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    Utagawa Toyokuni II (a.k.a. Toyoshige ). Ichikawa Danjūrō VII and two kabuki actors as anthropomorphic bats. / Fan print, 1829.

    Artist: Utagawa Toyokuni II [歌川豊国二代] a.k.a. Toyoshige [豊重] (Japanese, (1777 – 1835) Signed: 豊国狂筆 (Toyokuni kyō-hitsu, "mad brush of Toyokuni") Publisher: Maru-Jū (丸重), seal Jū (重), Marks reference 08-079 | U190a (1826–1829, only on fan prints) Censor Seal: Kiwame + Bunsei 12 (Year of the Ox [丑], 1829) Media: Uchiwa-e (fan print), color woodblock print, 230 × 293 mm

    A fantastical kabuki-themed scene depicting three anthropomorphic bats, dressed in Edo-period costumes. The central figure, likely Ichikawa Danjūrō VII (市川團十郎七, 1791–1859), is distinguished by his costume featuring a gourd motif (瓢箪, hyōtan)—a symbol closely linked to the Ichikawa family. He wears two swords, further identifying him as a kabuki hero, and carries a sake flask marked with what appears to be the publisher's emblem. His raised arm (or wing?) suggests a dramatic action, possibly striking or threatening the bat figure on the left, who recoils in response.

    The two side bats, also dressed in patterned kimono, display expressions contrasting with the central figure—one appearing startled, while the other remains cheerful. The oxidized lead-orange pigment used in the lower portions of their wings suggests depth and texture.

    This print reflects Danjūrō VII’s association with both the bat (蝙蝠, kōmori) and the double gourd. Bats were considered lucky symbols due to their resemblance to the character of "good fortune" (福, fuku), and Danjūrō VII often incorporated bat motifs into his stage costumes. The Ichikawa family's crest, the mimasu (三升, "three squares"), was more commonly used, but the double gourd and bat imagery appeared in promotional materials, reinforcing his theatrical identity.
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    Utagawa Kuniyoshi. Courtesan Reading a Letter in Yoshiwara Pleasure District / Fan print, 1856.

    Artist: 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.
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    Begging bowl (Kashkul) with engraved decoration / Persia, 19th century.

    Material: Coco de Mer (Lodoicea maldivica) shell with engraved decoration, bronze chain, metal fittings, and inlaid elements
    Origin: Likely Persia (Iran)
    Date: 19th century
    Dimensions: 270 × 150 × 130 mm
    Weight: 608 g

    This begging bowl (kashkul) is carved from the shell of a Coco de Mer (Lodoicea maldivica) seed, a material historically associated with mysticism and spiritual significance in Persian Sufi traditions. The exterior is intricately engraved with floral motifs, architectural elements, and figural depictions, while a bronze chain is attached via metal loops for carrying or suspension. The bowl retains its natural curvature with a scalloped rim and detailed craftsmanship.

    • Floral and Botanical Motifs: Engraved sunflowers, vines, and foliage patterns symbolizing divine wisdom and enlightenment.
    • Figural Depiction: One side features a standing figure in military attire, possibly a Persian warrior, historical figure, or Sufi dervish.
    • Architectural Details: Arches and ornamental borders suggest Persian or Mughal artistic influences.
    • Inlaid Accents: Small inlays of turquoise or glass enhance the visual appeal and craftsmanship.

    The kashkul was traditionally used by Sufi dervishes as a symbol of renunciation and humility, carried to receive alms and spiritual offerings. The use of Coco de Mer, a rare and exotic material, elevated the object's status, making it a prized possession among high-ranking Sufi mystics.

    Unlike plain metal kashkuls, which often bore inscriptions of Persian poetry or Quranic verses, this example features extensive figural and architectural designs, suggesting it may have been a presentation or ceremonial piece rather than a simple, functional object. The presence of a bronze chain reinforces its portability and use in daily Sufi practices.

    This piece is a rare blend of natural form and intricate artistic craftsmanship, making it a significant example of Persian Sufi material culture.

    See Coco de Mer Seed (Lodoicea maldivica) [VO-0474.2024] in this collection.

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    Begging Bowl (Kashkul) / Persia, 19th century.

    Material: Coco de Mer (Lodoicea maldivica) shell with metal chain
    Origin: Likely Persia (Iran) or the Indian subcontinent
    Date: 19th century
    Dimensions: 205 × 135 × 100 mm
    Weight: 324 g

    This begging bowl (kashkul) is crafted from the shell of a Coco de Mer (Lodoicea maldivica) seed, a rare and symbolic material historically associated with mysticism and exotic origins. The natural curvature of the shell has been hollowed and smoothed for functional use, preserving its organic ridged texture on the exterior. Metal rings are affixed at both ends, supporting a linked chain handle, allowing the bowl to be carried or hung.

    The kashkul was traditionally used by Sufi dervishes as a symbol of humility and asceticism, carried as a vessel for alms and spiritual offerings. The use of Coco de Mer for such objects was particularly esteemed due to its rarity, as the seed was believed to possess mystical properties and was highly valued in Indian Ocean trade networks.

    • Exotic and Sacred Material—Coco de Mer was once considered a fruit from an underwater tree, enhancing its mystical reputation.
    • Mystical Associations – In Sufi thought the empty bowl symbolizes detachment from material life and openness to divine sustenance.
    • Trade and Status – Such bowls were often prized possessions of high-ranking Sufi masters, symbolizing spiritual authority and renunciation of worldly wealth.

    While many kashkuls were crafted from metal (bronze, brass, or silver) and intricately decorated with Persian calligraphy and floral motifs, those made from Coco de Mer were rarer and more valued. The organic curves of the seed naturally complemented the aesthetic and spiritual function of the vessel, making it a highly desirable object.

    This piece represents a rare intersection of natural rarity, spiritual tradition, and craftsmanship, making it a notable example of historical Sufi material culture.

    See Coco de Mer Seed (Lodoicea maldivica) [VO-0474.2024] in this collection.

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    Utagawa Toyokuni I. Portrait of Onoe Kikugorō III without Stage Makeup / Fan print, 1822.

    Artist: Utagawa Toyokuni I [初代豊国] (Japanese, 1769–1825)

    Signed: Toyokuni ga [豊国画]

    Publisher: Kojimaya Jūbei [小嶋屋重兵衛] (Japanese, c. 1797–1869); seal [十]; Marks 06-014 | 264a

    Date-Aratame Seal: 1822 (Bunsei 5, 文政五年)

    Media: Print (Uchiwa-e, うちわ絵, fan print); 223 × 250 mm

    Actor: Onoe Kikugorō III [三代目 尾上菊五郎] (Japanese, 1784–1849); other names: Onoe Baikō III (尾上梅幸), Ōkawa Hashizō I (大川橋蔵初代), Onoe Matsusuke II (二代目尾上松助), Onoe Eizaburō I (初代尾上栄三郎)

    Half-length, three-quarter-view portrait of Onoe Kikugorō III, depicted without stage makeup. The actor wears a kimono patterned with plum blossoms (梅, ume), symbolising perseverance and longevity. A neck scarf with a 格子 (kōshi) pattern is visible, and he holds a folding fan (扇, ōgi) decorated with chrysanthemums (菊, kiku).

