pen name of Sasano Masayuki]
    [Translated by Markus Sesko]
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  • Six-lobed kamakura-bori tsuba with flowers and family crests motif. Late Muromachi period (1514-1573).

    Iron tsuba of six-lobed (mutsu-mokkō-gata) form, with six wild boar's eye shape (inome) openings (sukashi). Ryo-Hitsu and the entire perimeter of tsuba have typical for this school raised rim; raised seppa dai. Lobes are decorated in low relief carving (sukidashi-bori). On the obverse: chrysanthemum, Genji mon, waves and rocks, grasses and star, bellflower, star and flower in tortoiseshell (kikko). On the reverse: Stars and different flowers, and flying geese.  The plate is damaged to the left of nakago-ana and around the left hitsu-ana. Kamakura-bori school. Late Muromachi period (1514-1573). Diameter: 89 mm; Thickness at seppa-dai: 4.0 mm; Weight: 108.8 g [large]. There is a similar tsuba in this collection, TSU-0345.2018, but with a different motif and much smaller: diameter 74.3 mm, thickness at seppa-dai: 3.2 mm, weight: 62.8 g.

    Varshavsky Collection: TSU-0345.2018

      Another look-a-like tsuba can be found at the Compton Collection, part II, pp. 14-15, №17, though his tsuba is more massive (80 x 84 x 4 mm).

    Compton Collection, part II, pp. 14-15, №17: Kamakura-bori tsuba, ca. 1450.

    This tsuba, TSU-0401.2019, is the biggest of all three (another mine and the one from Campton Collection). The presence of a flower in a tortoiseshell symbol (crest or mon) on this tsuba alludes to Izumo Shrine. The overall piece, with symbols of grasses, waves, flowers, incense, stars, and flying geese, is full of autumnal connotations.  
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  • Utagawa Kunisada. Onoe Kikugorō IV as Karukaya Doshin parting from his son, Ishidomaru (played by Ichimura Uzaemon XIII) and Kawarasaki Gonjūrō I as Yamazakiya Yogoro / Fan print, 1856.

    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 red toshidama cartouche. Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, fl. 1815 – 1869). Block carver: Yokokawa Takejirō [横川竹二郎] (Japanese, fl. 1845 – 1863), seal: 彫竹 – Hori Take. Date seal and aratame censor seal: May of the Year of Dragon [辰五] (Tatsu-go) (5/1856) (Not in Marks). Uncut fan print (uchiwa-e) depicting Onoe Kikugorō IV as Karukaya Dōshin parting from his son, Ishidomaru (played by Ichimura Uzaemon XIII), and Kawarasaki Gonjūrō I as Yamazakiya Yogoro in the kabuki play Karukaya Dōshin Tsukushi no Iezuto [苅萱桑門筑紫𨏍], written by Namiki Sōsuke [並木宗輔] (Japanese, 1695 – 1751) and performed at Ichimuraza [市村座] in 05/1856. Media: Fan print [団扇絵] (Uchiwa-e); size: 235 x 305 mm. Actors: Onoe Kikugorō IV [四代目 尾上菊五郎] (Japanese, 1808 – 1860); other names:  Onoe Baikō IV, Onoe Eizaburō III, Onoe Kikue, Nakamura Tatsuzō, Nakamura Kachō. Onoe Kikugorō V [五代目尾上菊五郎] (Japanese, 1844 – 1903 other names: Onoe Baikō V, Ichimura Kakitsu IV, Ichimura Uzaemon XIII [十三代目市村羽左衛門], Ichimura Kurōemon. Ichikawa Danjūrō IX [市川団十郎] (Japanese, 1838 – 1903); other names: Kawarasaki Sanshō, Kawarasaki Gonnosuke VII, Kawarasaki Gonjūrō I, Kawarasaki Chōjūrō III. Plot: It was a popular belief at one time that jealous women had their hair transformed into writhing serpents and Kato Sayemon Shige-Uji, a daimyo of Tsukushi, a much-married man, suffered from the delusion that his wife was so affected. He fled to the mountains to escape her and led the life of a hermit under the name of Karukaya Doshin [苅萓道心]. One day, on Mount Kōya (高野山, Kōyasan) Karukaya meets a young man who was wandering in the mountains. Being questioned, the youth tells his name, Ishidomaru, and elicits the information that he is seeking his lost father. Karukaya then recognizes the boy as his own son, but firm in the resolve to remain lost to the world, he refrains from disclosing himself, and bids the youth return home. Provenance: Paul F. Walter (American, 1935 – 2017). Ref.:
    1. [LIB-2110.2019] Samuel L. Leiter. Historical Dictionary of Japanese Traditional Theatre (Historical Dictionaries of Literature and the Arts). / 2nd edition. – Lanham: Rowman & Littlefield, 2014; pp. 379-380.
    2. [LIB-2206.2019] Basil Stewart. Subjects portrayed in Japanese colour-prints. — London: Kegan Paul, Trench, Trubner & Co. Ltd., 1922.
     
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  • Utagawa Kunisada. Actor Bandō Shūka I as Shirai Gonpachi, from the series ‘A Parody of the Five Chivalrous Commoners: a Cup of Sake From Their Fans’ / Fan print, 1852.

    Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865).

    Uncut fan print (uchiwa-e), 295 x 230 mm, depicting kabuki actor Bandō Shūka I as Shirai Gonpachi (白井権八) reading a scroll by the light of a lantern. From the series A Parody of the Five Chivalrous Commoners; a Cup of Sake From Their Fans (Mitate gonin otoko, go-hiiki no omoizashi).  According to Paul Griffith, the term omoizashi refers to the act of pouring a cup of sake for one's chosen partner, here giving an impression of intimacy and affection between famous actors and their patrons.

