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Vol. 1: Collation: 8vo; π4 1-98 104 111, (total 81 leaves), plus 22 plates, incl. frontispiece, each in two states, before and after lettering, (total 44 leaves of plates). Pagination: [i-v] vi-viii [1] 2-154, ils. Vol. 2: Collation: 8vo; π2 1-118 123, (total 93 leaves), plus 18 plates, each in two states, before and after lettering, (total 36 leaves of plates). Pagination: [4] [1] 2-182, ils. Binding: two volumes, 23.3 x 15.5 cm each, uniformly bound in red crushed morocco, raised bands and gilt lettering to spine, elaborate gilt dentelle inside, marbled endpapers; text printed on slightly blueish laid paper, two edges roughly trimmed, top edge gilt. Plates in two states, before lettering in black and with lettering in sepia, drawn and engraved/etched by Nicolas Ransonnette. Bookplates "Ex Libris Laurentii Aurrie" and another, lettered "D J T F", to front pastedown in both volumes. Catalogue raisonné: Lewine: 248; Cohen-deRicci: 502-3. Both Lewine and Cohen & de Ricci attribute “Aventures” to Diego Hurtado de Mendoza (Spanish, 1503 – 1575, whose authorship seems quite unlikely. Contributors: Nicolas Ransonnette (French, 1745 – 1810) – artist/engraver. Pierre-Nicolas Firmin Didot (French, 1769 – 1836) – publisher/printer. Jean Antoine de Charnes (French, 1641 – 1728) – translator. George De Backer (French, fl. 1691 – 1726) – translator/editor. -
Description: 12mo, full calf, 12.9 x 7.4 cm, boards chain-bordered in gilt, front board gilt-lettered with the name of the owner “T. D. TOWNSEND”, flat spine, adorned in gilt, black label with gilt lettering, red endpapers, bookstore ticket to front pastedown: SOLD BY | ASH & MASON, | 139 Chesnut st.; ink ms inscription to ffep: Presented to | T. D. Townsend by | Mrs. Rebecca Cole of Burlington, N. Y. | Septr 29th 1827. Note: Ash & Mason bookstore and printing house in Philadelphia, PA. Engraved title-page: THE | LIFE & ADVENTURES | OF | Robinson Crusoe | Written | BY HIMSELF. | {vignette by C. Warren after T. Uwins, inscribed “Robinson on his periagua, making the circuit of his island”} | LONDON. | J. Walker & the other Proprietors | 1818. || Frontispiece: seated portrait of Robinson Crusoe in his bungalow with a dog and a cat by C. Warren after T. Uwins, inscribed below: ROBINSON CRUSOE | surrounded by his domestics || under the frame: T. Uwins del — C. Warren sculp.; beneath: London. Pub. by Walker & the other Proprietors || Title-page: THE | LIFE & ADVENTURES | OF | ROBINSON CRUSOE; | WRITTEN BY HIMSELF. | — | LONDON: | Printed for J. Walker; | 8 lines of names… and B. Reynolds. | 1818. || Collation: A6 (A1 torn out, A2 blank), B-Z12, 2A-2D12, 2E10 (2E8-10 blank); total 328 leaves plus two plates (engraved frontispiece and engraved title). Pagination: [2 torn out] [2 blank], [i-iii] iv-vi [2 blank] [1] 2-638 [6 blank]; total 656 pages, ill. Contributors: Daniel Defoe [Daniel De Foe] (British, 1660 – 1731) – author. Thomas Uwins (British, 1782 – 1857) – artist. Charles Warren (British, 1762 – 1823) – engraver. J Walker & Co. [Walker & Edwards] (London) – publisher. Ellerton and Henderson, Printers (London) – printer. -
Description: Two volumes, collated 4to, usually described as 12mo, 16.5 x 10.5 cm each, uniformly bound in full calf, bordered in gilt with a triple-fillet over blind dentelle, flat spine ornamented in gilt with two crimson labels, gilt dentelle inside, blue marbled endpapers with previous owner bookplate to front pastedown in each vol.: "W. E. A. MACDONNELL. | NEW HALL | Co. of Clare.", and a ticket in a blue border “162”. Illustrated by T. Bewick after J. Thurston with frontispiece portrait of Robert Burns, numerous woodcut endpieces and a total of 14 full-page woodcut vignettes throughout. Title-page: THE | POETICAL WORKS | OF | ROBERT BURNS; | WITH HIS LIFE | ORNAMENTED WITH | ENGRAVINGS ON WOOD BY MR. BEWICK | FROM ORIGINAL DESIGNS BY MR. THURSTON. | — | IN TWO VOLUMES. | VOL I. (VOL. II.) | — | ALNWICK: | Printed by William Davison. | SOLD BY THE BOOKSELLERS IN ENGLAND, SCOTLAND | AND IRELAND. | – | 1808. || Vol. 1: Collation: π3 (1st blank, engraved frontispiece portrait of R. Burns, t.p.), a2 b-e4, A-Z4, 2A-2E4 (2E)4 (last two blank); total 137 leaves, numerous endpieces and 9 woodcut plates by Thomas Bewick after John Thurston within collation. Pagination: [2 blank] [i-v] 6 (i.e. vi) xlii [43-45] 46-268 (265-268 marked 263–266, respectively, [4 blank]; total 274 pages, of which 6 blank (pagination by Hugo: xlii, 297, 26), full-page plates opposite to pp. 73, 82, 106, 127, 141, 178, 192, 213, 219. Vol. 2: Collation: π5 (1st blank, t.p., 3 leaves of contents), A-B4 (C omitted) D-Z4, 2A-2G4 (2H omitted) 2I2 2K-2M4 2N1 χ2; total 