    Above his head is the Onoe family crest (mon), embracing oak leaves on layered fans. This emblem, known as the crest of the Otowaya line, commemorates a shogunal gift of rice cakes wrapped in oak leaves, placed on a fan, and presented to Onoe Kikugorō I.

    The background features a radiating red-line pattern, possibly representing the bamboo structure of an uchiwa fan. The absence of kumadori (歌舞伎隈取, kabuki makeup) suggests that the actor is not portrayed in a specific role.

    In 1822, Onoe Kikugorō III performed at Kawarazaki-za before month 11 and at Ichimura-za and Nakamura-za afterwards.

    The print has been backed for preservation with a sheet of paper featuring calligraphy, likely contemporary to the print itself. The backing paper appears to have been repurposed, a common historical practice in the Edo period, where discarded documents or manuscripts were reused to reinforce delicate prints.

    Kunisada portrayed the same actor in 1815 as Rokusaburō, the Carpenter (Daiku Rokusaburō).

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    Utagawa Toyokuni I. Kabuki actor Onoe Baikō III as Konjin Chōgorō / Fan print, 1815.

    Artist: Utagawa Toyokuni I [初代豊国] (Japanese, 1769–1825) Signed: Toyokuni ga [豊国画] Publisher: Iseya Sōemon [伊勢屋惣右衛門] (c. 1776 – November 1862); Marks 02-041 | 156a Gyōji Aratame Censor Seal: 行事改, 1810-18151 Media: Print (Uchiwa-e, うちわ絵, fan print), kira-zuri (きら摺り, mica printing); 222 × 250 mm

    Actor: Onoe Baikō III [三代目尾上梅幸] (Japanese, 1784–1849); Other names: Onoe Kikugorō III (尾上菊五郎), Ōkawa Hashizō I (大川橋蔵初代), Onoe Matsusuke II (二代目尾上松助), Onoe Eizaburō I (初代尾上栄三郎)

    Role: Konjin Chōgorō (金神長五郎) Play: Ku Kyōdai Shōbu Katabira (句兄弟菖蒲帷子) Theater: Nakamura-za (中村座), Edo, 1815 Half-length, three-quarter-view, facing to the left portrait of Onoe Baikō III as Konjin Chōgorō, in the play Ku Kyōdai Shōbu Katabira, staged at Nakamura-za in 1815. The actor wears a purple kimono with a plum blossom motif (梅, ume).

    A print from the Waseda University Tsubouchi Memorial Theatre Museum also depicts Onoe Baikō III as Konjin Chōgorō, showing him holding a box inscribed with 神金 (Kane no Kami). The name Konjin consists of the same kanji in reverse order – reading right to left (金神).

    Konjin Chōgorō is a legendary figure in Japanese folklore, renowned as a formidable sumo wrestler. His tales often depict him engaging in supernatural feats, such as vanquishing demons and showcasing extraordinary strength.

    In the realm of kabuki theatre, Konjin Chōgorō's character has been portrayed in various plays, though specific details about Ku Kyōdai Shōbu Katabira (句兄弟菖蒲帷子) remain unknown.

    Notes

    1. A certain confusion regarding the attribution of this print arises from the statement by Andreas Marks (Publishers, 2011, p. 488), which asserts that the gyōji aratame seal was used exclusively for fan prints between 1810 and 1814. However, it is known that Onoe Baikō III performed the role of Konjin Chōgorō at Nakamura-za in the 5th month of 1815. Marks also notes that the earliest known fan print bearing this seal dates to 1810; based on this new evidence, we may now consider the latest known instance to be the 5th month of 1815.

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    Utagawa Toyokuni I. Kabuki actor Segawa Kikunojō V as Kurenaiya Okan / Fan print, 1819.

    Artist: Utagawa Toyokuni I [初代豊国] (Japanese, 1769–1825) Signed: Toyokuni ga [豊国画]. Publisher: Iseya Sōemon [伊勢屋惣右衛門] (c. 1776 – November 1862); Marks 02-041 | 156a Date-Aratame Seal: 1819 (Bunsei 2, 文政二年) Media: Print (Yakusha-e, 役者絵); 221 × 253 mm Play: Ume Yanagi Wakaba no Kagazome (梅柳若葉加賀染) Theater: Tamagawa-za (玉川座), Edo, May 1819 Role: Kurenaiya Okan (紅屋おかん) Actor: Segawa Kikunojō V [瀬川菊之丞] (Japanese, 1802–1832); Other name: Segawa Tamon I (瀬川多聞初代) Bust-length, three-quarter-view portrait of Segawa Kikunojō V as Kurenaiya Okan in the play Ume Yanagi Wakaba no Kagazome, staged at Tamagawa-za in May 1819. The male actor Segawa Kikunojō V performs an onnagata role, portraying a courtesan. She is depicted adjusting her elaborate shimadamage-style coiffure, fixing a kanzashi (簪, hairpin) while holding onkotogami (御懲紙, tissue paper) in her mouth. The onkotogami was traditionally used for intimate hygiene, suggesting that the scene represents a moment after encountering a client. Her inner kimono is safflower-dyed and has a hemp leaf pattern (麻の葉, asa no ha). The top half of the background features a giant golden carp (鯉, koi), a recurring motif in this pair of prints often associated with strength, perseverance, and kabuki’s aragoto style. This print forms a pair with the portrait of Ichikawa Danjūrō VII as Yushima no Sankichi [SVJP-0439.2025], but no conclusive information is available regarding the relationship between their characters. The carp also alludes to Boys' Day (Tango no Sekku, 端午の節句), celebrated on May 5th each year.
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    Utagawa Toyokuni I. Kabuki actor Ichikawa Danjūrō VII as Yushima no Sankichi / Fan print, 1819.

    Artist: Utagawa Toyokuni I [初代豊国] (Japanese, 1769–1825) Signed: Toyokuni ga [豊国画]. Publisher: Iseya Sōemon [伊勢屋惣右衛門] (c. 1776 – November 1862); Marks 02-041 | 156a Date-Aratame Seal: 1819 (Bunsei 2, 文政二年) Media: Print (Yakusha-e, 役者絵); 221 x 253 mm

    Actor: Ichikawa Danjūrō VII [七代目市川團十郎] (Japanese, 1791–1859); Other names: Ichikawa Ebizō V (五代目市川海老蔵), Ichikawa Hakuen II (二代目市川白猿), Ichikawa Shinnosuke I (初代市川新之助).

    Role: Yushima no Sankichi (ゆしまの三吉) Play: Ume Yanagi Wakaba no Kagazome (梅柳若葉加賀染) Theater: Tamagawa-za (玉川座), Edo, May 1819 Bust-length, three-quarter-view portrait of Ichikawa Danjūrō VII as Yushima no Sankichi, in the play Ume Yanagi Wakaba no Kagazome, staged at Tamagawa-za in May 1819. The actor is depicted with his arms crossed over his chest, holding a pipe (kiseru, 煙管) in his right hand. The upper half of the background features a giant golden carp (鯉, koi), symbolizing Boys' Day (Tango no Sekku) (端午の節句), celebrated on May 5th each year. This print forms a pair with the portrait of Kabuki actor Segawa Kikunojō V as Kurenaiya Okan [SVJP-0440.2025], but no conclusive information is available regarding the relationship between their characters.
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    Utagawa Toyokuni I. Kabuki actor Bandō Mitsugorō III as Anno Heibei / Fan print, 1818.