    Actor: Bandō Shūka I [初代坂東しうか] (Japanese, 1813-1855); other names: Bandō Tamasaburō I, Bandō Mitsugorō V (posthumously). The print was probably published by some unknown Yama-Ta (Marks U421b). Double nanushi censor seals and date seal: Muramatsu and Fuku, Kaei 5, 2nd month (2/1852). As Kabuki Encyclopedia put it: "Gonpachi. A parasite. From the character named Shirai Gonpachi who lives at the home of Banzui Chōbei and sponges off him" (An English-Langauge Adaptation of Kabuki Jiten. Samuel L. Leiter. Greenwood Press, 1979, pp. 26, 98-9). There were many kabuki plays based on the story of the lovers Miura-ya Komurasaki and Shirai Gonpachi. (See: [LIB-2226.2019] Algernon Bertram Freeman-Mitford. Tales of Old Japan. — London: Macmillan and Co., 1883). Ref.: Art shop Ezoshi Ukiyoe new collection news, vol. 66, 2023.1 (Jan) # 31, p.8.  
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  • Utagawa Kunisada. Promotional fan for a hairpin shop / Fan print, 1825.

    Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865)

    Promotional fan for a hairpin shop, with a poem by Ichikawa Danjuro VII, signed Hakuen.

    Date seal plus rectangular kiwame seal: Bunsei 8 (1825).

    Size: Fan print. Uchiwa-e (27.5 x 21.1 cm) Publisher seal: Maru-To (2) (Marks U204). Date seal plus rectangular kiwame seal: Bunsei 8 (1825).
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  • Utagawa Kuniyoshi. Young woman with a shamisen, from the series Collection of charming music (Enkyoku zoroi) / Fan print, 1853.

    Artist: Utagawa Kuniyoshi [歌川 國芳] (Japanese, 1798 – 1861) Publisher: British Museum provides for the title as Enkyoku-zoroi [艶曲揃] (Set of Voluptuous Melodies) and the publisher as Sanpei. Indeed, 三平 (Sanpei) was a wholesale fan shop at the end of the Edo period. However, Andreas Marks identifies the publisher's seal as 三平 Mihei = Mikawaya Heiroku (1848-56), a member of the Fan Producing Guild (AM 11-016|325a). Block carver: Yokokawa Takejirō, seal: Carver Taki [彫竹] (Hori Take)

    Signed: Ichiyosai Kuniyoshi ga in a red cartouche and sealed with paulownia (kiri mon).

    Date seal and double nanushi censor seals: Fuku & Muramatsu, 1853 (Kaei 6, 2nd month).

    Size: Uchiwa-e (untrimmed fan print) 296 x 230 mm.

    SVJP-0303.2019
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  • Utagawa Kunisada. Beauty with a lantern / Fan print, 1851.

    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 red toshidama cartouche.

    Publisher: Kojimaya Jūbei (c. 1797-1869), seal: Hanmoto, Jū [板元, 十] (Marks 19-043 | 264c).

    Double nanushi censor seals: Mera & Watanabe – Kaei 4 (1851).

    Uncut fan print (uchiwa-e), 298 x 228 mm depicting a young woman adjusting her hairpin and holding a portable lantern (andon) on a marine background with the full moon, nearby boats and distant cormorant fishers.
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  • Ōnin tsuba with zōgan design of flowers and wild geese. Late Muromachi period (1514-1573).

    Iron tsuba of round form adorned with the design of stars, wild geese, floating blossoms, leaves and tendrils realized in brass inlay. The inlay technique includes suemon-zōgan and ten-zōgan. Two smaller openings (hitsu-ana) surrounded by a scalloped brass border. The seppa-dai border inlay is missing, as well as a few other fragments of inlay on both sides. Sword cut at 12 o'clock on the reverse. A tsuba with a strong autumnal connotation, which once belonged to a great battle weapon. One of only three known jūyō Ōnin tsuba. Translation of the paper, issued by the Japanese sword fittings (tosogu) examination board: Designated as jūyō-tosogu at the 34th jūyō-shinsa held on April 14th 1988 Kaki-karimon zōgan-tsuba (花卉雁文象嵌鐔) — Tsuba with zōgan design of flowers and wild geese. Mumei: Onin (応仁) Tokyo. Nakasono Tokumi (中園とくみ) Measurements: height 9.5 cm, width 9.4 cm, thickness at rim 0.35 cm Interpretation: marugata, iron, brass zōgan, two hitsu-ana Time: end of Muromachi Explanation: Ōnin-tsuba are thin iron ita-tsuba which show a brass zōgan ornamentation. All of them are mumei and there is the theory that they were made in the Onin era (1467-1469) although today more and more the theory is accepted that they are in general late Muromachi period works. There are two kinds of brass zōgan interpretations: One depicts irregularly arranged tachibana branches, wild geese, chrysanthemums, flowers, or karakusa for example, and the other one shows punctual zōgan elements, which are referred to as hoshi-zōgan or ro-zōgan, and concentrical zōgan elements between the nakago-ana and the rim. The latter interpretations might also be accompanied by simple ko-sukashi in the form of butterflies, clouds, hats, or stylized mountains. This tsuba is a typical work from the former category. It is large and feels massive and the powerful and impressive zōgan and the excellent iron make it a highly tasteful piece. Back side: Issued to: Nakasono Tokumi Address: Tokyo-to, Suginami-ku, Kamitakaido 2-17-26 Date of issue: May 30th 1989
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  • Yamakichibei Shodai tsuba with sukashi design of dragonfly and wheel. Momoyama period, 1574-1603.

    Oblong round shape (nagamaru-gata) tsuba with design of dragonfly (tombo or katsumushi) and wheel (kuruma) in negative openwork (kage-sukashi), round rim (maru-mimi ). Copper sekigane.

    Okamoto Yasukazu's Owari to Mikawa no tankō, №181 characterizes the tsuba as follows: "Katsumushi, kuruma-sukashi no zu (dragonfly and wheel sukashi). Mei: Yamakichibei (Shodai). Such small tsuba are rare for the Shodai. The nakago-ana is also small so it was probably intended to be mounted on a tantō. Regardless of its size, the iron is outstanding and the workmanship shows the characteristic features of the Shodai (first generation). The kuruma-sukashi design is interpreted here in a half-moon shape and only on one side of the tsuba. Such a design is also seen on works of the Nidai (second generation)...". Signed to the left of nakaga-ana: Yamakichibei (山吉兵へ). Attributed to the First Generation (Shodai) master.

    NBTHK paper (translated by Markus Sesko): The Tokubetsu-Kichō Kodōgu. Kachimushi-kuruma sukashi-tsuba (勝虫車透鐔) - Tsuba with sukashi motif of dragonfly and cartwheel. Signed: Yamakichibei (山吉兵). Iron, marugata, ko-sukashi. Issued on April 1, 1977. [Copy only] Dimensions: H: 66 mm; W: 63.2 mm; Th(center): 3.8 mm; Th(rim): 3.5 mm. Weight: 68 g.
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  • Kokusai Tosogu Kai / 16th International Convention & Exhibition, 2020.