138 leaves, numerous endpieces and 6 woodcut plates by Thomas Bewick after John Thurston within collation. Pagination: [2 blank] [i-iii] iv-xi (v marked vii, viii marked ix), 12-270 (16 marked 17, 76 marked 67, 84 marked 86, 96 marked 90, 112 marked 110, 203-207 marked 205-209, 220-224 marked 222-226), [4 blank]; total 276 pages, of which 6 blank (pagination by Hugo: xii, 320), full-page plates opposite to pp. 11, 40, 70, 191, 221. Catalogue raisonné: Hugo (1866): № 230, v. 1, p. 92-93; according to Hugo, the year 1808 was not stated, the number of pages in each volume is different to my copy. Provenance: Colonel William Edward Armstrong-Macdonnell (Irish, 1858 – 1883) of New Hall, Ennis, County Clare, Ireland (presumed). Contributors: Robert Burns (Scottish, 1759 – 1796) – author. Thomas Bewick (British, 1753 – 1828) – engraver. John Thurston (British, 1774 – 1822) – artist. William Davison (British, 1781 – 1858) – printer/publisher. -
Description: Owner’s quarter calf over marbled boards, 14.5 x 10.5 x 4.5 cm, spine with raised bands, gilt-lettered brown label “H. ROCHEFORT | LA LANTERNE | 1868 | LÉON NOËL”, marbled endpapers; first 11 issues of Henri Rochefort’s journal bound together with original front and back red pictorial wrappers. Front wrapper (first two issues white of red, subsequent issues black on orange background, the text is similar): La | Lanterne | par | {vignette of the lantern} Henri Rochefort | Prix: 40 centes | Bureaux : | 3 rue Rossini & rue Coq Héron, 5 | PARIS || Back wrapper (first two issues white of red, subsequent issues black on orange background, the text is similar): La Lanterne | PARTAIT TOUS LES SAMEDIS | (52 fois par an). | — | Prix d’Abonnement | Un An 20 fr | Six Mois 10 fr | Trois Mois 5 fr | — | Les Mandats doivent être adresses | A Mr. Dumont ADMINISTRATEUR | ❦ | Imprimerie Central des Chemins de Fer A. Chaix & Cie | 20, rue Bergère, à Paris_4608 _ 8 || Collation/pagination: 3 blanks, № 1: fw [1] 2-56 [8] bw; № 2: fw, [57] 58-115 [116] [2] bw; № 3: fw [117] 178 bw; № 4: fw [179] 180-238 [4] bw; № 5: fw [239] 240-298 [4] bw; № 6: fw [299] 300-361 [362] bw; № 7: fw [363] 364-423 [424] [2] bw; № 8: fw [425] 426-483 [484] [4] bw; № 9: fw [1] 2-58 [6] bw; № 10: fw [1] 2-58 [6] bw; № 11: fw [1] 2-59 [60] [4] bw; 3blanks. Contributors: Victor Henri Rochefort, Marquis de Rochefort-Luçay (French, 1831 – 1913) – editor. Alban Chaix (French, 1860 – 1930); Napoléon Chaix (French, 1807 – 1865) – publishers. Dubuisson et Cie (Paris) – printer. -
[Choderlos de Laclos.] Les Liaisons dangereuses, lettres recueillies dans une société, et publiées pour l’instruction de quelques autres; par M. C*** de L*** / Ornées de 6 gravures d'après Devéria. — Londres: s.n., 1820. Description: two volumes, collated 12mo, 17.1 x 10.6 cm each, modern binding – recently bound in quarter brown calf with gilt lettering, fillets and black fleurons to spine over green marbled boards; bookplate to front pastedown in each volume: “Ex-Libris | F.-M. Caye”. Printed on laid paper, each volume is illustrated with a frontispiece and two plates engraved by various engravers after Achille Devéria under the direction of Ambroise Tardieu. Title-page: LES LIAISONS | DANGEREUSES, | LETTRES RECUEILLIES | DANS UNE SOCIÉTÉ, | ET PUBLIÉES POUR L’INSTRUCTION DE QUELQUES AUTRES. | PAR M. C*** DE L***. | {3 lines of citation from J.-J. Rousseau} | TOME PREMIER (TOME SECOND) | — | A LONDRES. | ~ | M.D.CCC.XX. || Collation: Vol. 1: π8 1-1412 156, total 182 leaves plus 3 engraved plates: frontispiece and opposite to pp. 37 and 338. Pagination: [1-5] 6-16, [1] 2-348, total 364 pages. Vol. 2: π2 16 2-1512 162, total 178 leaves plus 3 engraved plates: frontispiece and opposite to pp. 25 and 316. Pagination: [4] [1] 2-352, total 356 pages. Provenance: Caye, F.-M. Pierre Ambroise François Choderlos de Laclos (French, 1741 – 1803) – author. Achille Jacques-Jean-Marie Devéria (French, 1800 – 1857) – artist. Engravers: Ambroise Tardieu (French, 1788 – 1841) Jean Baptiste Touzé (French, fl. 1810 – 1830) Jean Jacques Frilley (French, 1797 – after 1850) Achille Lefèvre (French, 1798 – 1864) Jean Louis Toussaint Caron (French, 1790 – 1832) -