    Artist: Utagawa Toyokuni I [初代豊国] (Japanese, 1769–1825)

    Publisher: Iseya Sōemon [伊勢屋惣右衛門] (c. 1776 – November 1862); Marks 02-041 | 156a

    Date-Aratame Seal: Bunsei 1 (文政元年, 1818)

    Media: Print (Yakusha-e, 役者絵); 223 x 250 mm

    Actor: Bandō Mitsugorō III [三代目 坂東 三津五郎] (Japanese, 1775–1831); also known as Bandō Minosuke I, Morita Kanjirō II, Bandō Mitahachi I, Bandō Minosuke I, Bandō Mitahachi I.

    Role: Anno Heiemon [安の平右衛門], also known as Anno Heibei [安の平兵衛].

    Play: Shiire Zome Karigane Gomon [仕入染雁金五紋] (しいれぞめかりがねごもん), staged in May 1818 at Nakamuraza Theatre in Edo (modern-day Tokyo).

    Bust-length, three-quarter-view portrait of actor Bandō Mitsugorō III as Anno Heibei, one of the gonin otoko [五人男]—a group of five chivalrous thieves. The actor is dressed in a red and purple robe, with a golden mon (family crest) on the shoulders, displaying the character 安 (An), which, in this case, represents the first ideogram in the name of his role. A shakuhachi (尺八), a traditional Japanese end-blown bamboo flute, is secured on his back.

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    Utagawa Kunisada (Toyokuni III). Kabuki actor Matsumoto Kōshirō V as Hanakawado no Sukeroku / Fan print, 1822.

    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].
    This bust-length portrait depicts kabuki actor Matsumoto Kōshirō V in the role of Hanakawado no Sukeroku under a vast umbrella, in a three-quarter view, facing right, with his fist firmly clenched, and with an expression of intensity and determination. His protuberant nose is accentuated, a defining feature of Matsumoto Kōshirō V. The actor wears a black outer robe adorned with stylized peonies (牡丹, botan), a floral motif symbolizing strength, nobility, and elegance—qualities that define both the Sukeroku character and Kōshirō V’s acting style. The print belongs to the yakusha-e (役者絵, "actor print") genre, celebrating kabuki stars of the Edo period. The artist's signature, publisher’s seal, and censor’s seal are written on the umbrella. Play Sukeroku sakura no futae obi was staged in March 1822 (Bunsei 5) at Kawarazaki Theater (歌川戸室) in Edo (Tokyo). In this version of the Sukeroku narrative, the protagonist is revealed to be Jirō Suketoshi of Kyoto [京の次郎祐俊], a nobleman in disguise. Like other Sukeroku adaptations, the story centres on themes of chivalry, revenge, and romantic rivalry in Edo’s pleasure quarters. Another Kunisada's portraits of Matsumoto Kōshirō V as Sukeroku, in Ōban format:

    The History of Sukeroku in Kabuki Theater

    The play Sukeroku (English title Sukeroku: Flower of Edo), originally titled Hana Yakata Aigo Zakura (花館愛護櫻), premiered in the 3rd lunar month of 1713 at Yamamuraza in Edo. The script was written by Tsuuchi Han'emon (津打半右衛門) under the guidance of Tsuuchi Jihē II (津打治兵衛, 1679–1760). The inaugural performance featured Ichikawa Danjūrō II as Sukeroku, Tamazawa Rin'ya as Agemaki, Ikushima Shingorô as the shirozake seller (白酒売り) Shinbē, and Yamanaka Heikurô I as Ikyū. Three years later, in 1716, Tsuuchi Jihē II revised the play, integrating it into the well-known Soga brothers' revenge tale. In this adaptation, Sukeroku, Agemaki, and Shinbē were revealed to be Soga Gorō Tokimune, the courtesan Kewaizaka no Shōshō, and Soga Jūrō Sukenari, respectively. This revised version was staged at Nakamuraza in the 2nd lunar month of 1716, with Ichikawa Danjūrō II reprising the role of Sukeroku, joined by Nakamura Takesaburô I (Agemaki), Mimasuya Sukejûrô I (Shinbē), Sodeoka Masanosuke II (Soga’s mother Mankō), and Ôtani Hiroemon I (Ikyū). Over time, Sukeroku became closely associated with the Ichikawa Danjūrō acting lineage, captivating Edo audiences and securing its place in the kabuki repertoire. Though traditionally performed by members of the Naritaya guild, the role of Sukeroku was occasionally played by actors from outside the Ichikawa family. The play was later staged under the title Sukeroku Yukari no Edo Zakura for the first time in the 4th lunar month of 1782 at Ichimuraza, with Ichimura Uzaemon IX portraying the titular role. Comparison to Toyokuni I’s 1816 Print Kunisada’s portrait can be viewed as a homage to his mentor, Utagawa Toyokuni I [初代歌川豊国] (1769–1825), whose earlier 1816 bust-length portrait of Iwai Hanshirō V [岩井半四郎] as Sukeroku (published by Ibaya Senzaburō [伊場屋仙三郎]) shares a similar composition and dramatic pose. While Matsumoto Kōshirō V’s portrayal (Kunisada, 1822) emphasizes power and masculinity through the peony motif, Iwai Hanshirō V’s 1816 version (Toyokuni I) reflects grace and refinement, featuring a kimono adorned with irises (菖蒲, shōbu)—a flower symbolizing purity and elegance. Additionally, the word shōbu (iris) is a homophone for 尚武, meaning "martial spirit", subtly reinforcing Sukeroku’s strength beneath his stylish exterior. These contrasts highlight the differences in kabuki acting styles—with Kōshirō V specializing in strong, heroic roles and Hanshirō V excelling in onnagata (female-role) performances.
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    Utagawa Kuniyoshi. Peony, from the series Flower-colored papers / Fan print, 1843-46.

    Peonies (Shakuyaku) [芍薬] Series: Flower-Colored Papers (Hana Shikishi) [花色紙] Artist: Utagawa Kuniyoshi [歌川 國芳] (Japanese, 1798–1861) Signature: Chō-ō-rō Kuniyoshi ga (朝櫻楼 國芳 画) Publisher: Kojimaya Jūbei [小島屋 十兵衛] (Japanese, 1797 – 1869); seal 十, Marks 06-014 | 264a Date/Censorship Approval: Nanushi seal Yoshimura (吉村) for Yoshimura Gentarō (吉村 源太郎), VI/1843–XI/1846. Medium: Rigid fan print (Aiban Yoko-e Uchiwa-e, 合判横絵 団扇絵), 222 x 284 mm.