    An annual publication of Kokusai Tosogu Kai / 16th International Convention & Exhibition in Hamburg, Germany: Museum Für Kunst Und Gewerbe / Museum of Arts and Crafts, September 11-12, 2020 and Berlin, Germany: Samurai Art Museum, September 13-14, 2020. Publisher: Tokyo: Kokusai Tosogu Kai, 2020. Pagination: [1-3] 4-103 [1]. Size: Medium 4to (30.3 x 21.6 cm), hardcover, original illustrated paper boards, in a slipcase. Tsuba from this collection depicted on the title page and pp. 59-60: TSU-0342.2017, TSU 0376.2018, and TSU 0379.2018. See also here.
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  • Utagawa Kunisada. A young woman reading a book in the light of a lamp, ca. 1844.

    Utagawa Kunisada (Japanese: 歌川 国貞; also known as Utagawa Toyokuni III (三代歌川豊国); 1786 – 12 January 1865).

    A young woman reading a book in the light of a lamp. Series: Arigataki miyo no kage-e (Shadow Pictures of an Auspicious Age). There are five known prints, half-length portraits of beauties, in this series, designed by Kunisada in ca. 1844. Another print from the series in this collection: SVJP-0306.2020: A young woman adjusting her hairpins in the light of a paper lantern.

    Signed: Kōchōrō Toyokuni ga (香蝶楼豊国画).

    Publisher: Maruya Kiyojiro.

    Size: Vertical Ōban (37.5 x 25.4 cm).
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  • Utagawa Kunisada. A young woman adjusting her hairpins in the light of a paper lantern, ca. 1844.

    Utagawa Kunisada (Japanese: 歌川 国貞; also known as Utagawa Toyokuni III (三代歌川豊国); 1786 – 12 January 1865).

    A young woman adjusting her hairpins in the light of a paper lantern. Series: Arigataki miyo no kage-e (Shadow Pictures of an Auspicious Age). There are five known prints, half-length portraits of beauties, in this series, designed by Kunisada in ca. 1844. Another print from the series in this collection: SVJP-0309.2020: A young woman reading a book in the light of a lamp.

    Signed: Kōchōrō Toyokuni ga (香蝶楼豊国画). Publisher: Maruya Kiyojiro.

    Size: Vertical Ōban (37.5 x 25.4 cm). Utagawa (歌川) SOLD
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  • Utagawa Kunisada. Early autumn (Tanabata), from the series ‘Short love songs, Second volume’ / 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). Signed: Toyokuni ga [豊国 画] in a red toshidama cartouche Block carver: Yokokawa Takejirō [横川竹二郎] (Japanese, fl. 1845 – 1863), seal: 彫竹 – Hori Take. Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, fl. c. 1845 – 1847). Combined date and kiwame seal: Ansei 5 (II-XII/1858). Size: Untrimmed fan print (uchiwa-e), 300 x 232 mm.

    A young woman adjusting her hairpin on a balcony during the Tanabata festival, as inscribed on the white folding fan: [七夕] (Tanabata).

    Inscription on the blue book (print title): Early autumn [はつ秋や] (hatsu akiya), inscription on the purple book (series title): Short love songs, second volume [端唄の意 二編] (Hauta no kokoro nihen). According to Marks (2010), Hauta no kokoro nihen series of fan prints was published by Ibaya in 1858 (p. 267|P6871).

    The series refers to love songs of a certain type popular in late Edo. They were performed with the accompaniment of a shamisen, “Seven herbs of autumn, the song of the insects is not heard; the bodies of lightning bugs are burnt, and the precious writings of love are getting thinner like the song of the insects as I am waiting for you. So, on an early autumn evening, I spot the glitter of a lightning bug that lingered among the autumn grasses, and while listening to the pine cricket, I am singing with my heart troubled by love". [Tokyo National Museum; translation provided by Elena Varshavsky].

    Tanabata [たなばた] or [七夕] – meaning "Evening of the seventh", also known as the Star Festival [星祭] (Hoshi matsuri) – is a Japanese festival originating from the Chinese Qixi Festival. One popular Tanabata custom is to write one's wishes on a piece of paper and hang that piece of paper on a specially erected bamboo tree, in the hope that the wishes become true.

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  • Utagawa Kunisada. Scene in the Fourth Month (Uzuki no zu), 1819.

    Utagawa Kunisada (Japanese: 歌川 国貞; also known as Utagawa Toyokuni III (三代歌川豊国); 1786 – 12 January 1865).

    A man with a shaved head (a monk), holding a paper lantern and an umbrella, walks with a young woman (a geisha) in the rain.

    SIGNED: Gototei Kunisada ga [五渡亭国貞画]

    Censor's seals: kiwame, futakata.

    Blockcutter's mark: Seizô tô [改印：極、貳方]

    MFA ACCESSION NUMBER 11.15150; MFA dating: about 1815–21 (Bunka 12–Bunsei 4);

    Size: Vertical Ōban (382 x 260 mm). SOLD
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  • Utagawa Toyokuni I. Eleventh lunar month, from the series ‘Fashionable Twelve Months’ / Fan print, 1822.

    Title: Eleventh lunar month (Chuto no zu); Series: Fashionable Twelve Months (Imayo juni-kagetsu). Another version of translation: Modern Beauties of Twelve Months. Artist: Utagawa Toyokuni I [歌川豊国] (1769–1825). Pubisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, 1815 – 1869), seal: Dansendō [伊場仙]. Signed: Toyokuni ga and sealed with toshidama. Date-kiwame seal: Ushi (ox), Bunsei 5 (1822). Size: double-sheet uncut fan print ( aiban uchiwa-e), 219 x 295 mm.
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  • Utagawa Kunisada. Ichikawa Ebizō V (Danjūrō VII) in a Shibaraku role, 1833.