Artist: Utagawa Kuniyasu [歌川 国安] (Japanese, 1794–1832). Publisher seal: [太] (Ta): Marks 02-050 | U421b: An unknown publisher in Edo, fl. c. 1815-61; name assigned according to seal shape “Yama-Ta“. Signed: Kuniyasu ga [国安 画]. Date-aratame seal: Bunsei 9 (1826). Actors: 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) — as Shirai Gonpachi [白井權八]. Ichikawa Danjūrō VII 市川団十郎 (Japanese, 1791 – 1859), other names: Ichikawa Ebizō V, Ichikawa Hakuen II, Ichikawa Shinnosuke I — as Banzui Chōbei [幡随長兵衛]. Kabuki play: Suzugamori [Suzu-ga-Mori, 鈴ヶ森], a.k.a. Ukiyozuka Hiyoku no Inazuma written by Tsuruya Nanboku IV (Japanese, c. 1755 – 1829). First staged in 1823 at Ichimura-za [市村座] in Edo. Plot: "A gang of evil palanquin bearers are stationed near the Suzugamori execution grounds, where they lay in wait to rob travellers passing through. Gonpachi, who killed a man in his home province, is being sought by the police. He is fleeing to Edo when the bearers attack him in hopes of claiming a reward. He beats them off with great skill. Banzui Chōbei, who is being carried by in a palanquin, sees the attack, admires Gonpachi's ability, and promises to aid him if he is going to Edo". [Samuel L. Leiter. Historical Dictionary of Japanese Traditional Theatre. — Rowman & Littlefield, 2014; p. 382-3.; LIB-2110.2019]. Ref.: Sotheby's. -
Title: On the Banks of the Kamo River [加茂堤] (Kamo Tsutsumi), sometimes transcribed as Kamo Zutsumi. Series: A Parody of Sugawara [美立菅原] (Mitate Sugawara). The word mitate is usually written as 見立 but here it is 美立, like on another Kunisada's fan print A beauty reading a book on a balcony overlooking a bay: A Parody of Sugawara Stripes (see SVJP-0334.2021 in this collection). On the Banks of the Kamo River is a scene from the play Sugawara's Secrets of Calligraphy [菅原伝授手習鑑] (Sugawara Denju Tenarai Kagami); it was originally written for the puppet theatre (Bunraku) and staged for the first time in the 8th lunar month of 1746 in Ôsaka at the Takemotoza. It was adapted for Kabuki the following month and staged for the first time in Kyôto at the Kitagawa no Shibai, produced by Nakamura Kiyosaburô I. It was also performed for the first time in Edo, at the Ichimuraza, in the 3rd lunar month of 1747. The shape of the cartouche resembles an ox cart viewed from the back which alludes to the scene Fighting for the Carriage (Kuruma biki). Artist: Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代 歌川 豊国] (Japanese, 1786 – 1865). Signed: Toyokuni [豊国] in a red toshidama cartouche. The character ga [画] is missing (cut out). Publisher’s seal: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, fl. 1815 – 1869). The date seal and censor seals were possibly trimmed out. According to [LIB-3008.2022] Andreas Marks (Tuttle, 2010; p. 267), the series was produced by Ibaya in 1851. Ref.: (1) Samuel L. Leiter. Historical dictionary of Japanese traditional theatre (Historical dictionaries of literature and the arts) / 2nd edition. – Lanham: Rowman & Littlefield, 2014©. (2) Andreas Marks. Japanese woodblock prints: Artists, publishers and masterworks, 1680 – 1900 / Foreword by Stephen Addiss. — Tuttle Publishing, 2010©. Acknowledgements: This masterpiece of ukiyo-e would not be properly described without input from Elena Varshavsky and Horst Graebner. -
Artist: Utagawa Yoshikazu [歌川芳員] (Japanese, fl. c. 1850 – 1870). Publisher: Wakasaya Yoichi [若狭屋与市] (Japanese, fl. 1794 – 1897). Combined date seal and kiwame censor seal: 1861 (Man'en 2 / Bunkyū 1, from 19/02). -
One of five fan prints from the series The Pride of Edo Compared to the Five Elements [Edo jiman mitate gogyo]. Artist: Utagawa Hiroshige [歌川 広重] a.k.a. Andō Hiroshige [安藤 広重] (Japanese, 1797 – 1858). Publisher: Ibaya Kyubei [伊場屋 久兵衛] (Japanese, fl. 1804 – 1851). Signed: Hiroshige ga Censor’s seal: Muramatsu Publisher's seal: Kinseido (Ibaya Kyubei) The text in the fan-shaped cartouche reads: "Water: The Square Aqueduct that Crosses by Suido Bridge Suggests the comparison of Ochanomizu to Water [Mizu: Ochanomizu josui no himasu Suidobashi areba gogyo no uchi mizu ni nazorau]". Ref: Rupert Faulkner. Hiroshige Fan Prints. Victoria and Albert Museum. Far Eastern Series. Hardcover - Harry N. Abrams, Inc. - 2001 [LIB-1344.2017] № 22, p. 51. Comment from Sebastian Izzard: This series of five prints features full-length figures of women set in landscapes around Edo compared to the five natural elements: fire, water, earth, wood, and metal. A preparatory drawing for the “Wood” image, featuring a woman crossing a bridge in the snow at the timber yards of Fukagawa, is owned by the Kanagawa Prefectural Museum of History in Yokohama. A preparatory drawing also exists for the “Earth” image, which portrays a woman seated on a bench at Nakabashi, for which no print is extant. Two examples exist of the “Fire” subject, which pictures a woman holding a lantern at night on an embankment, while in the river behind her fishermen employ fire to trap their catch. The “Water” image depicts a woman on a pleasure boat on the Ocha-no-mizu waterway. One example of the “Metal” subject is known, which was included in Izzard's Important Japanese Prints 1830–1860 March 14–20, 2020 exhibition [LIB-2398.2020], as №. 51.
Metal. Izzard, 2020.
Fire. Faulkner, 2001.