    Interpretation of the Inscription in the Floral Cartouche

    • 花色紙 (Hana Shikishi) – "Flower-Colored Paper" or "Decorative Shikishi Paper with Floral Motifs"
    • 芍薬 (Shakuyaku) – "Peony", a flower symbolizing prosperity, beauty, and romance in Japanese culture
    • 団扇絵 (Uchiwa-e) – "Round Fan Illustration" or "Picture on an Uchiwa (rigid fan)"

    Description & Symbolic Analysis

    This print, part of the Hana Shikishi (Flower-Colored Papers) series, depicts a woman washing a basin after brushing her teeth. She is positioned behind an indigo-colored folding screen, adorned with a repeating pattern of distant pines, presented in reverse printing technique (wyabori, 捺ぼり). The screen is a visual separator, adding depth and an intimate atmosphere to the scene. The woman is portrayed in a three-quarter view, facing left, her face delicately contoured. She is dressed in a safflower-dyed kimono (furisode, 振袖) featuring an asanoha (麻の葉, hemp leaf) shibori pattern, a motif often associated with purity and protection. Over this, she wears an outer garment decorated with an indigo bamboo motif, symbolizing strength and resilience. Additionally, the garment features:
    • Double gourd (瓢箪, hyōtan) symbolises longevity, fertility, and good fortune.
    • Strips of paper resembling “next-morning letters” (kinuginu no fumi, 衣衣の文) – These evoke romantic correspondence or the written wishes of the Tanabata festival.
    • Spools or reels of thread (chikiri, 糸巻き) – A motif reminiscent of Tanabata festival themes, often linked to the celestial lovers Orihime and Hikoboshi. The phonetic pun with chigiri (契り, vow or romantic promise) reinforces themes of marriage, fate, and lifelong bonds.
    This alludes to the famous poem from the Ogura Hyakunin Isshu: 契りきな かたみに袖を しぼりつつ 末の松山 波越さじとは (Chigiriki na, katami ni sode o, shibori tsutsu, Sue no Matsuyama, nami koso sashi to wa) “Did we not vow, through tears, our sleeves wet with grief, that the waves would never break over the tip of Matsuyama?” This poem by Minamoto no Toshiyori (c. 1055–1129) expresses a promise of eternal love, comparing it to the unshakable Matsuyama mountain, which remains firm despite the waves.

    Adornment & Hairstyling

    Her elaborate hairstyle features a red hair tie (musubi, 結び), signifying youth and romantic allure. It is further adorned with:
    • Golden kogai (笄) – A decorative hairpin, often used by courtesans or high-ranking women.
    • Tama kanzashi (玉簪) – A ball-tipped ornamental hairpin, reinforcing her refined status.
    These elements suggest she could be either a courtesan (oiran, 花魁) or an upper-class woman.

    Objects in the Scene & Their Symbolism

    The woman is holding a traditional Japanese toothbrush (fusa-yōji, ふさ楊枝) in her right hand, while pouring out water from the basin after brushing her teeth. This act symbolizes purity and preparation for intimacy. To her right, an ornate lacquered writing box (suzuribako, 硯箱) is placed near an inkstone (硯, suzuri). This object could also be interpreted as a dreamstone (梦石, mèng shí), a scholar’s object associated with nostalgia, love, or secret communication.

    Context in Ukiyo-e Tradition

    Tooth brushing was uncommon in bijin-ga (美人画, "beautiful woman prints"). Ukiyo-e frequently depicted women engaging in personal grooming rituals, reflecting ideals of elegance and self-care in Edo-period culture.
    Two additional fan prints from the Hana Shikishi series have been identified and can be found at the Kuniyoshi Project website:
    1. Morning Glory (Asagao, 朝顔)
    2. Clematis (Tessen, 鉄線)

    Morning Glory (Asagao, 朝顔)

    Clematis (Tessen, 鉄線)
    These prints, like Peonies (Shakuyaku), emphasize seasonal beauty and feminine refinement, themes central to Kuniyoshi’s bijin-ga oeuvre.
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    Utagawa Toyokuni I. Actor Iwai Hanshiro V in the role of Shirai Gonpachi / Fan print, 1823.

    Kabuki actor Iwai Hanshiro V, in the role of Shirai Gonpachi, stands under a willow tree (yanagi, 柳) to read a letter from the courtesan Komurasaki of the Miuraya [三浦屋小紫]. In this letter, Komurasaki laments their unfortunate love. This is a scene from the kabuki play The Floating World's Pattern and Matching Lightning Bolts (Ukiyozuka hiyoku no inazuma) [浮世柄比翼稲妻] written by Tsurya Namboku IV [鶴屋南北]; it was played for the first time in March 1823 at Ichimura Theatre [市村座] in Edo. This play was later divided into two individual pieces: Saya-ate [鞘当] and Fuwa [不破]. On the shoulders of the actor's garment is a character 井 in a circle — both names, Iwai 岩井 and Shirai 白井, use this character.

    "Ukiyozuka Hiyoku no Inazuma" is a kabuki play in nine acts, written by Tsuruya Nanboku IV. It premiered in Bunsei 6 (1823) at the Ichimura-za theatre in Edo.

    The play includes two particularly famous scenes:

    • "Suzugamori no ba" (The Scene at Suzugamori), which portrays the episode of Banzuiin Chōbei and Shirai Gonpachi
    • "Yoshiwara Nakanochō no ba" (The Scene at Yoshiwara Nakanochō), which depicts the story of Nagoya Sanza and Fuwa Banzaemon

    These scenes have been frequently performed under the well-known titles "Gozonji Suzugamori" (A Well-Known Suzugamori) and "Sayaate" (The Scabbard Clash).

    More information about the play and the real story behind it can be found at Lyon Collection. Actor: Iwai Hanshirō V [岩井半四郎] (Japanese, 1776 – 1847); other names: Iwai Tojaku, Iwai Kumesaburō I. Role: Shirai Gonpachi [白井権八] Artist: Utagawa Toyokuni I [歌川豊国] (1769–1825). Signed: Toyokuni ga [豊国画]. Publisher: Enshūya Matabei [遠州屋又兵衛] (Enterprise, active c. 1768 – 1881); seal: “to” (ト) under roof (Marks 01-031 | 057a). Date-aratame censor seal: 未改, Bunsei 6 (1823). Media: Aiban yoko-e uchiwa-e 団扇絵), 233 x 260 mm.
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    Utagawa Kunimasa IV. Kabuki actor Ichikawa Sadanji I as Mannenya Kamei Tarō / Fan print, 1880 (Meiji 13).

    Title: Kabuki Actor Ichikawa Sadanji I as Mannenya Kamei Tarō
    Artist: Utagawa Kunisada III (Baido Kunimasa) [Japanese, 1848–1920]
    Signature: Baidō Kunimasa hitsu (梅堂國政筆)
    Actor: Ichikawa Sadanji I (市川左団次, also known as Ichikawa Shōjaku I, Ichikawa Koyone, Ichikawa Tatsuzō) [Japanese, 1842–1904]
    Role: Mannenya Kamei Tarō (万年屋家名太郎)
    Play: Unidentified
    Publisher: Shimōsaya Masukichi (下総屋升吉)
    Publisher’s Address: Asakusa, Kurofune-chō (浅草 黒舩)
    Date: [明治十三年三月] Meiji 13 (1880), 3rd month
    Medium: Uchiwa-e (団扇絵, fan print), ink and colour on paper, 245 × 282 mm

    This uchiwa-e (fan print) by Utagawa Kunisada III (also known as Utagawa Kunimasa IV) portrays the kabuki actor Ichikawa Sadanji I in the role of Mannenya Kamei Tarō. The figure is depicted in a dramatic stance, dressed in a striking blue kimono adorned with fish and wave motifs, suggesting a maritime or festival connection. He carries a large basket supported by a fabric strap around his neck, filled with small toy fish attached to sticks, along with round objects that could be festival sweets or miniature decorations. He holds one of these toy fish-on-a-stick items in his right hand, possibly demonstrating it as part of a vendor's performance.