    Ichikawa Ebizo V (1791 – 1859) a.k.a. Ichikawa Danjûrô VII was a great-great-great-son of Ichikawa Danjûrô I. He started his stage career in 1794, at the age of 4, playing in Shibaraku (the role he is depicted here). During his stage life, he played every role type. He was later banished from Edo for living too luxurious life for an actor. While in exile he flourished in Kioto and Osaka. Kichirei (Festive Annual Custom). Publisher: Takenouchi Magohachi (Hoeidô) Circa 1833. Description: 役者の舞台姿を描いた「舞台姿」シリーズと、日常図を描いた「千社詣」シリーズがあり、同じ役者が向かい合って対になる。(『五渡亭国貞』). Signed: Gototei Kunisada ga [五渡亭国貞画]. Censor's seal: kiwame 改印：極. Ref.: Shindo, Gototei Kunisada Yakusha-e no Sekai (1993), plate 88; Utagawa Kunisada, 150th Anniversary of His Death, Ota Memorial Museum, no. 169; MFA ACCESSION NUMBER 11.43128.
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  • Utagawa Toyokuni I. Ichikawa Ebijūrō I as Nuregami Chōgorō, Nakamura Daikichi as Hanaregoma Oseki, and Ichikawa Danjuro VII as Hanaregoma Chōkichi / Fan print, 1820.

    Artist: Utagawa Toyokuni I [歌川豊国] (1769–1825). Publisher: Ibaya Senzaburō [伊場屋 仙三郎] (fl. 1815 – 1869). Signed: Toyokuni ga [豊国 画]. Publisher's seal: Ibaya Sensaburō (Marks 08-067 | 127b). Date-aratame seal: Bunsei 3 (1820). Size: Uncut fan print (uchiwa-e), 224 x 254 mm. Ichikawa Ebijūrō I as Nuregami Chōgorō [濡髪の長五郎], Nakamura Daikichi as Hanaregoma Oseki [放駒のお関], and Ichikawa Danjūrō VII as Hanaregoma Chōkichi [放駒長吉] in a kabuki play Futatsu Chôchô Kuruwa Nikki [双蝶々曲輪日記] (A Diary of Two Butterflies in the Pleasure Quarters (see: LIB-0879.2015 | Brandon, James R., Leiter, Samuel L.  Kabuki Plays on Stage: Brilliance and Bravado, 1697-1766 (Volume 1). — Honolulu: University of Hawai'i Press, 2002.) The play was performed at Kawarasakiza (Edo) in May of 1820. Actors: Ichikawa Ebijūrō I [市川鰕十郎] (Japanese, 1777 – 1827); other names: Ichikawa Ichizō I [市川市蔵], Ichinokawa Ichizō [市ノ川市蔵]. Nakamura Daikichi I [初代中村大吉](Japanese, 1773 – 1823); other names: Fujikawa Daikichi [藤川大吉]; poetry name Hajō [巴丈]; pen name Naruo Yatarō [藤川大吉]. Ichikawa Danjūrō VII 市川団十郎 (Japanese, 1791 – 1859); other names: Ichikawa Ebizō V, Ichikawa Hakuen II, Ichikawa Shinnosuke I.    
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  • Utagawa Kuniyoshi. Sparrow and gourds, from the series ‘Collection of flowers and birds’ / Fan print, 1849-50.

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

    Title: Suzume fukube [美人団扇絵] (Sparrow and gourds).

    Series: Kacho awase [花鳥合] (Collection of flowers and birds).

    Publisher: Aritaya Seiemon [有田屋 清右衛門] (Japanese, fl. c. 1830 – 1862); Seal: Marks 17-011 | 014d.

    Signed: Ichiyosai Kuniyoshi ga in a red cartouche and sealed with paulownia crest (kiri mon).

    Size: Uchiwa-e (untrimmed fan print) 296 x 230 mm.

    Double nanushi censor seals: Kinugasa & Watanabe, Kaei 2-3 (1849–50).

    Ref.: Kuniyoshi Project.
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  • Ogata Gekkō. Advertisement of tobacco for the Kagoshima Prefecture, 1890

    Ogata Gekkō [尾形月耕] (Japanese, 1859 – 1920). An uchiwa-e (fan-print) of advertisement of tobacco of Kagoshima Prefecture, c. 1890 (Meiji Period). Barefoot Tengu* is sitting on a torii (entrance to a Shinto shrine), smoking a cigarette through a mouthpiece. _______ * Tengu [天狗] (heavenly dog) is a type of legendary creature found in Japanese folk religion and are also considered a type of Shinto god (kami) or yōkai (supernatural beings).
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  • Utagawa (Gountei) Sadahide. Framed portrait of a young woman and a painting of a parrot on a pomegranate tree / Fan print, 1832.

    Artist: Utagawa Sadahide [歌川 貞秀], a.k.a. Gountei Sadahide [五雲亭 貞秀] (1807 – c. 1878/9). Publisher: Iseya Ichiemon [伊勢屋市右衛門] (Japanese, fl. c 1823 – 1864), seal name Kaku-Tsuji [角辻]. Signed: Gountei Sadahide ga [五雲亭貞秀画] Censor's seal: kiwame, date seal: Tenpō 3 (1832). Size: Uncut fan print (uchiwa-e); 218 x 282 mm. Portrait of a young woman dressed in a green kimono decorated with arabesque (karakusa) and flowers, her black obi adorned with a dragon, in a western-style frame, on a blue background; and a painting of a parrot on a pomegranate tree. A similar design was used by Sadahide in 1860, described in detail by Sebastian Izzard in his Japanese Prints of the Mid-Nineteenth Century: 1830–1865, September 20–October 24, 2006 exhibition: Picture of a Curio Shop in Yokohama: reverse painting on glass of a crimson parrot, coloured copperplate engraving of a mother and child (Yokohama urimono mise no zu: gyokuban abura-e, doban-e saishiki). Colour woodblock print: oban tate-e, 143/8 x 93/4 in. (36.5 x 24.8 cm.); Man-en I/3 (3/1860) Series: Picture of Goods for Sale in Yokohama (Yokohama urimono zue no uchi) Signature: Gountei Sadahide ga, double toshidama seal Publisher: Daikokuya Kinnosuke.
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  • Suzuki Harunobu . Man sucking woman's breast and a cat sitting under a bonzai tree. 1770

    Suzuki Harunobu. Love interrupts the making of silk wadding, c. 1768.