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Kominato in Awa province [Awa Kominato] – one of five fan prints in the series Famous places in the Bōsō peninsula [Bōsō meisho], devoted to the trip undertaken by Hiroshige in 1852 to Bōsō peninsula (present-day Chiba prefecture). “Two fashionably dressed women beside the veranda of a wayside inn gaze out over Uchiura Bay toward the Tanjō Temple on the far shore, as a boat sets out to the sea from the fishing hamlet of Kominato. …Hiroshige’s viewpoint is from the lower slopes of Mount Kiyosumi”. Ref: Sebastian Izzard. Important Japanese Prints 1830–1860 March 14–20, 2020 exhibition [LIB-2398.2020], №. 52. Not in Faulkner's Hiroshige Fan Prints. Artist: Utagawa Hiroshige [歌川 広重] a.k.a. Andō Hiroshige [安藤 広重] (Japanese, 1797 – 1858). Publisher: Tsujiya Yasubei [辻屋安兵衛] Kinkaido [錦魁堂] (Japanese, c. 1842 – 1863) Date seal and double nanushi censor seal: Mera & Watanabe; Kaei 5, 11th month (1852). Signed: Hiroshige ga [広重 画] in a red cartouche. Size: Fan print (Aiban yoko-e uchiwa-e); 225 x 292 mm. -
The Bay of Kuroto in Kazusa province [Kazusa Kuroto no ura] – an uncut fan print showing "Three women, wearing stylish cotton summer robes are shown in a skiff, admiring the view of Mount Fuji while looking back at the other passengers being helped into small boats". From the series: Views of famous places in the provinces [Shokoku meisho zue]. Ref: Sebastian Izzard. Important Japanese Prints 1830–1860 March 14–20, 2020 exhibition [LIB-2398.2020], №. 53. Not in Faulkner's Hiroshige Fan Prints, however, there are three other prints from the series, under № 95, 96 and 97 on p. 95. Artist: Utagawa Hiroshige [歌川 広重] a.k.a. Andō Hiroshige [安藤 広重] (Japanese, 1797 – 1858). Publisher: Iseya Sōemon [伊勢屋惣右衛門] (Japanese, c. 1776 – 1862). Date seal: 2/1855 Signed: Hiroshige ga. Censor's seal: aratame (certified) and date. Publisher's seal: Iseya Sōemon. Size: Aiban yoko-e uchiwa-e; 22.9 x 29.8 cm -
An uncut fan print showing a young woman checking her makeup in a mirror from the series The pride of Edo [江戸じまん] (Edo jiman). The head portrait in the red circle is of kabuki actor Danjūrō VII. Ichikawa Danjūrō VII [市川団十郎] (Japanese, 1791 – 1859); other names: Ichikawa Ebizō V, Ichikawa Hakuen II, Ichikawa Shinnosuke I. Artist: Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代 歌川 豊国] (Japanese, 1786 – 1865). Publisher: Ibaya Kyūbei [伊場屋 久兵衛] (Japanese, fl. 1804 – 1851). Artists signature: Ōkō Kunisada ga [應好国貞画] (Drawn to satisfy the taste of Kunisada) Publisher’s seal:久 – Ibakyū [伊場久]. Censor's seal: Kiwame; date seal: Bunsei 10 (1827). Saze: Aiban uchiwa-e; 23.2 x 28.9 cm. Ref.: [LIB-2967.2022] Utagawa Kunisada (1786 – 1865): His world revisited / Catalogue № 17, Exhibition March 17-21, 2021. — NY: Sebastian Izzard, LLC., 2021; p. 102, Cat. 28–fig. a. -
Artist: Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Artists signature: Kunisada ga [国貞画] in a red double-gourd cartouche. Character: Kabuki actor Ichikawa Danjūrō VII [七代目 市川 團十郎]; other names: Ichikawa Ebizō V, Ichikawa Shinnosuke I (Japanese, 1791 – 1859). Series: Six choice modern flowers [當世六花撰] (Tosei rok’kasen). No publisher's seal, no date or censor's seal is present. Size: Fan print (aiban uchiwa-e); 232 x 289 mm. Provenance: Paul F. Walter. Izzard: "... six prints make up this set of fan prints, which compares contemporary artists with classic poets, in this case, Ichikawa Danjūrō VII with Ōtomo no Kuronushi [大友 黒主] (Japanese, dates unknown)". Rok'kasen [六歌仙] – six poetry immortals. According to Izzard, identification of the portrayed person is made possible by mimasu-mon [三升] on the robe, scrolling peony on the back of the mirror, and cloth decorated with the characters Yauan, one of the actor's poetry names, and other signs and symbols, including the inscription of the acter's guild name Naritaya. The absence of the publisher’s emblem and censorship seals may indicate that this was a privately issued print, not for public use. Ref: (1) [LIB-2967.2022] Utagawa Kunisada (1786 – 1865): His world revisited / Catalogue № 17, Exhibition March 17-21, 2021. — NY: Sebastian Izzard, LLC., 2021; p. 130-1, fig. 42). (2) Lyon Collection. Mimasu-mon, or Mitsumasu, is the Ichikawa Danjūrō family crest – three wooden measures, nested square boxes.