    The background is a bold, deep red, contrasting with the detailed rendering of the actor’s expression and costume. The print was published in 1897 (Meiji 30) by Shimōsaya Masukichi, a publisher based in Asakusa, Kurofune-chō. Though the exact play remains unidentified, the composition captures a moment from a kabuki performance where street vendors and festival sellers were often featured as comic or supporting characters in Edo-period narratives.

    This work exemplifies the continuation of traditional kabuki actor portraiture into the Meiji period, reflecting both theatrical culture and popular printmaking traditions at the time.

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    Utagawa Kuniyoshi. Good tailoring, from the series ‘It’s an auspicious day to…’ / Fan print, 1842-46.

    A half-length portrait of a woman seated in an interior, winding red thread, dressed in a richly decorated kimono featuring intricate floral motifs in blue, green, and brown hues with a red underlayer. Her elaborately styled hair is adorned with a yellow comb and multiple hairpins. To her left is a partially visible wooden chest of drawers, to which a piece of red paper bearing calligraphy is affixed. A puppet or doll dressed in a patterned kimono with a striking red-painted face rests on her lap or a surface before her.

    An uncut fan print (aiban yoko-e uchiwa-e) entitled “Good tailoring” or “Good sewing [仕立ものよし] (shitate monoyoshi)” from the series "It’s an Auspicious Day to…" [最上吉日つくし] (Saijō [no] kichijitsu tsukushi).

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

    Signature: Ichiyûsai Kuniyoshi giga (一勇斎 國芳戯画, playfully drawn by Ichiyûsai Kuniyoshi).

    Publisher: Enshūya Matabei [遠州屋又兵衛] (Enterprise, active c. 1768 – 1881); seal: "to" (ト) under roof (Marks 01-031 | 057a). Nanushi seal Watari (渡) for Watanabe Shōemon, VI/1842-V 1c/1846. Media: Fan print (uchiwa-e, 団扇絵), 224 x 290 mm. Reference: (1) Kuniyoshi project; (2) Tokyo Museum Digital Archive [Thanks to Horst Greabner]
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    Unknown. Carp swimming by water weeds / Fan print, late Edo period.

    An uncut fan print depicting a carp (koi) swimming amid aquatic plants against a deep blue background. Artist: unknown/unsigned, possibly Katsushika Hokusai [葛飾 北斎] (Japanese, 1760 – 1849). Publisher: Enshūya Matabei [遠州屋又兵衛] (Japanese, fl. c. 1768 – 1881) Date: No date seal, no censor seal (privately printed?) Media: Fan print (uchiwa-e, 団扇絵), 224 x 290 mm. Similar subject:    

    Katsushika TAITO II (fl. c. 1810-53)

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    Millefiori paperweight with sulphide portrait of Louis Napoleon Bonaparte / Cristalleries de Saint-Louis, 1852-71.

    Transparent colourless lead glass paperweight with sulphide portrait of Napoléon III undersigned 'L.Napoléon' in a millefiori circle. Character: Napoleon III, Charles-Louis Napoléon Bonaparte (French, 1808 – 1873) Maker: Compagnie des Cristalleries de Saint Louis, Saint-Louis-lès-Bitche, département Moselle, région Grand Est.  
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    Utagawa Kunisada. Ichikawa Danjūrō VIII at an Announcement Ceremony / Fan drawing, c. 1850.

    Rigid 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.  
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    Utagawa Kunisada. Ichikawa Danjūrō VII as Kinugawa Iemon and Iwai Kumesaburō II as Tōfuya Kasane in kabuki play ‘Banzei okuni kabuki’ / Fan print, 1827.

    Ichikawa 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):    
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    Utagawa Kunisada. Woman arranging the hairpins, from the series ‘The taste of the new type of woman’ / Fan print, c. 1835.

    Half-length portrait of a beautiful young woman wearing a chrysanthemum-patterned green kimono, face directed 3/4 to the right, holding her hands together and fingers spread, arranging the hairpins in her elaborate hairdo; garments of different colours and pattern designs on the background. Series: The taste of the new type of woman (Shingata bijin konomi) [新形美人好]. Artist: 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 yellow double-gourd cartouche. No publisher seal. No censor/date seal. Media: Untrimmed fan print (Aiban yoko-e uchiwa-e), 228 x 305 mm.
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    Utagawa Kunisada. Woman holding a wine bottle, from the series ‘The taste of the new type of woman’ / Fan print, c. 1835.

    Series: The taste of the new type of woman (Shingata bijin konomi) [志んかた美人好]. Artist: 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. No publisher seal. No censor/date seal. Media: Untrimmed fan print (Aiban yoko-e uchiwa-e), 228 x 302 mm.
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    Utagawa Kuniyoshi. Beautiful woman appearing from beneath an awning, from the series ‘Moon and sun shells for tomobiki’ / Fan print, c. 1845.

    Series: Moon and sun shells for tomobiki (Tsukihigai ataru tomobiki) [月日貝あたるともびき] – hiragana inscription in the red cartouche. According to Kuniyoshi Project, Tomobiki (友引) is a fortuitous day for conducting business. There are also other meanings of the same notion of 友引. Artist: Utagawa Kuniyoshi [歌川 國芳] (1798 – 1861). Signed: Ichiyûsai Kuniyoshi ga [一勇斎 國芳戯画] (drawn by Ichiyūsai Kuniyoshi) in a red double-gourd cartouche with a kiri-mon seal beneath. Publisher: Ibaya Kyūbei [伊場屋久兵衛] (Japanese, 1804 – 1851); seal [板元,久] – Hanmoto, Kyū; Marks 19-040|126e. Single nanushi censor seal: Mura [村] = Murata Sahei [村田佐右衛] (VI/1842 – V/1846). This series has five more known prints; some have Tanaka [田中] censor seal (I/1844–II/1845). Media: Fan print (uchiwa-e, 団扇絵), 230 x 297 mm.
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    Katsukawa Shun’ei. Sumo Wrestlers / Fan print, c. 1800.

    Artist: Katsukawa Shun'ei [勝川 春英] (Japanese, 1762 – 1819) Signature: Shun'ei ga [春英画] Dimensions: Aiban yoko-e uchiwa-e, 230 x 268 mm. Censor seal: absent (probably because before 1810). Publisher: Iseya Sōemon – 板元,上, Marks 21-216|156g: Hanmoto, Ue. A blue seal in the middle of the print.
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    Utagawa Toyokuni I. Tenth lunar month, from the series ‘Fashionable twelve months’ / Fan print, 1822.

    Title: Tenth lunar month (Shoto no zu) [初冬の図]. Series: Fashionable Twelve Months [今様十二ヶ月] (Imayo juni-kagetsu). Another version of the translation: Modern Beauties of Twelve Months. Artist: Utagawa Toyokuni I [歌川豊国] (1769–1825). Signed: Toyokuni ga [豊国画] and sealed with toshidama. Pubisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, 1815 – 1869), seal: Dansendō [伊場仙]. Date-kiwame seal: Ushi (ox), Bunsei 5 (1822). Size: double-sheet uncut fan print (aiban uchiwa-e), each 220 x 289 mm.
    Other five prints of this series: SVJP 0326.2020; SVJP-0362.2022; SVJP-0363.2022; SVJP-0364.2022; SVJP-0365.2022; SVJP-0379.2022.
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    Utagawa Hiroshige II. The Great Waterfall at the Twelve Shrines of Tsunohazu / Fan print, 1861.