    Artist (attributed, no signature): Suzuki Harunobu [鈴木 春信] (Japanese, c. 1725 – 1770). The title is taken from [LIB-1478.2013] Gian Carlo Calza, Stefania Piotti. Poem of the pillow and other stories. — Phaidon Press, 2010; pp. 148-9. Alternative title: Man sucking woman's breast and a cat sitting under a bonsai tree. The open book beside the couple reads 子春 (Koharu). Woodblock print from the series Mirror Picture of Japan (Wakoku kagami);  Size: Horizontal chuban; 21 x 26 cm.  
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  • Suzuki Harunobu . SHUNGA: COUPLE FAISANT L'AMOUR DANS UNE CHAISE A PORTEURS c. 1

    Suzuki Harunobu. Shunga. A couple making love in a palanquin / c. 1768-70.

    A shunga (erotic) print by Suzuki Harunobu  [鈴木 春信] (Japanese, c. 1725 – 1770) depicting a woman making love with a man in the palanquin (のりもの/乗り物) while the other woman "ties a sash about her hips below her obi."  The sheet is not signed; however, it is attributed to Harunobu. A reference image can be found in the Metropolitan Museum (NY) collection, Accession Number JP1635:

    http://www.metmuseum.org/art/collection/search/45071

    According to the MET "the palanquin ... has carried these courtesans to the shore for a spring outing". Some time ago, a similar print was sold by Richard Kruml (description: A chuban shunga print showing the occupant of a kago in flagrante with one of the porters, having seized the opportunity of a stop on the journey. Published late 1760s. Rare). Another copy was sold at Sotheby's in Paris for €3,360 on November 27, 2002 (Lot 24), with a reproduction of the print's detail and description on p. 39: Suzuki Harunobu (1725 – 1770) | Shunga: couple dans un palanquin, vers 1768-1770, non-signe, cachet non identifé, cachets Charles Mitchell, Huguette Berès, Format chuban, 20.1 x 28.6 cm | 3000 – 4000 € | Il s’agit probablement de trois voyageurs, l’un d’entre eux debout près du palanquin faisant mine d’ignorer la scène. Bibliographie: Delay p. 87. Reference: [LIB-3121.2022] Sotheby's: Collection Huguette Berès – Estampes, dessins et livres illustrés japonais / 2 volumes; vol. 1. — Paris: Sotheby's, 2002.
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  • Utagawa Kunisada, a.k.a. Toyokuni III . Utagawa Kunisada/Toyokuni III. Actor Ichikawa Danjuro as Soga Goro Tokimune . 1830

    Utagawa Kunisada (Toyokuni III). Kabuki actor Ichikawa Danjūrō VII as Soga Gorō Tokimune (1830).

    Actor Ichikawa Danjuro VII as Soga Goro Tokimune (one of the Soga brothers). Ichikawa Ebizô V held the name of Ichikawa Danjûrô VII from the 11th lunar month of 1800 to the 2nd lunar month of 1832. Artist: Utagawa Kunisada (Toyokuni III) [歌川 国貞] (Japanese, 1786 – 1865) Publisher: Uemura Yohei (Japanese, 1750 – 1832). Date: 1830 Size: Vertical ōban Signatures/Marks: Gototei Kunisada ga. Publisher's seal: Uemura Yohei. Censor's seal: Kiwame
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  • Utagawa Kunisada, a.k.a. Toyokuni III . Geisha with a clock / Preparatory drawing drawing for a fan print

    Utagawa Kunisada II (Toyokuni IV). Geisha with a watch / Preparatory drawing for a fan print, c. 1870.

    Artist: Horst Graebner positively attributes the drawing to Utagawa Kunisada II [歌川国貞] Japanese, 1823 – 1880) a.k.a. Toyokuni IV, though Israel Goldman attributes it to Utagawa Kunisada [歌川 国貞] (Japanese, 1786 – 1865) a.k.a. Utagawa Toyokuni III. Title: Geisha with a watch / Preparatory drawing for a fan print. Media/Technique: Ink and colour on paper. Signed: Toyokuni hitsu [豊国筆].
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  • Utagawa Kunisada, a.k.a. Toyokuni III . Twelve Hours of a Modern Clock (Imayo tokei jûniji) 1824

    Utagawa Kunisada (Toyokuni III). Eight prints from the series Twelve hours of a modern clock (Imayo tokei jūniji), 1820-22.

    Artist: Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Publisher: Matsumura Tatsuemon [松村辰右衛門] (Japanese, fl. c. 1793 – 1832). Year: c. 1820–22 (Bunsei era). Signed: 五渡亭国貞画 – Gototei Kunisada ga. Censor's seal: kiwame 改印：極
    Utagawa Kunisada, a.k.a. Toyokuni III . Twelve Hours of a Modern Clock (Imayo tokei jûniji) 1824

    SVJP-0179-6.2014

    		 The Hour of the Dragon, Fifth Hour of Day (Tatsu no koku, Hi no itsutsu toki), from the series Twelve Hours of a Modern Clock (Imayo tokei jūniji) 「今世時計十二時　辰ノ刻　日ノ五つ時」 MFA impression: 11.15315.
    Utagawa Kunisada, a.k.a. Toyokuni III . Twelve Hours of a Modern Clock (Imayo tokei jûniji) 1824

    SVJP-0179-1.2014

    		 The Hour of the Rabbit, Sixth Hour of Day (U no koku, Ake muttsu toki), from the series Twelve Hours of a Modern Clock (Imayo tokei jūniji) 「今世時計十二時　卯ノ刻　明六つ時」. MFA impression: 11.15317
    Utagawa Kunisada, a.k.a. Toyokuni III . Twelve Hours of a Modern Clock (Imayo tokei jûniji) 1824

    SVJP-0179-2.2014

    		 The Hour of the Monkey, Seventh Hour of Day (Saru no koku, Hi no nanatsu toki), from the series Twelve Hours of a Modern Clock (Imayo tokei jūniji) 「今様時計十二時　申ノ刻　日ノ七つ時」 MFA impression: 11.39692
    Utagawa Kunisada, a.k.a. Toyokuni III . Twelve Hours of a Modern Clock (Imayo tokei jûniji) 1824