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Artist: Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Signed: Kunisada ga [国貞画] in a red double-gourd cartouche Publisher: Unknown (no seal). Date: c. 1832 Izzard: "... red cloth decorated with the characters Yauan, one of Ichikawa Danjūrō VII [市川団十郎] (Japanese, 1791 – 1859) poetry names, and the name of his residence in Fukagawa. The absence of publisher's emblem and censorship seals may indicate that this was a privately issued print, not for public use". Ref.: [LIB-2967.2022] Utagawa Kunisada (1786 – 1865): His world revisited / Catalogue № 17, Exhibition March 17-21, 2021. — NY: Sebastian Izzard, LLC., 2021; p. 112-3, fig. 32). Size: Fan print (aiban uchiwa-e); 235 x 295 mm. -
Title: Third lunar month [弥生] (Yayoi 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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Title: Fourth lunar month [卯月] (Uzuki 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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Title: Seventh lunar month [初秋] (Hatsuaki 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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Title: Ninth lunar month [菊月] (Kikuzuki 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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Title: Gotenyama [御殿山] – one of the most popular cherry blossom viewing spots; it is a hill at Shinagawa [品川], the second station on the Tōkaidō road [東海道], located on the shores of Edo Bay [江戸湾]. Series: A Collection of Mountains [山つくし] (Yama tsukushi) Artist: Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 12 January 1865). Block carver: Yokokawa Takejirō, seal: [彫竹] – Hori Take. Publisher: Yama-Ta; seal: [板元, 太] – Hanmoto, Ta; Marks 19-044 | U421b: An unknown publisher in Edo, fl. c. 1815-61. Combined date seal and kiwame censor seal: Ansei 6 (1851). Signed: Toyokuni ga [豊国 画] in a red toshidama cartouche. Size: Fan print (uchiwa-e) 227 x 287 mm. -
Description: Large volume collated in 4to, 33 x 25 cm, ¾ navy morocco bordered with a gilt double-fillet over marbled boards, raised bands, floral gilt arabesque in compartments, gilt lettering to spine, gilt endpapers, T.E.G. Text printed on wave paper watermarked “Whatman Turkey Mill 1884”; etchings printed on laid paper 32.2 x 24.3 cm, 20 x 13 platemark, 17 x 11 cm image; etched head- and tailpieces, initials. Printed on November 1, 1885. Title-page: CATULLE MENDÈS | — | LES | îles d'Amour | Avec six Eaux-Fortes et trente-huit Dessins originaux | DE | G. FRAIPONT | {publisher’s device} | PARIS | BIBLIOTHÈQUE DES DEUX MONDES | L. FRINZINE & Cie, ÉDITEURS | 1, Rue Bonaparte, 1 | – | M D CCC LXXXVI || Collation: 4to; π4, 1-114 122, total 50 leaves, two binder’s flyleaves in the front and in the back, and 6 plates extraneous to collation. Pagination: [i-v] vi-vii [viii] [1-3] 4-85 [86] [6], total 100 pages, ils. Limitation (printed in red and balck): 1000 copies on vergé (№ 1-1,000), 25 copies on Whatman (№ I-XXV), 15 copies on Japon Impérial (marked A-O). This is copy № III, signed by the publisher. Contributors: Catulle Mendès (French, 1841 – 1909) – author. Gustave Fraipont (Belgian-French, 1849 – 1923) – artist. Charles Unsinger (French, 1823 – 1891) – printer. -
An uncut fan print uchiwa-e, size 22.7 x 28.7cm, by an unknown artist. -
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. -
Artist (character): Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Artist (landscape): Utagawa Kunihisa II [歌川国久] (Japanese, 1832 – 1981), a.k.a. Katsuda Hisatarō, Ichiunsai, Ritchōrō, Toyonobu, Yōryūsai, Yōsai. Block carver: Matsushima Masakichi (Japanese, fl. c. 1847-65); seal: [松嶋彫政] – Matsushima Hori Masa (Frieze, 2009: 142) Publisher: Iseya Magobei [伊勢屋孫兵衛] (Japanese, fl. c. 1794 – 1868). Signed: By the brush of Toyokuni at the age of 78 [七十八歳豊国筆] (Nanajūhachi-sai Toyokuni hitsu) – in a red toshidama cartouche (left). Signed: Landscape by Kunihisa [景色 国久画] (Keshiki Kunihisa ga) (right). Actor: Nakamura Shikan IV [中村芝翫] (Japanese, 1831 – 1899); other names: Nakamura Fukusuke I, Nakamura Masanosuke I, Nakamura Komasaburō, Nakamura Tamatarō I. Combined date seal and kiwame censor seal: [亥極] – Bunkyū 3 (1863) Tasogare (literally, twilight] [たそがれ] is a character in the novel Rustic Genji and a role in various kabuki plays. Fake Murasaki’s Rustic Genji [偐紫田舎源氏] (Nise Murasaki inaka Genji) is a literary parody written by Ryutei Tanehiko [柳亭種彦] (Japanese, 1783 – 1842). According to Horst Graebner, this must be a mitate print because there was no known performance of this play in 1863. -