    Title: The Great Waterfall at the Twelve Shrines of Tsunohazu (Tsunohazu juniso otaki) [角筈十二社大滝] from an untitled set of views of famous places in Edo. Artist: Utagawa Hiroshige II [二代目 歌川広重] (Japanese, 1826 – 1869) – a son-in-law of Andō Hiroshige. Signature: Hiroshige ga [廣重画] Dimensions: Aiban yoko-e uchiwa-e, 226 x 291 mm. Combined date/censor seal: tori, 酉 / kiwame 極 – 1861 (Man'en 2 / Bunkyū 1 from 19/II). Publisher: Yama-Ta; seal: [板元, 太] – Hanmoto, Ta; Marks 19-044 | U421b: An unknown publisher in Edo, fl. c. 1815-61. Provenance: Collection of Maroni, Albert (French, 1852 – 1923), red stamp in the bottom-left corner. Reference: [LIB-3429.2025] Christie’s, New York: Japanese Art, Thursday 24 April 1997 / Sales Catalogue; lot № 312.
    An aizuri-e (blue print) on a popular topic, many times depicted by Andō Hiroshige and Hiroshige II, including the below print by the latter No. 45, the Twelve Kumano Shrines at Tsunohazu (Tsunohazu Kumano jûnisha), from the series Forty-Eight Famous Views of Edo (Edo meisho yonjûhakkei)「江戸名所四十八景　四十五　角筈熊野十二社」
     
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    Utagawa Hiroshige. The secret meeting between Ushiwakamaru and the daughter of Kiichi Hōgen, from the series Scenes from the life of Ushiwaka / Fan print, 1849-52.

    Title: The Secret Meeting between Ushiwakamaru and the Daughter of Kiichi Hōgen (Kiichi Hōgen ga hisho o miro) [鬼一法眼が秘書をみる] Series: Scenes from the life of Ushiwaka (Ushiwaka zue) [牛若図会] 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] Dimensions: Aiban yoko-e uchiwa-e, 226 x 303 mm. Censor seal: Hama & Magome [濱 / 馬込]:  1/1849 – 2/1852 (Kaei 2-5) Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, fl. C. 1845 – 1847), seal: San [三] (Marks 11-001 | 127c). According to Rupert Faulkner (2001), another copy of this fan print is housed at Ōta Memorial Museum (ŌMM 1998, № 258). There are four other known prints from this series: (1) The Meeting at Yahagi: The Beginnings of the Jorurijunidan Story (Yahagi no Shuku Jorurijunidan no Hajime); (2) Ushiwakamaru practising swordsmanship at Sojogatani (ŌMM 1998, no.256); (3) Ushiwakamaru's encounter with Benkei on Gojo Bridge (Matsuki 1924, no.93); and (4) Ise no Saburo swearing an oath of loyalty to Ushiwakamaru (Kanagawa Prefectural Museum of Cultural History). Kiichi Hōgen [鬼一法眼] is a legendary monk and warrior who trained Ushiwakamaru (young Minamoto no Yoshitsune) in swordsmanship, tactics, and magic.  

    Rupert Faulkner (2001)

    Another print (Ushiwakamaru's encounter with Benkei on Gojo Bridge) from this series is in the collection of the Art Institute of Chicago under the title Killing One Thousand People at Gojo Bridge (Gojo no hashi sennin kiri).

    AIC Reference Number 1925.3802

    Reference: (1) Rupert Faulkner. Hiroshige Fan Prints / Victoria and Albert Museum, Far Eastern Series. — London: V&A Publications; NY: Harry N. Abrams, Inc., 2001. (2) Christophe Marquet. Hiroshige: Les éventails d'Edo / Estampes de la collection Georges Leskowicz. — Paris: In fine, 2022. [Thanks to Horst Graebner].
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    Utagawa Hiroshige. Flower calendar for the famous cherry blossoms / Fan print, 1842-46.

    Title: Flower calendar for the famous cherry blossoms (Hana goyomi meisho sakura) [花暦名所櫻]. A scene from an imaginary (mitate) kabuki play. Names of the characters (left to right): Kiyomizu/Shimizu Seigen [清水清玄]; Yakko (footman) Yodohei [奴淀平]; koshimoto (court lady) [こしもと];  Sakura hime (princess) [桜姫]. The same characters appear in a few real kabuki plays. 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] Dimensions: Aiban yoko-e uchiwa-e, 232 x 295 mm. Censor seal: "Mura" [村] for Murata Sahei [村田佐兵衛], used from VI/1842 to V/1846 (Tenpō 13 – Kōka 3). Publisher: Enshūya Matabei [遠州屋又兵衛] (Enterprise, active c. 1768 – 1881); seal: "To" (ト) (Marks 01-031 | 057a). [Thanks to Horst Graebner].
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    Utagawa Hiroshige II. Famous places in Bushū and Kanagawa: Gankirō Tea House in Yokohama / Fan print, 1860.

    In red cartouche: Famous places in Bushū and Kanagawa (Bushū Kanagawa meisho) [武州神奈河名昕] In yellow striped square: Gankirō in Yokohama (Yokohama Gankirō) [横濱巌亀楼] / new spelling 横浜岩亀楼. The three kanji [岩亀楼] (Gankirō) are also visible on the sign or lantern above the food tray, carried on the head by a man on the left. Gankirō – the largest 'tea house' (brothel) for foreigners in the Miyozaki pleasure quarters, similar to those in Yoshiwara, in Edo. Artist: Utagawa Hiroshige II [二代目 歌川広重] (Japanese, 1826 – 1869) – a son-in-law of Andō Hiroshige. Signature: Hiroshige ga [廣重画] Dimensions: Aiban yoko-e uchiwa-e, 223 x 289 mm. Combined date/censor seal: monkey (saru - 申) and kiwame (極), 1860. Publisher: Yama-Ta; seal: [板元, 太] – Hanmoto, Ta; Marks 19-044 | U421b: An unknown publisher in Edo, fl. c. 1815-61. Another Hiroshige II's print with the same subject and even the same characters, but in 3rd month, 1859: Entrance to the Gankirō Tea House in the Miyozaki District, Yokohama, Bushu (Bushu Yokohama Gankirō) [諸国名所百景　武州横浜岩亀楼]. Utagawa Yoshikazu's [歌川芳員] depiction of the place in c. 1861 from the inside: [Thanks to Horst Graebner].
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    Octave‎ Uzanne. L’art dans la décoration extérieure des livres en France et à l’étranger : les couvertures illustrées, les cartonnages d’éditeurs, la reliure d’art (1 vol. in 2). — Paris: L.-Henry May; Société française d’éditions d’art, 1898.