    SVJP-0179-8.2014

    		 The Hour of the Horse, Ninth Hour of Day (Uma no koku, Hi kokonotsu toki), from the series Twelve Hours of a Modern Clock (Imayo tokei jūniji) 「今世時計十二時　午ノ刻　日九つ時」. MFA impression: 11.15314
    Utagawa Kunisada, a.k.a. Toyokuni III . Twelve Hours of a Modern Clock (Imayo tokei jûniji) 1824

    SVJP-0179-4.2014

    		 The Hour of the Boar, Fourth Hour of Night (I no koku, Yoru yottsu toki), from the series Twelve Hours of a Modern Clock (Imayo tokei jūniji) 「今世時計十二時　亥ノ刻　夜四つ時」. MFA impression: 11.15552
    Utagawa Kunisada, a.k.a. Toyokuni III . Twelve Hours of a Modern Clock (Imayo tokei jûniji) 1824

    SVJP-0179-3.2014

    		 The Hour of the Tiger, Seventh Hour of Night (Tora no koku, Yoru nanatsu), from the series Twelve Hours of a Modern Clock (Imayo tokei jūniji) 「今世時計十二時　寅ノ刻　夜七つ」. MFA impression: 11.15313 Ref.: Izzard. Kunisada’s world [LIB-2970.2022].
    Utagawa Kunisada, a.k.a. Toyokuni III . Twelve Hours of a Modern Clock (Imayo tokei jûniji) 1824

    SVJP-0179-5.2014

    		 The Hour of the Ox, Eight Hour of Night (Ushi no koku, Yoru no yattsu toki), from the series Twelve Hours of a Modern Clock (Imayo tokei jūniji) 「今世時計十二時　丑ノ刻　夜ノ八つ時」. MFA impression: 11.26906
    Utagawa Kunisada, a.k.a. Toyokuni III . Twelve Hours of a Modern Clock (Imayo tokei jûniji) 1824

    SVJP-0179-7.2014

    		 The Hour of the Rat, Ninth Hour of Night (Ne no koku, Yoru kokonotsu toki), from the series Twelve Hours of a Modern Clock (Imayo tokei jūniji) 「今世時計十二時　子ノ刻　夜九つ時」. MFA impression: 11.15312
     
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  • Utagawa Kuniyoshi .

    Utagawa Kuniyoshi. Prince Hanzoku terrorized by a nine-tailed fox, from the series ‘Japanese and Chinese parallels to Genji’, 1855.

    Title: Lyon Collection: Genji, Chapter 21, the maiden (otome - 乙女): the nine-tailed fox woman (kayō-fujin [花陽夫人]) terrorizing Prince Hanzoku (足王) and his servant from the series Japanese and Chinese parallels to Genji (wakan nazorae genji - 和漢准源氏). British Museum: Otome 乙女 (Maiden) / Waken nazorae Genji 和漢准源氏 (Japanese and Chinese Comparisons for the Chapters of the Genji). Schaap: Prince Hanzoku terrorized by a nine-tailed fox; Series: Wakan nazorae Genji (Japanese and Chinese parallels to Genji) Artist: Utagawa Kuniyoshi [歌川 國芳] (1798 – 1861). Publisher: Iseyoshi [伊勢芳] (Marks 25-013 | U095); seal [イせ芳]. Block carver: Hori Shōji [彫庄治] (Lyon Collection; BM); Hori Takichi [彫多吉] (Schaap). Date-aratame seal: Ansei 2, 7th month (1855). Ref: Jack Hillier. Japanese prints and drawings from the Vever Collection (3 volumes). — New York: Sotheby Parke Bernet & Rizzoli International, 1976; vol.3, p. 868, pl. 847. Robinson (1982): p. 161, S88, № 21. Schaap (1998): p. 115, № 107. SOLD
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  • Utagawa Kuniyoshi .

    Utagawa Kuniyoshi. Mother and child playing hand shadows game / Fan print, c. 1845.

    Artist: Utagawa Kuniyoshi [歌川 國芳] (Japanese, 1798 – 1861). Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, c. 1815 – 1869). Published in c. 1845 (no seal). Possibly, from the "Untitled series of beauties reflected in mirrors", see Kunisada Project. However, this print does not have the seal of the censor Tanaka [田中].
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  • Utagawa Kuniyoshi .

    Utagawa Kuniyoshi. A young woman with a framed picture of Soga no Gorō, from the series A collection of pictures in modern style / Fan print, 1849-51.

    Artist: Utagawa Kuniyoshi [歌川 國芳] (Japanese, 1798 – 1861). Publisher: Izuzen (fl. c. 1800s – 1840s) (Marks 06-029|U103b). Signed: Ichiyosai Kuniyoshi ga in a red cartouche and sealed with paulownia crest (kiri mon). Double nanushi censor seals: Fuku & Muramatsu, 1849-51 (Kaei 2 – Kaei 4). Young woman in front of the western-style framed portrait of Soga Tokimune, who is depicted after having his kusazuri ripped off by Asahina Saburō. The series of fan prints A Collection of Pictures in Modern Style [今様額面合] (Imayô gakumen awase) can be found at Kuniyoshi Project. Soga Tokimune, a.k.a. Soga no Gorō [曾我時致] (Japanese, 1174 – 1193), a historical figure and a character of an epic tale Soga Monogatari [曽我物語] (A Tale of Soga Brothers). Asahina Saburō [朝比奈 三朗], a.k.a. Asahina Yoshihide [朝比奈 義秀] is also mentioned in the Soga Monogatari. Kusazuri [草摺] (くさずり) – tassets on a suit of a samurai's armour. Another Kuniyoshi's print with the same characters: Goro Tokimune and Asahina Saburo; Series: The Tale of Soga Brothers; Publisher: Ibaya Senzaburō; Date: 1843-1845; Size: Vertical Ōban: 359 x 245 mm.
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  • Utagawa Kuniyoshi . Acrobats becoming animals. Series: Brother Pictures for Comparison (E-kyôdai awase kagami, 絵鏡台合かゝ身) 1840

    Utagawa Kuniyoshi. Crab, fish, and quadruped, from the series Brother pictures for comparison / Fan print, c. 1840.