The central sheet of (optional) triptych: Courtesan (Tayū): kabuki actor Bandō Mitsugorō III as Fujiya Izaemon from Three pleasures of present-day Osaka (Tōsei Naniwa no sankō)「当世浪花の三興 太夫」 「藤屋伊左衛門」 三代目坂東三津五郎. Publisher: Iseya Rihei [伊勢屋利兵衛] (Japanese, fl. 1790s – c. 1879) Year: 1821 (Bunsei 4). Size: Vertical ōban; 36.5 x 25.1 cm. Signed: 於浮瀬亭国貞画 – Drawn by Kunisada in Ukabuse (Ukabuse ni oite Kunisada ga). Ukabuse is the name of a famous restaurant in Osaka, this signature can be found only on a three print bijin series [Kunisada Project]. Censor's seal: kiwame 改印：極 Actor Bandō Mitsugorō III [三代目 坂東 三津五郎] (Japanese, 1775 – 1831); other names: Bandō Minosuke I, Morita Kanjirô II, Bandō Mitahachi I, Bandō Minosuke I, Bandō Mitahachi I. Character: Fujiya Izaemon. Ref: MFA ACCESSION NUMBER 11.21937; LIB-2967.2022 Izzard. Full series (triptych) Three Pleasures of Present-day Osaka (Tōsei Naniwa no sankō):
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The left sheet of (optional) triptych: Geisha of the Shimanouchi district: Actor Nakamura Utaemon III as Danshichi no Mohei, from Three Pleasures of Present-day Osaka (Tōsei Naniwa no sankō)「当世浪花の三興 島之内」 「団七の茂兵衛」 三代目中村歌右衛門. Publisher: Iseya Rihei [伊勢屋利兵衛] (Japanese, fl. 1790s – c. 1879) Year: 1821 (Bunsei 4). Size: Vertical ōban; 36.5 x 25.1 cm. Signed: 於浮瀬亭国貞画 – Drawn by Kunisada in Ukabuse (Ukabuse ni oite Kunisada ga). Ukabuse is the name of a famous restaurant in Osaka, this signature can be found only on a three print bijin series [Kunisada Project]. Censor's seal: kiwame 改印：極 Actor Nakamura Utaemon III [中村歌右衛門] (Japanese, 1778 – 1838); other names: Nakamura Tamasuke, Nakamura Baigyoku I, Nakamura Shikan I, Kagaya Fukunosuke I. Character: Danshichi no Mohei [団七茂兵衛]. Ref: MFA ACCESSION NUMBER 11.21936; LIB-2967.2022 Izzard. Full series (triptych) Three Pleasures of Present-day Osaka (Tōsei Naniwa no sankō): -
Poem by Ariwara no Narihira Ason: (Actor Ichikawa Danjûrô VIII as) Seigen, from the series Comparisons for Thirty-six Selected Poems (Mitate sanjûrokkasen no uchi)「見立三十六歌撰之内 有原業平朝臣 清玄」 八代目市川団十郎. Poem: Yo no naka ni/ taete sakura no/ nakariseba/ haru no kokoro wa/ nodokekaramashi. Kabuki actor: Ichikawa Danjūrō VIII [八代目 市川 團十郎] (Japanese, 1823 – 1854); other names: Ichikawa Ebizô 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). Block cutter: Yokokawa Horitake [横川彫武] a.k.a. Yokokawa Takejiro [横川竹二郎] (Japanese, fl. 1860s). Publisher: Iseya Kanekichi [伊勢屋兼吉] (Japanese, fl. 1840s – c. 1875) Year: 1852 (Kaei 5), 10th month. Size: Vertical ōban; 36.5 × 25.4 cm. Signed: Toyokuni ga, in toshidama cartouche [豊国画(年玉枠] Censors' seals: Fuku, (Muramatsu), Rat 10. Ref: MFA Accession № 11.36779.43. -
Superb Edo pictures illustrating dances (Odori keiyô Edo-e no sakae): Interior of an imaginary theatre with a performance of Shibaraku 「踊形容江戸絵栄」. Artist: Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Publisher: Nōshūya Yasubei (Japanese, fl. c. 1851 – 1870). Year: 1858 (Ansei 5), 7th month. Size: Vertical ôban triptych; 36.9 x 75.7 cm. Signed: 一陽斎雛獅豊国筆(年玉印) – Ichiyôsai Hinashi Toyokuni ga (on the left sheet only). Censor's seal: Horse 7 [午七 彫師]. Subject: Shibaraku. Ref.: MFA impression: 11.44263a-c; Robert Schaap. Kunisada (2016), p. 101 [LIB-1212.2017]. Ref.: [LIB-1197.2016] Arendie and Henk Herwig. Heroes of the Kabuki stage: an introduction to Kabuki with retellings of famous plays, illustrated by woodblock prints. — Amsterdam: Hotei Publishing, 2004; p. 38. [LIB-3316.2024] Chris Uhlenbeck, Jim Dwinger, Josephine Smit. The Riddles of Ukiyo-e: Women and Men in Japanese Prints. — Brussels: Ludion, 2023, p. 218-9, № 107. -
Kabuki actor: Matsumoto Kōshirō V [五代目松本幸四郎] (Japanese, 1764-1838); other names: Ichikawa Komazō III, Ichikawa Sumizō I. Role: Nikki Danjo (仁木弾正): "Evil retainer Nikki Danjo who plots to overthrow his lord in the play Precious incense and the bush clover of Sendai (Meiboku sendai hagi)" [R. Kruml]. Artist: Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Block cutter: Horikō (Kiyomizu) Ryūzō [彫工 柳三]. Publisher: Ebisuya Shoshichi [恵比寿屋庄七], Kinshōdō (Japanese, fl. c. 1846 – 1883). Year: 1863 (Bunkyū 3), 7th month. Size: Vertical ōban, hōsho paper. Signed: Nanajuhassai (aged seventy-eight) Toyokuni ga within toshidama cartouche. Censor’s seal: date-aratame. This print is from a series of portraits that Kunisada undertook very late in life and has been named Kinshodo-ban yakusha okubi-e (Kinshodo’s Large-Head Actor Portraits) in reference to the publisher, Ebisuya Shochochi of Kinshodo. The series depicted great actors in their famous roles from the past and present. Ref.: (1) [LIB-1212.2017] Robert Schaap. Kunisada: Imaging, drama and beauty. — Leiden: Hotei Publishing, 2016, p. 118 and 167 (№ 42):
Ref.: (1) [LIB-1197.2016] Arendie and Henk Herwig. Heroes of the kabuki stage: an introduction to kabuki with retellings of famous plays, illustrated by woodblock prints. — Amsterdam: Hotei Publishing, 2004; pp. 243-249.