    Two hardcover volumes 280 x 210 mm each, collated in-4to, with continuous pagination, total number of pages 431, uniformly bound by Pierre Ouvrard in ¾ morocco over marbled boards, spines are decorated with floral designs and gilt-lettered labels; floral diaper endpapers, top margin gilt; profusely illustrated in b/w and dual-tone. Limited edition of 1060 numbered copies with №№ 1-60 printed on wove paper (papeir Japon) and №№ 61-1060 on wove paper (papier vélin), of which this is copy № 138. Vol. 1: blue binding, original pictorial wrappers (colour woodcut) bound in; collation π4 a2 1-344: [2] h.t., [2] pictorial t.p., [i-iii] iv-vi, [1] 2-268. Engraved title-page by Leon Rudnicki, in red and black, in a frame: L'ART | DANS LA DECORATION EXTERIEURE DES LIVRES | en France et à L'Étranger | Les Couvertures illustrées | les Cartonnages d'Éditeurs | la Reliure d'Art | par | OCTAVE USANNE | {vignette} | Paris | Société Française d'Éditions d'Art | L-Henry May | 9 et 11 Rue Saint-Benoit 9 et 11 | 1898 || Imprint: Exemplaire N° 138. | IL A ÉTÉ TIRÉ DE CETTE ÉDITION | Mille Exemplaires SUR PAPIER VÉLIN | NUMÉROTÉS DE 61 A 1060 | ET | Soixante Exemplaires SUR JAPON | NUMÉROTÉS DE 1 A 60. ||

    Frontispice, en deux tons, de RICHARD WALLACE; Tire, Ornements, Tétes de Chapitres et Culs-de-lampe de Léon RUDNICKI.

    Vol. 2: brown binding; collation: one ffl, 64 leaves of plates printed on both sides, unpaginated, then [269] 270-272 [4] two ffls. Colophon: CE LIVRE | a été achevé d'imprimer | SUR LES PRESSES TYPOGRAPHIQUES | DE LA MAISON LAHURE | à Paris | {vignette} | Le vingt-cing Novembre | 1897 | PAR LES SOINS DE L'AUTEUR |POUR | LA SOCIÉTÉ FRANÇAISE D'ÉDITION D'ART | L.-H. MAY, ÉDITEUR || Contributors: Octave‎ Uzanne (French, 1851 – 1931) – author/compiler. L.-Henry-May (French, late 19th century) – publisher. Société française d'éditions d'art (Paris) – publisher. Léon Rudnicki (French, 1831 – 1958) – engraver/artist. Louis Rhead (British-American, 1857 – 1926) Pierre Ouvrard (Canadian, 1929 – 2008) – bookbinder.
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    Gustave Geffroy. L’enfermé : avec le masque de Blanqui (deuxième mille). — Paris: Charpentier, 1897.

    Hardcover, 184 x 122 mm, burgundy quarter shagreen over marbled boards, binding savagely restored (ex-library copy) with orange paper, handwritten title to spine in black ink with a catalogue number on top, marbled endpapers; half-title and title with library ink stamps, original wrappers not present, frontispiece: death mask of Blanqui etched by Félix Bracquemond del. et sc., imp. Porcabeuf, with protection sheet. Pp.: [2 blanks] [2 - ht/advert.] [2 - blank/frontis.] [2 - t.p. / blank] [2 - dedication/blank] 1-442, 443-4 table, 445-6 afterword by G.G., [2 blanks]. Title-page: GUSTAVE GEFFROY | — | L'ENFERME | AVEC LE MASQUE DE BLANQUI | eau-forte inédite de F. BRACQUEMOND | — | (in rules) DEUXIÈME MILLE | — | PARIS | BIBLIOTHÈQUE CHARPENTIER | EUGÈNE FASQUELLE, ÉDITEUR | 11 RUE DE GRENELLE, 11 | 1897 | Tous droits réservés || For another copy published in 1919, see LIB-3362.2024.
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    Hippolyte Diard. Études sur le système pénitentiaire et sur son application au régime des prisons de France. — Tours: Ladevèze, 1875.

    Hardcover, 217 x 140 mm, bound in quarter vellum over marbled boards, lettering to spine, collated 8vo: π4 1-108 114 (i.e. 88 leaves), pp.: [i-v] vi-viii, [1] 2-168; to front pastedown armorial bookplate “Bibliothèque de Mr de Barante № ___” and pencil inscription “B-183-F”, to rear pastedown bookseller’s ticket “№ 2683”. Title-page: ÉTUDES | SUR LE | SYSTÈME PÉNITENTIAIRE | ET SUR | SON APPLICATION | AU RÉGIME DES PRISONS DE FRANCE | Par M. H. DIARD | PRÉSIDENT HONORAIRE A LA COUR D'APPEL DE RIOM, OFFICIER DE LA LÉGION | D'HONNEUR ET DE L'INSTRUCTION PUBLIQUE, MEMBRE DE LA SECIÉTÉ D'AGRICULTURE, | SCIENCES, ARTS ET BELLES-LETTRES DU DÉPARTEMENT D'INDRE-ET-LOIRE | — | TOURS | IMPRIMERIE LADEVÈZE | Rue Chaude, 6. | — | 1875 || Provenance: Engraved armorial bookplate of Claude Antoine Prosper Félix Brugière, baron de Barante (French, 1851 – 1925). Author: Charles François Hippolyte Diard (French, 1795 – 1877), président à la cour impériale de Riom, Officier de la Légion d'honneur (12 AUG 1869). Printer/publisher: Imprimerie Rouillé-Ladevèze (1834 - 1910). Seller's note: "Rare first edition, rare in commerce. Proposes reforms for the French prison system based on the study of the methods of America and other European countries, including Ireland and England. With a section on the handling of young offenders and agricultural detention centres, like that at Mettray".
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    Jean B. Elaroff. Saint-Pétersbourg et ses environs / Avec 2 plans et une carte (Guide pratique du voyageur). — St. Pétersbourg: Société de librairie française en Russie, 1892.

    Hardcover 165 x 118 mm, red cloth with gilt cursive lettering to front, collated 8vo: π6 1-158 161, i.e. 127 leaves; pp.: [i-x] xi-xii, [1] 2-241 [242] plus two folding plates – plan of the Hermitage and city map. Title-page: GUIDE PRATIQUE DU VOYAGEUR | SAINT-PETERSBOURG | ET | SES ENVIRONS | PAR | JEAN B. ELAROFF | — | AVEC 2 PLANS ET UNE CARTE | ST-PÉTERSBOURG | — | SOCIÉTÉ DE LIBRAIRIE FRANÇAISE EN RUSSIE | ANCIENNE MAISON MELLIER & Cie | A. ZINSERLING, SUCCr | 20, Perspective Nevsky, 20 | 1892 || Imprint: (in rules) Дозволено цензурою. С.-Петербургь, 17 іюня 1892 г. | (under waved rule) Imprimerie TRENKÉ & FUSNOT, Maximilianovsky pér., Nº 13.
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    Eléonore, ou l’heureuse personne / Deuxième édition. — Paris: Marchands de nouveautés, VIII [1799/1800].