    Artist: Utagawa Kuniyoshi [歌川 國芳] (Japanese, 1798 – 1861). Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, c. 1815 – 1869), no publisher's seal on this print. Another title of this image provided by Sebastian Izzard is Acrobats becoming animals. The series Brother Pictures for Comparison [絵鏡台合かゝ身] (e-kyôdai awase kagami) can be found at Kuniyoshi Project: "This series consists of pairs of fan prints, with one print of each pair being a silhouette of the other. The series is not listed in Kuniyoshi by Basil William Robinson (Victoria and Albert Museum, London, 1961)". The series is attributed to c. 1840. Signed: Ichiyosai Kuniyoshi ga. Size: Size: Uchiwa-e (untrimmed fan print) 227 x 299 mm.
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  • Utagawa Sadahide, a.k.a. Gountei Sadahide . Mitate Genji: Suma (Suma, a parody of the Tale of Genji) 1842

    Utagawa Sadahide. Yukari no Edo-zakura / Fan print, 1830.

    Artist: Utagawa Sadahide [歌川 貞秀], a.k.a. Gountei Sadahide [五雲亭 貞秀] (1807 – c. 1878/9). Signed: Gountei Sadahide ga [五雲亭貞秀画] Pubisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, 1815 – 1869) Date-aratame seal: Bunsei 13 / Tenpō 1 (1830). Ref: Ritsumeikan University # Z0172-587. Title: Yukari no Edo-zakura [ゆかりの江戸桜], often translated into English as 'The Flower of Edo', is a one-act kabuki play Sukeroku, written by Tsuuchi Han'emon (fl. 1701 – 1743) under the supervision of Tsuuchi Jihei II (1673 – 1760 ) at the beginning of the 18th century. From the beginning of the 19th century, the play was performed in the style of katōbushi. 助六所縁江戸桜（すけろくゆかりのえどざくら。「助六」– one of the main melodies in katōbushi (河東節) type of jōruri [浄瑠璃]. For a detailed explanation in Japanese, see also HERE). Plot: In search of the stolen  Minamoto clan's precious sword called Tomokirimaru, Soga Gorō (historical Soga Tokimune [曾我時致], 1174 – 1193) came to a Yoshiwara brothel under the disguise of a debaucher named Hanagawado Sukeroku. His elder brother, Soga Jūrō (historical Soga Sukenari [曾我祐成], 1172 – 1193) ), has assumed the guise of a wine vendor Shinbei. The character who had the Tomokirimaru sword was Ikyū (historical Iga no Heinaizaemon, a Tiara clan's ally), see SVJP-0164.2014. A series of three prints is dedicated to a katōbushi performance of the Soga-themed plays.
    Yukari no Edo-zakura
    Utagawa Sadahide, a.k.a. Gountei Sadahide . Mitate Genji: Suma (Suma, a parody of the Tale of Genji)

    SVJP-0270-2.2019:

    The tatami night robe of Iwao    		 Tangled Hair and the Evening Braided Hat
    They all have a background of hail patterns (Arare-ko-mon) [霰小紋], similar to Kunisada’s Iwai Kumesaburō II as An no Heibei [SVJP-0304.2019], see below. Utagawa Kunisada, a.k.a. Toyokuni III . Kabuki actor Iwai Kumesaburō II as An no Heibei 1829
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  • Utagawa Kuniyoshi . A Summer Evening. A beauty in purple kimono decorated with cranes and waves catching a firefly among morning glories and anise 1853

    Utagawa Kuniyoshi. A Summer Evening / Fan print, 1853.

    Artist: Utagawa Kuniyoshi [歌川 國芳] (Japanese, 1798 – 1861). Publisher: Enshuya Matabei [遠州屋又兵衛] (Japanese, fl. c. 178 – 1881) – no seal, ref: Kunisada Project. Title: A Summer Evening [夏乃夕暮] (Natsu no Yūgure). A young woman in purple kimono decorated with cranes and waves catching a firefly among yellow and purple flowers. Signed: Ichiyosai Kuniyoshi ga [一勇斎 国芳 画] in a red cartouche and sealed with paulownia (kiri mon). Date seal and double nanushi censor seals: Fuku & Muramatsu, 1853 (Kaei 6, 2nd month). No publisher's seal. Size: Uchiwa-e (untrimmed fan print) 228 x 296 mm. The yellow flower is probably Patrinia scabiosifolia (ominaeshi) [女郎花]. The purple flower seems to be Platycodon grandiflorus or Balloon Flower (kikyō) [桔梗]. Besides, there are visible panicles of  Miscanthus sinensis, or Japanese pampas grass (susuki) [薄]. These three are part of the Seven Grasses of Autumn (aki no nanakusa) [秋の七草].  
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  • Utagawa Kunisada, a.k.a. Toyokuni III .

    Utagawa Kunisada (Toyokuni III). Three good fortunes of the present day / Fan print, 1856.

    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 red toshidama cartouche. Publisher: Mikawaya Heiroku [三川屋平六] (Japanese, fl. c. 1848 – 1856); seal: Mihei [三平] (Marks 11-016 | 325a) Block carver: Yokokawa Takejirō [横川竹二郎] (Japanese, fl. 1845 – 1863), seal: 彫竹 – Hori Take. Date seal and aratame censor seal: [辰正] Ansei 3, 1st month (1856). Inscriptions: Right cartouche: Three good fortunes of the present day [当世三福対] (Tosei sambuku tsui) Center cartouche: Ubuge no Kintaro [産毛の金太郎] (うぶげのきんたろう)  According to Horst Graebner, the play is Tomigaoka koi no Yamabiraki (or Tomioka Koi no Yamabiraki [富岡戀山開], according to kabuki21.com, common title Ninin Shinbē [二人新兵衛]); Kintarō might be Nakamura Fukusuke I [中村福助], the female role might be Mikuni Kojorō [三国小女郎] (or Mikuni no Kojorō). Nakamura Shikan IV [中村芝翫] (Japanese, 1831 –  1899); other names: Nakamura Fukusuke I, Nakamura Masanosuke I, Nakamura Komasaburō, Nakamura Tamatarō I.
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  • Utagawa Kunisada, a.k.a. Toyokuni III .

    Utagawa Kunisada (Toyokuni III). Ichikawa Ebizō V as Sano Jirōzaemon / Fan print, 1850.