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Bandō Mitsugorō III as Daihanji Kiyozumi and Arashi Koroku IV as Koganosuke in kabuki play Imoseyama, an example of womanly virtue (Imoseyama onna teikin). 大判事清澄 坂東三津五郎」（三代）・「久我之助 嵐小六」（四代） Artist: Shunkōsai Hokushū [春好斎北洲] (Japanese, fl. 1802 – 1832) Year: 1821 (3rd month). MFA description: “The Kabuki play Mount Imo and Mount Se: An Exemplary Tale of Womanly Virtue (Imoseyama onna teikin), originally based on a puppet play, is set in ancient Japan when the Soga clan served as regents to the emperor. Two children, Hinadori and Koganosuke, of rival court families, are held hostage under orders from the tyrant Soga no Iruka to ensure their families do not revolt. The children fall in love, but rather than create conflicts for their families they each vow to die by suicide. When the parents learn of their plans, they resolve to cooperate to overthrow Iruka. Here Koganosuke and his father Kiyozumi are shown; a companion sheet on the left would have shown Hinadori and her mother Sadaka.” The play Imoseyama, an example of womanly virtue (Imoseyama onna teikin), was staged at Osaka's Kado Shibai (Kadoza, Kado Gekijô, Kado no Shibai) from 3/1821. According to Herwig, it is the right sheet of a diptych (see below). MFA Accession number: 2011.128 Kabuki actors: Bandō Mitsugorō III [三代目 坂東 三津五郎] (Japanese, 1775 – 1831); other names: Bandō Minosuke I, Morita Kanjirô II, Bandō Mitahachi I, Bandō Minosuke I, Bandō Mitahachi I. Arashi Koroku IV [四代目嵐小六] (Japanese, 1783 – 1826)
Ref.: [LIB-1197.2016] Arendie and Henk Herwig. Heroes of the kabuki stage: an introduction to kabuki with retellings of famous plays, illustrated by woodblock prints. — Amsterdam: Hotei Publishing, 2004; p. 72:
Ref: [LIB-2973.2022] Ukiyo-e: A journey through the Floating World / Exhibition catalogue (Japan, Jan-Jul 2014). — The Yomiuri Shimbun, 2014; № 358, p. 226. "Bandō Mitsugorō III as Grand arbiter Kiyosumi and Arashi Koroku IV as Koganosuke":
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Okon's Lover Fukuoka Mitsugi, from the series Mirror of Virtuous Women (Teijo misao kagami)「てい女 美作保鏡 おこん 福岡貢」. Artist: Utagawa Kuniyoshi [歌川 國芳] (Japanese, 1798 – 1861). Publisher: Kojimaya Jūbei [小嶋屋重兵衛] (Japanese, fl. c. 1797 – 1869). Year: 1843–47 (Tenpô 14–Kôka 4). Signed: 一勇斎国芳画 – Ichiyûsai Kuniyoshi ga. Censor's seal: Watari. Size: Vertical ôban; 36.8 x 25.6 cm Ref.: MFA № 11.16085. -
Utagawa Kunisada [歌川 国貞]; a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Signed: Toyokuni ga [豊国 画] in a yellow toshidama cartouche. Publisher: Unknown, seal [久] Kyū (Japanese, fl. c. 1851 – 1861); (Marks 07-023 | U176a, possibly Sagamia Kyūzō). Date seal and double nanushi censor seals: Fuku & Muramatsu, Kaei 6, 2nd month (2/1853). Inscription in a red cartouche: Purple of Edo // Purple of the Bay Capital [江都むらさき] (Edo Murasaki), alluding to Murasaki Shikibu [紫 式部] (Japanese, c. 973/8 – c. 1014/31), the author of Genji Monogatari [源氏物語] (The Tale of Genji), a Heian period novel which was the source of a parody Nise Murasaki Inaka Genji [偐紫田舎源氏] (Fake Murasaki’s Rustic Genji) by Ryutei Tanehiko [柳亭種彦] (Japanese, 1783 – 1842). According to Horst Graebner: The actor is most probably Iwai Kumesaburō III. Iwai Hanshirō VIII [岩井半四郎] (Japanese, 1829 – 1882); other names: Iwai Shijaku II, Iwai Kumesaburō III [岩井粂三郎], Iwai Hisajirō II. One of the series of Kunisada's fan prints in this collection: -
Utagawa Kunisada [歌川 国貞]; a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Signed: Toyokuni ga [豊国 画] in a yellow toshidama cartouche. Publisher: Unknown, seal [久] Kyū (Japanese, fl. c. 1851 – 1861); (Marks 07-023 | U176a, possibly Sagamia Kyūzō). Date seal and double nanushi censor seals: Fuku & Muramatsu, Kaei 6, 2nd month (2/1853). Inscription in a red cartouche: (Purple of Edo // Purple of the Bay Capital) [江都むらさき] (Edo Murasaki), alluding to Murasaki Shikibu [紫 式部] (Japanese, c. 973/8 – c. 1014/31), the author of Genji Monogatari [源氏物語] (The Tale of Genji), a Heian period novel which was the source of a parody Nise Murasaki Inaka Genji [偐紫田舎源氏] (Fake Murasaki’s Rustic Genji) by Ryutei Tanehiko [柳亭種彦] (Japanese, 1783 – 1842). According to Horst Graebner: The actor is most probably Onoe Baikō IV [四代目尾上菊五郞] 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. One of the series of Kunisada's fan prints in this collection: -
Artist: Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Block cutter: Yokokawa Takejirō [横川竹二郎] (Japanese, fl. 1845 – 1863), seal Hori Take [彫竹]. Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, fl. C. 1845 – 1847). Title: Book of an incoming ship [入船帳] (Irifune-chō). Series: Comparison of Eight Books of Proficiency and Eloquence [口も手も美立八帳] (Kuchimo temo mitate hatchō). Date seal and aratame censor seal: 1856 (Ansei 3). Signed: Toyokuni ga in toshidama cartouche. Media: Untrimmed fan print (uchiwa-e), 231 x 300 mm. Provenance: The Collection of Paul F. Walter, Christie's, New York, 2017, lot 341; sold together with 5 other fan prints for $25,000. Before: Israel Goldman, Japanese Prints, Catalogue 11, 2005, no. 37. Ref: [LIB-1693.2018] The Collection of Paul Walter. — NY: Christie's, 2017, p. 363. Ref: Israel Goldman, Catalogue 2018, № 51: "Utagawa Kunisada (1786-1865) A Beauty Seated in a Boat. From the series Mitate hatcho (A Parody of Eight Books). 1856. Fan print. 23.3 x 30 cm. Provenance: Israel Goldman, Japanese Prints, Catalogue 11, 2005, no. 37, The Collection of Paul F. Walter, Christie's, New York, 2017, lot 341. Fine impression, colour and condition. The title contains the saying: “Kuchi mo hatcho te mo hatcho (As quick with one’s hand as one’s tongue)." Special thanks to Horst Graebner for the detailed description. -