    Hardcover volume 129 x 84 mm boards, 123 x 76 mm block, full contemporary lavalier-glazed calf, signed DUCASTIN at spine tail, panels framed with a gold fillet and a blind frieze, flat spine decorated with gilt fillets and fleurons, roulettes at the head and tail, garnet red calf title label with gilt lettering, gilt dotted lines on the edges, interior dentelle, marbled endpapers, all edges gilt, “GERARD NORDMANN EX-LIBRIS” bookplate to front pastedown. Collation 18mo: A-O6 P5 (i.e. 89 leaves); pp.: [i-v] vi-viii [9] 10-178, plus 5 plates with tissue guards, incl. frontispiece, and one flyleaf at the front and one at the rear. Plates: It is believed the edition had only 3 plates, including the frontispiece, and two plates were added, one signed “C. p. Marillier, inv. — E. De Ghendt sculp.” Title-page: ELÉONORE, | OU | L'HEUREUSE PERSONNE. | Deuxième Édition. | — | A PARIS, | Chez les Marchands de nouveautés. |— | AN VIII. || Catalogue raisonné: Dutel № A-314, p. 109 ; Nordmann II №188, p. 93. Provenance: Gustave Lehec (French, 1841 – 1922); Gérard Nordmann (Swiss, 1930 – 1992). Contributors: Clément Pierre Marillier (French, 1740–1808) – artist Emmanuel Jean Nepomucène de Ghendt (Flemish, worked in France, 1738–1815) – engraver Alexis Pierre Ducastin [Ducastaing] (French, 1785 – 1860) – binder Nordmann's description: In-18 écu (124 x 78 mm). 178 pp. A frontispiece and 2 free figures. 2 added figures, one signed after Marillier and engraved by de Ghendt. Contemporary binding signed by Ducastin. Glazed lavallière calf, double frame of the covers with a gold fillet and a blind frieze, spine decorated with gilt fillets and fleurons, roulettes at the head and tail, garnet calf title piece, gilt title, dotted lines on the edges, interior lace, marbled guards, gilt edges (some minor foxing). The second edition (very likely a fictitious mention) is of great rarity. It is decorated with a frontispiece and has engraved figures, to which two additional plates have been added. The story is the reverse of that of Tiresias: a woman is endowed by a sylph with the power to be alternately a man and a woman and to taste the pleasures of each of the two sexes. "This results in numerous and very piquant adventures; easy and graceful style" (Galitzin). MAGNIFICENT COPY, RARE IN ITS FULL STRICTLY CONTEMPORARY BINDING and signed on the back by one of the great bookbinders of the time, Pierre Alexis Ducastin (1785-1860), member of a dynasty of printers and bookbinders dating back to Henri IV. Lehec cites this copy in his Galitzin catalogue (no. 546): "...charming copy; lavalier calf stamped very rare, admirable conservation". Pia Enfer, 412; B.N. Enfer, 634.
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  • Charles Le Blanc. Notice de quelques copies trompeuses d’estampes anciennes. — Paris: l’Autor; Deflorenne Neveu, 1849.

    Hardcover, 206 x 138 mm, quarter blue buckram over marbled paper boards, red and green calf labels with gilt lettering to spine; pp.:[2] [1-5] 6-34 (53, i.e. 35), [36], [2]; collated [1]6, 24, 34, 46 i.e. 20 leaves plus 13 leaves of plates. Bookseller ticket to front pastedown A. Aubry libraire, 18 rue Séguier, Paris. Title-page: NOTICE | DE | QUELQUES COPIES TROMPEUSES | D'ESTAMPES ANCIENNES | Extraite et traduite de l'Ouvrage intituled : | ANLEITUNG ZUR KUPFERSTICHKUNDE, PAR BARTSCH | AVEC DES ADDITIONS | PAR M. CH. LE BLANC | DE LA BIBLIOTHÈQUE NATIONALE DE PARIS. | — | ( Tiré à deux cents exemplaires. ) | PARIS | Chez l'AUTEUR, rue du Bac, 89; | Chez DEFLORENNE Neveu, quai de l'École, 16. | 1849. || Author: Charles Le Blanc (French, 1817 – 1865)
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  • Kawanabe Kyōsai. Swallows and fūrin / Fan print, late 19th c.

    Artist: Kawanabe Kyōsai [河鍋 暁斎] (Japanese, 1831 – 1889) Signed: Seisei Kyosai [惺々暁斎], and sealed. Media: Fan print (uchiwa-e, 団扇絵), 215 x 233 mm. Publisher: Unknown / No seal Date: Unknown / No seal Media: Fan print (uchiwa-e, 団扇絵), 215 x 233 mm. Possibly, a private order. Wind chimes (fûrin, 風鈴) are associated with a Wind Chimes Festival [風鈴祭り], held in summer all over Japan. Seller's description: wo swallows streak by with seeming joy past a fûrin, a wind bell. These Japanese wind chimes were introduced to Japan in the Heian era, and in the Edo period, they began to be constructed out of glass. We see the hanging length of paper twisting in the breeze as it creates a delightful chime; these tones are a characteristic sound of summer in Japan. A layer of deluxe mica covers the entire design, lending sparkle. This work was meant to be pasted onto an uchiwa, or fan, for summer use.
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  • Utagawa Kunisada. Kabuki actors Seki Sanjūrō II as Nakano Tōbei L (top), Bandō Mitsugorō III as Miki Jūzaemon (left), and Matsumoto Kōshirō V as Akabori Mizuemon (right) / Fan print, 1817.

    Artist: Utagawa Kunisada, a.k.a. Toyokuni III (Japanese, 1786 – 1865) [歌川 国貞]. Publisher: Unidentified, Marks 01-033|U335a To-Chū [ト忠] Date-aratame seal: Bunka 14 (1817). Signed: Kunisada ga [国貞画]. Media: Fan print (uchiwa-e), 230 x 270 mm. Kabuki play Chūkō shōbu-gatana [忠孝菖蒲刀] performed at the Nakamura Theater in Tokyo (Edo) in 5/1817. Actor Seki Sanjūrō II [関三十郎], a.k.a. Seki Utasuke I; Nakamura Utasuke; Arashi Sôtarô; Meijin Seki; Sekisan (Japanese, 1786 – 1839) as Nakano Tōbei [中野藤兵衛] – top. Actor Bandō Mitsugorō III [坂東三津五郎], a.k.a. Bandô Minosuke I, Morita Kanjirô II, Bandô Mitahachi I, Bandô Minosuke I, Bandô Mitahachi (Japanese, 1775 – 1831) I  as Miki Jūzaemon [三木十左衛門] – left. Actor Matsumoto Kōshirō V [松本幸四郎], a.k.a. Ichikawa Komazô III; Ichikawa Sumizô I (Japanese, 1764 – 1838) as Akabori Mizuemon [あかぼり水右衛門] – right. Reference images:  
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  • Gil Blas Illustré, hebdomadaire: 1896, 6 Année: №1° (5 janvier) — № 52 (25 décembre), Paris.

    French weekly periodical, full set for the year 1896 (52 issues), 4 leaves (8 pages) each issue, bound in green half sheepskin over green shagreen, ruled with blind dentelle, raised bands, gilt floral diamonds and gilt lettering in compartments, marbled endpapers, blank flyleaves; size 405 x 280 mm. Illustrated mainly by Théophile Alexandre Steinlen (French, 1859 – 1923), Paul Balluriau [Jean-Baptiste Balluriau] (French, 1860 – 1917) and Albert Guillaume (French, 1873 – 1942).
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