    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 red toshidama cartouche. Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, fl. C. 1845 – 1847), seal: San [三] (Marks 11-001 | 127c). Block carver: Matsushima Fusajirō [松嶋房次郎] (Japanese, fl. 1843 – 1850); seal [彫工房] – Hori kō Fusa. Double nanushi censor seal: Kunigasa & Watanabe (1849-50). Actor: Ichikawa Danjūrō VII [市川団十郎] (Japanese, 1791 – 1859); other names: Ichikawa Ebizō V [市川海老蔵], Ichikawa Hakuen II, Ichikawa Shinnosuke I. Play: Yukari no Hana Iro mo Yoshiwara [紫花色吉原], performed at the Kawarazaki Theater (Edo) from the 5th day of the 5th lunar month of Kaei 3 (1850) (see Kabuki Playbill at MFA (Boston) № 11.27996). Sano Jirōzaemon [佐野次郎左衛門] – provincial commoner who killed a famous Yoshiwara courtesan named ManjiyaYatsuhashi [万字屋 八ツ橋] (on the second sheet of the pair):

    SVJP-0298.2019: Ichikawa Ebizō V as Sano Jirōzaemon.

    SVJP-0297.2019: Iwai Kumesaburō III as Manjiya Yatsuhashi
    Another Kunisada's print with the same characters in the same play and same performance can be seen at MFA (Boston) № 11.40190. One more example can be seen at the two upper images in Waseda University Cultural Resources Database, № 006-2707:  
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  • Utagawa Sadahide, a.k.a. Gountei Sadahide . Yokohama kōeki seiyōjin nimotsu unsō no zu - Western traders loading cargo in Yokohama - 横浜交易西洋人荷物運送之圖 1861

    Utagawa Sadahide, a.k.a. Gountei Sadahide . Yokohama kōeki seiyōjin nimotsu unsō no zu – Western traders loading cargo in Yokohama – 横浜交易西洋人荷物運送之圖 1861

    Utagawa Sadahide, a.k.a. Gountei Sadahide (Japanese, 1807 – c. 1878–1879), 五雲亭 貞秀, 歌川 貞秀, Yamaguchiya Tōbei, Yokohama kōeki seiyōjin nimotsu unsō no zu - Western traders loading cargo in Yokohama - 横浜交易西洋人荷物運送之圖, 1861, Woodblock print (nishiki-e); ink and color on paper, Horizontal Ōban Pentaptych: 5 x (37 x 25.5 cm), Alternative title: Picture of Western Traders at Yokohama Transporting Merchandise (Cat. Reisonée: Yokohama ukiyo-e, Yurindo, 1979: №50). Japanese pentaptych print shows an American ship in the harbor at Yokohama, Japan; small boats ferry cargo which is being carried up a gangplank contributing to the bustle of activity on the main deck. April, 1861. SOLD
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  • Utagawa Kunisada, a.k.a. Toyokuni III . Kabuki actor Iwai Kumesaburō II as An no Heibei 1829

    Utagawa Kunisada (Toyokuni III). Kabuki actor Iwai Kumesaburō II as An no Heibei, from the series ‘Flowers of Edo – the five Karigane blood-brothers’ / Fan print, 1829.

    Artist: Utagawa Kunisada, a.k.a. Toyokuni III (Japanese, 1786 – 1865) [歌川 国貞]. Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, fl. C. 1845 – 1847). Date aratame seal: Bunsei 12 (1829). Signed: Gototei Kunisada ga [五渡亭国貞画]. Media: Fan print (uchiwa-e), 272 x 235 mm. Actor: Iwai Hanshirō VI (Japanese, 1799 – 1836); other names: Iwai Hanshirō VI, Iwai Kumesaburō II, Iwai Hisajirō I, Baiga [梅我] (poetry name), Shūka (poetry name). The background is Arare-ko-mon [霰小紋] hail pattern. Kabuki actor Iwai Kumesaburō II in the role of An no Heibei [安の平兵衛] in the drama Otokodate Itsutsu Karigane [男作五雁金] (Play, 7 acts. Produced 1742/09). From Lyon collection: The real An no Heibei (ca. 1672-1702): "In a gang with Kaitate no Kichiemon, Hote no Ichiemon, Mippiki Jihei and others as of the Seventh Month of 1697. Attacked people with a sword on the sixth day, Seventh Month, 1699, which he then secreted with Kichiemon. On the evening of the sixth day, Sixth Month, 1701, stabbed Kibei, an employee of Kawachiya Gohei of the residential quarter Kyuhoji, in the side with a dagger. A subsequent police investigation resulted in Heibei's arrest the following day. Beheaded at the execution grounds located at Sennichi Mae on the twenty-sixth day of the Eighth Month, 1702." Note: According to Horst Graebner, the actor's name below the series title in the cartouche is Baiga (梅我), the poetry name of Iwai Kumesaburō II. On the other prints in this series, the actors are also named on the other prints with their poetry names. In the red cartouche at the top left is the series title "Edo no hana – itsutsu Karigane" (江戸の花 五雁金), to be translated as "Flowers of Edo - the five Karigane blood-brothers" (or "the five Karigane gang members"). "Since there was no performance with the Karigane brothers from 1829, these must be mitate prints", states Mr Graebner.
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  • Utagawa Sadahide, a.k.a. Gountei Sadahide . Pair of uncut fan prints (1) with the god of wind and (2) with the god of thunder. 1862

    Utagawa Sadahide. The God of Wind and The God of Thunder / Fan print, 1831.

    Artist: Utagawa Sadahide [歌川 貞秀] (Japanese, 1807 – c. 1878-9). Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, c. 1815 – 1869). Date-kiwame seal: 1831 (Tenpō 2). Size: Uchiwa-e, 298 x 232 mm. Signed: 五雲亭 貞秀 (Gountei Sadahide) A pair of uncut fan prints with the god of wind and the god of thunder meant to be pasted on two sides of a uchiwa fan. This is an allusion to the famous painting Wind God & Thunder God [Fujin Raijin, 風神雷神図] by Ogata Korin [尾形光琳] (1658 - 1716). File:Korin Fujin Raijin.jpg And the earlier versions of the same by Tawaraya Sotatsu [俵屋宗達] (1570-1643).
    Utagawa Sadahide, a.k.a. Gountei Sadahide . Pair of uncut fan prints (1) with the god of wind and (2) with the god of thunder. 1862Utagawa Sadahide, a.k.a. Gountei Sadahide . Pair of uncut fan prints (1) with the god of wind and (2) with the god of thunder. 1862
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