Artist: Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Signed: Kunisada ga [国貞画] in a red double-gourd cartouche. Publisher: Iseya Sōemon [伊勢屋惣右衛門] (Japanese, c. 1776 – 1862). Date seal and kiwame censor seal: 1840 (Tenpō 11). Media: Untrimmed fan print (uchiwa-e), 227 x 293 mm. Title: Benzaiten Shrine at Honjō Block One [ひとつ目乃弁天] (Hitotsume no Benten). Provenance: The Collection of Paul F. Walter, Christie's, New York, 2017, lot 341; sold together with 5 other fan prints for $25,000. Before: Christie's, New York, 1997, lot 93 ($5,520). Ref: [LIB-1693.2018] The Collection of Paul Walter. — NY: Christie's, 2017, p. 363. Ref: Israel Goldman, Catalogue 2018, № 31: "Utagawa Kunisada (1786-1865) A Woman Reading a Letter by the Light of a Lantern. Hitotsume no Benten (One-eyed Benten). 1840. Fan print. Provenance: Japanese Prints, Paintings and Screens, Christie's, New York, 1997, lot 93 ($5,520), The Collection of Paul F. Walter, Christie's, New York, 2017, lot 341. Fine impression and colour. Expertly restored wormholes in the lower margin." Markus Sesko comment regarding the series title: "Some time between in the latter half of the 17th century, blind acupuncturist Sugiyama Waichi (1614–1694) cured a neurotic disease afflicting Shōgun Tokugawa Tsunayoshi. Tsunayoshi asked Sugiyama what he would like as a reward, he answered that all that he would really desire was just one functioning eye. Now here we arrive at a wordplay. “One eye,” as you know, is Hitotsu-me in Japanese. As Tsunayoshi obviously could not reward Sugiyama with an eye, he gave him the entire first block of the Honjō neighbourhood in Edo, measuring about 1.2 ha. So, Honjō Block One is Honjō Hitotsu-me in Japanese as me not only means “eye,” but also “number.” Sugiyama moved there, but as he was praying to Benzaiten enshrined in the Enoshima-jinja southwest of Kamakura, Tsunayoshi gave Sugiyama permission to erect a small shrine on his new premises that was then dedicated to Benzaiten as well. To spare the old blind man the long trip so to speak. This shrine was named Honjō Hitotsu-me Benzaiten Shrine, short Hitotsu-me Benten, meaning the “Benzaiten Shrine at Honjō Block One.” That is, the label in the print refers to this context, i.e., location, not to a one-eyed Benzaiten. Sugiyama also had some rock formations of the “original” Benzaiten Shrine at Enoshima copied at his place, which was named Iwaya (い王や) (see picture attached). The lantern the woman is holding in the print is inscribed “Imuya” (い無や). Usually, the character mu (無) is not read wa in replacing a syllable, so maybe Imuya can be attributed to artistic freedom on part of Utagawa Kunisada, referring to the local Iwaya garden?" -
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: Hori Take [彫竹]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) 229 x 294 mm.
Provenance: The Collection of Paul F. Walter, Christie's, New York, 2017, lot 338; sold together with 10 other fan prints for $27,500. Before: Christie's, New York, 1994, lot 145 ($4,830). Ref: [LIB-1693.2018] The Collection of Paul Walter. — NY: Christie's, 2017, p. 361. Ref: Israel Goldman, Catalogue 2018, № 41: "Utagawa Kuniyoshi (1797-1861) A Woman on a Terrace Dancing with a Fan. From the series Enkyoku zoroi (Collection of Charming Music). 1853. Fan print. 22.9 x 29.4 cm. Provenance: Japanese Prints, Paintings and Screens, Christie's, New York, 1994, lot 145 ($4,830); The Collection of Paul F. Walter, Christie's, New York, 2017, lot 338. Fine impress." Known prints in this series:
SVJP-0251.2018
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Artist: Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Publisher: Ibaya Senzaburō [伊場屋仙三郎] (Japanese, fl. C. 1845 – 1847). Date seal: [子五] Kaei 5, 5th month (5/1852). Signed: Toyokuni ga [豊国 画] in a red toshidama cartouche. Title: Actor Bandō Takesaburō I as clerk Seijūrō [手代清十郎] (left) and Actor Ichikawa Kodanji IV as Kenkaya Gorōkichi [喧嘩屋五郎吉] (right) in the play Musume ōgi tsui no tatehiki [娘扇一対侠贔屓 (むすめおうぎついのたてひき)] performed at the Nakamura theatre [中村座], in Edo (Tokyo). The playbill for this performance can be found at MFA (Boston) # 11.28042, 11.28285, 11.28286:
Actors:
Bandō Takesaburō I (初代坂東竹三郎) (Japanese, 1832 – 1877); other names: Shinshi, Shinsui V, Bandō Hikosaburō V [五代目坂東彦三郎], Bandō Tsurunosuke I.
Ichikawa Kodanji IV [市川小團次] (Japanese, 1812 – 1866); other names: Ichikawa Yonejūrō I, Ichikawa Yonezō III, Ichikawa Eizō.
Similar images were then used for the series Seven flourishing plants on lanterns for summer evenings [涼調珍盛の七草] (Suzumi chōchin sakari no nanakusa) published by Ibaya Senzaburō in 1852 (Kaei 5), 6th month.
Bandō Takesaburō I (carved by Yokokawa Takejirō): https://collections.mfa.org/objects/219360
Actor Ichikawa Kodanji IV (carved by Nakamura Tōkichi): https://collections.mfa.org/objects/477146.
